View allAll Photos Tagged introspective
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And now when I say a word of kindness to someone
Am I a fraud
For I was unkind to you
And now when I speak of freedom for the enslaved
Am I a fraud
For I trapped you and left you in fear
How can I ever touch the face of a child
And feel tenderness in my heart
Knowing I stole something precious from you my sweet one
I'm a fraud
I'm a fraud
Yes now I'm a fraud
And I pay the price.
I must face the police.
And now when I speak to my mother and brother
Will they know that I'm a common thief.
I've always been a keen actor
When I've been down and out
Keeping my chin up and my step in place
but now when I say a word of kindness to someone
I am afraid that I am a fraud
I can not play this part well
Shame is on my face and in my voice
He's a a fraud they will say
He is so unkind
Everyone can see through me now.
Explore #118, 09.11.07 - in fact this was my first picture on Explore but I haven't noticed it for weeks...OMG. ;) But now my happy flickrnewbie life is over and I got REALLY ambitious. ;)
Trying out the newest features on Picasa ... they added an editing option on "makeup" .. yeah, really! and one makes you look thinner! LOL
I won't quote the entire monologue, but I will say this : "Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently."
When I started this, I did have a goal in mind. Forget what I've said in the past, the goal was simple and short. My goal was to break out of my traditional way of thinking and be one of the ones who finds new ways to shoot and capture an idea. I didn't want traditional photos. I didn't want boring shots. I wanted a subject and an idea present in every one of my shots. I wanted to explore with styles, bend my paradigms, and get way outside my comfort zone. I wanted to reinvent myself 365 times and see if I could keep the core ideology of who I am and who I was.
In that regard, I succeed. I committed to something that I knew appeared easy but turned out to be frustratingly complex. A photo a day of yourself is an undertaking that shouldn't be burdened lightly. As I sit here, one day and one photo away from the end, I have to toast all those 365ers who came before me and those who will come after me.
This life is a journey. No one can tell you how to walk it and at what pace. Learn all you can about yourself and the emotions and ideas you want to express. My Project365 taught me about what kind of photographer I want to become. It also taught me about what kind of person I should continue to be.
Commit to making your life better. If it's going to the gym, then commit to it. If it's speaking up for yourself, then commit to it. If it's taking a photo of yourself for 365 days, then commit to it.
It won't be easy, but it'll be the greatest present you can ever give yourself.
Just a boy who was tired waiting in line. But instead of getting irritating he just sat down and focussed...
Art, Rock, & Talk
With Kate Myers and Wiitala Brothers
Saturday Feb. 26th
Chicago Art Department
Kate Myers’ music is passionate and introspective. Drawing influence from singer/songwriters of the past (Jim Croce, Bob Dylan) and of the present (Conor Oberst, Fiona Apple), she has been able to create a style that is completely and recognizably her own and that transcends the standard coffee shop singer/songwriter genre. Her songs are stories of pain, love, hope and the experience that she has collected through her travels, her family and her years.
Kate’s debut, self-titled album was released in 2004, her second album, “Blanket Sky” in 2006 and her most recent work, “Instant Clarification,” in 2008. She has performed on stages all over the USA and in Europe and is currently writing for her anticipated 4th release.
Wiitala Brothers
“The Wiitalas’ new Bad Blood could be qualified as minimalist indie pop-rock but it’s something much more effective than that might suggest. The duo’s stark guitars and lingering vocals tend to waft around, electrifying the air with their simplicity.”
Photograph Smile was the long-awaited solo album from Julian Lennon, and in this endeavor, he exhibits much of his acquired influence from the Beatles. There are many reminiscent guitar riffs and what seem to be lyrics the Beatles might have written, only better, and several with more pathos. OK, let's just get it out-- yeah, he sounds like John, he can't help it. Are we on the Julian page now? Some were obviously written about his relationship with Lucy Bayliss. Quite a different set of tunes from "Valotte", but still with the signature sound for which he has become known. It is a very introspective album and nothing that will "rock you out" like much of the Valotte material --- it lacks the same velocity, but listen to the lyrics. Some good changes. This was created during a time in his life when things were totally different from the "Valotte" times. It is overall quite an accomplishment and a very good album. All the tracks are very good. Unlike some artists whose albums pomp one or two tracks, these are all good. I may not say much about some tracks, but they're all worth a listen. Some take several listens to really get into. Despite a few jaunty tunes, it's basically a "getting over you" heartbreaker collection. (Not that that's a bad thing.)1. Day After Day -- Apparently a soldier's letter to his love back home, a segment of which made a brief appearance in the film "Music From Another Room". This tune was very popular in the U.K. during its initial release (although not in the U.S., due to poor promotion), catchy and very good. ("Music From Another Room" thereafter became the name for Julian's label.)2. Cold -- I really love this song, but didn't at first, mostly because of the heaviness of it, but still with good lyrics and a point. At first, I found it too heavy, but after repeated listenings, it has become a beautifully haunting favorite. Some good acoustic guitar. Sometimes airy and nebulous, with echo effects. "I can feel you everywhere tonight, don't leave me cold."3. I Should Have Known -- Because you broke my heart. Pleasant, but graphically sad.4. How Many Times -- A very eco-friendly tune, about humanity devastating the planet; pleading for sensibility. Has a good beat, and after a few turns, you'll probably be singing along.5. I Don't Wanna Know -- Sounds like his dad, with all the appropriate accompaniment. Could've been a "lost" Beatles tune. Got some rock to it.6. Crucified -- "On the cross of inuendo..." Slightly dark with some Eastern influence. "We're all freaks in this sideshow."7. Walls -- Soft and ponderous. May take some getting used to; some great, gentle piano strokes which build beautifully.8. Believe -- Typical lyrics, but a good tune and beautifully done, considering the average subject matter. "We tear ourselves apart and leave a broken heart." It could really touch a crier.9. Good To Be Lonely -- Not terribly inspired, sounds like filler, but listenable. Has good backup.10. Kiss Beyond The Catcher -- I couldn't really get too close to this one until after many listenings; it's a matter of taste, but not too bad (pseudo-jazzy).11. And She Cries -- In many ways, a beautiful update of "She Loves You", but with more feeling and better lyrics, better guitar (sounds like George). Doesn't rock as much as "She Loves You", but has a story line, and resolves beautifully ("Nowhere Man" reference). Gorgeous song -- it'll tug at ya.12. Photograph Smile -- Wispy parting song. Sad. Pretty. Good violin accompaniment.13. Faithful -- A very good song (I have a problem with the lyrics -- "undoubtably" should be "undoubtedly"), nice tune, "That's all I've ever wanted from you ..." Some female backup, and a few good background crescendos. 14. Way To Your Heart -- Feels a bit heavy until you get into it -- "I want to see you untangled, I want to see you from every angle..." Very nice love song. Good lyrics. A brief orchestral interlude is reminiscent of "Lucy In The Sky With Diamonds" (no doubt an intententional reference to Lucy B. -- apparently a real heartbreaker). It is soulful and pleading without being mushy.Compared to "Valotte", at least half of these tunes take some patience in that they don't "grab" you right off, but after repeated listenings, they will. I have to say that at first I was disappointed, but now I can see the changes he's made and his music reflects his personal travail. No doubt the better portion of this work is heavily influenced by his ended relationship with Lucy. Keep that in mind and remember that recording artists ARE artists; their work reflects their current feelings. The works of great artists are the release of intense emotion, and whatever is important in their lives at the moment of creation. Accept it or don't. No regrets about buying this Julian Lennon CD. Great work!!! I look forward to his next phase. For More 5 Star Reviews Photograph Smile by Julian Lennon
Another introspective image. She is so beautiful and look so intensely in thought. Model: Savannah. You can see more of her in my set "Savannah". Best in lightbox.
I had heard, or maybe read, or maybe saw somebody say in a movie, that the coolest thing about fishing was that it was two lives connected by a thin string. The “heartwarming” (or whatever intended introspectively tingly) sensation was lost on me, though I supposed I could get on board with the more literal aspect of it. Incidentally, fishing, at least for an unaffecting angler like me, allots ample, i.e. too much, time to mull these sorts of abstractions, and there was something about this one that kept it from settling in my noodle. Not ironically, it hit me the instant my troller buckled to the strike of a 32" striper: While the assertion could function for me, the fish actually had death on the other end of his line. In this case, the grim reaper wore a dingy Type II Wearable Scooby Doo PFD and had fingers that stuck together from the residue of a Bug Juice that spilled before so much as a sip had been drank.
I spent the second half of the charter attempting to rinse the thought from my head, but my attempts were about as implicitly dysfunctional as trying to wash fish stink off your hands with the spray nozzle on the end of a bilge pump hose. Fortunately, it only took around two and a half hours to limit out, and the sun did finally come out on the way back in to the marina. I was able to muster a few half-heated laughs as (not my real) Uncle Bob grilled the fillets, but I can’t say I was terribly enthusiastic about the meal, particularly when I realized no one had thought to bring any sides. That afternoon’s probably why disillusionment always seems to taste a little fishy to me, and its drive home is one of only 3 times in as many years that I actually ate McDonald’s food.
Purim-spiel, March 2005
Congregation Eitz Or, Seattle
I love capturing introspective moments in kids, like fleeting insights.
About this series:
On the Jewish holiday of Purim, everyone dresses in costume, we read from the Scroll of Esther, and you're supposed to get so drunk that you can't even tell the difference between the bad guy in the story (Haman, hsss!) and the good guy (Mordechai). By taking this series of shots in modest indoor light hand-held, with no flash, I captured some of the blurry zaniness of how Purim feels -- and some surprisingly quiet moments, too.
Photo details for this series:
Canon EOS 20D with EF-S 17-85mm IS lens
Nearly all at f/5.6, ranging from 1/4 to 1/15 sec
Handheld, ISO 3200.
Custom white balance with incandescent light.
Cleaned up with Noise Ninja (great product!) and custom profile for 20D.
IMG_4099_NN
ENFPs are introspective, values-oriented, inspiring, social and extremely expressive. They actively send their thoughts and ideas out into the world as a way to bring attention to what they feel to be important, which often has to do with ethics and current events. ENFPs are natural advocates, attracting people to themselves and their cause with excellent people skills, warmth, energy and positivity. ENFPs are described as creative, resourceful, assertive, spontaneous, life-loving, charismatic, passionate and experimental.
People with Linguistic intelligence love and are talented with words. They enjoy reading, writing and learning languages. They have an ability to teach and explain things to others. They learn best by reading, taking notes and going to lectures.
People with Visual intelligence are artistic. They are very aware of their surroundings and are good at remembering images. They have a great sense of direction. They like to draw, paint and read maps. They learn best through drawings and visual aids.
People with Kinesthetic intelligence love movement. They enjoy sports and/or dance. They are good at building things and like to stay active. They have good motor skills and are very aware of their bodies. They learn best through movement and experimentation.
How I perceive my disposition: dark, cynical, disheveled, self-conscious, attempting to understand myself.
Thank you for viewing my images. You can also follow me on:
Facebook www.facebook.com/RobHarrisPhotography/
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Model Mayhem www.modelmayhem.com/Robbo2010
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Flickr (Landscapes) www.flickr.com/photos/140336045@N03/
Unsubmitted photo - test image
Reflections - BRIEF 1
The people have spoken. Our Photo5 community have chosen ‘Reflections’ for the 2013 Open Brief (and what a great brief it is). The word inspires so many interpretations – whether it be stark reflections from mirrors, or transparent ones upon glass; you might capture an outdoor reservoir, or an introspective reverie. It’s a broad theme, so head towards what inspires you most and bring your own signature style to the shot.
There’s one key piece of advice I’ll offer for this kind of brief – don’t hold back. You need to catch our eye quickly with something original and compelling. So go big, go crazy and be different. Be critical and challenge your ideas. Ask yourself, “will others do something similar?” You really need to try and stand out to beat the other entries.
FLOUR // CONTRAST - Brief 2
Using flour, create a high contrast image with visual punch. Think about capturing a striking difference between elements – like tones or colours – to create a bold statement.
How will the texture of flour appear in high contrast – whether still, airborne or otherwise? How can you use backgrounds and negative space?
Don’t be limited by the flour* provided – you can use as much as you like.
Flour is such a great subject, so don’t be boring. Use it in an interesting way.
Discovering something unique may mean testing a lot of approaches, so don’t be afraid to fail. Be open-minded and experiment.
As the brief says, think about texture. Shutter speed techniques should be considered to create affects and drama in the piece.
EYES // PERSONIFY - Brief 3
First, make some cartoon eyes using the black and white circles inside your Photo5 box. Then use these to create an image that breathes life into something inanimate. Secret faces hide everywhere – on mailboxes and trees, throughout your home – you just need a bit of imagination to see them. Use the cartoon eyes to bring these characters to life. Think about their expressions and personalities. What are they doing? Do they tell a story?
This is a playful brief, so get out and have some fun. Focus on the ‘character’ element of the brief. You really need to create someone or something. How does the setting and scene add to their story? Try to spot something (and create someone) that no one else will.
JELLY // LIGHT - Brief 4
Create an image where light plays upon – or through – the distinctive qualities of jelly. Sometimes, if you look a little closer, everyday things can become quite extraordinary. What magic can you find in jelly? What can you create with it? And how can light make it even more striking? To bring your idea to life, use as much jelly* as you like (not just what’s provided).
Light is the key to any good image, and with a subject matter such as jelly, the opportunities to experiment are endless. So try something new. I want to see inspired effects created with either natural or studio light. Think about how aperture settings affect the subject and image too. Be a magician – create some magic with this ordinary subject.
SHADOWS // STENCIL - Brief 5
Create an image that incorporates light that's filtered through the stencil provided. You can use one pattern, or all of them. How do the shapes interact with difference scenes? What will the shadows fall across? Are the outlines of the shapes hard or soft, distorted or dreamlike? Think about how these shapes can create mood and texture in your image. The two key words from the brief are ‘mood’
and ‘texture’. How will you create these? What interesting techniques can you use?
Consider experimenting with different aperture settings, light sources and any other methods to play with focus in the image. And as with all the briefs, originality stands out. So surprise me
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tyson, this one not as introspective as the other one, demands his dinner at a certain time. no exceptions. "come home late, kloutse. come home late again."
Day 316 ~ Hospital Waiting
Friday, November 11th, 2016
After the election, I needed to withdraw. I went into my introspective cave and hid. Everyone I know and love has been super respectful and has allowed me to have my space. Thank you. Thursday night Jenny called me to let me know that her dad was in the hospital. They thought he had TB but tested negative and he was scheduled to have a lung biopsy on Friday. I had lunch with her on Friday then we went back to the hospital to visit. Robby is feeling fine, he isn’t sick or symptomatic, but there is a hole in one of the lobes of his lung. They still don’t know exactly what it is, but are treating it like a viral infection. On my way out to the car, this scene greeted me. I don’t know who the woman was, but we’ve all been there, haven’t we? Someone we love and care about it is in the hospital and we wait. Waiting is hard. Not knowing is hard. But the tangible love and goodness in life is found in those moments. That clarity strips you down to your bare soul.
Every image is a gentle negotiation between the seen and the unseen.
Black and white portraits and minimalist places dissolve into a calm, lucid silence—where light sculpts the hidden side of the soul and architecture reveals its poetic geometry.
Moments suspended between consciousness and dream, memory and presence, a journey in the language of introspective visual and photographic poetry.
In ogni immagine si consuma una silenziosa trattativa tra visibile e invisibile.
I ritratti in bianco e nero e i luoghi minimali si dissolvono in un silenzio lucido—dove la luce scolpisce il lato nascosto dell’anima e l’architettura rivela la sua geometria poetica.
Attimi sospesi tra conscio e sogno, memoria e presenza, un viaggio nel linguaggio dell’introspezione visiva e della poesia fotografica.
Serving as a bomber pilot in the Royal Air Force, Edwards was decorated with the Victoria Cross in 1941 for his efforts in leading a bombing raid against the port of Bremen, one of the most heavily-defended towns in Germany. He became the most highly-decorated Australian serviceman of the Second World War.[1]
Born in Fremantle, Western Australia, Edwards joined the Royal Australian Air Force in 1935, and a year later was granted a short service commission with the Royal Air Force. Serving with the RAF throughout the Second World War, he gained a permanent commission and continued his career in the RAF after the war; he retired in 1963 with the rank of air commodore. Returning to Australia, he was made Governor of Western Australia in 1974.
Contents
1 Early life
2 Early Air Force career
3 Second World War
4 Later career
5 Later life and governorship
6 Notes
7 References
8 External links
Early life
Edwards was born in Fremantle, Western Australia on 1 August 1914, the third of five children to Welsh parents Hugh, a blacksmith and farrier, and his wife Jane (née Watkins), who had emigrated to Australia in 1909.[2] Named after his father, he was always referred to by his middle name of Idwal in his family.[3] Edwards received his initial education at White Gum Valley School, before attending the Fremantle Boy's School where he achieved well academically, although he later claimed this was due to a good memory rather than high intelligence. However, Edwards was reluctantly forced to leave school at the age of fourteen as the family finances could no longer support him.[4][5] Described as a "shy, under-confident, introspective and imaginative lad" at this stage in his life,[4] he gained employment as a shipping office clerk.[6]
With the onset of the Great Depression, Edwards found himself unemployed, before gaining a job with a horse racing stable in Fremantle. His position entailed him taking the horses to the beach each morning for a swim, grooming them, and attending the twice weekly race meetings; a lifelong interest in horse racing consequently emerged at this time.[4] After later working for a brief period in a factory, he enlisted in the Australian Army in March 1933 and was posted to the 6th Heavy Battery, Royal Australian Artillery, with the rank of private. During this period, Edwards was an active sportsman, excelling in Australian rules football—where he played six matches with leading Western Australian Football League (WAFL) club South Fremantle[7]—and cricket with the Fremantle garrison team.[5]
Early Air Force career
In 1935, he was selected for flying training with the Royal Australian Air Force at RAAF Point Cook, after which he transferred to the RAF, being granted a short service commission as a pilot officer on 21 August 1936.[8] Posted to No. 15 Bomber Squadron, he was appointed adjutant of No. 90 Squadron in March 1937, flying Blenheim bombers. He received a promotion to flying officer on 21 May 1938.[9]
In August 1938, Edwards was piloting a Blenheim near the Scottish border when he flew into a storm at 2,300 metres. When the ailerons froze, the aircraft was forced down to 1,600 metres and Edwards ordered the navigator and rear gunner to bale out of the aircraft. Down to 230 metres, he made an effort to jump clear, but his parachute became entangled with the bomber's radio mast pylon. In the ensuing crash, he sustained head injuries and a badly broken leg, which was only saved after extensive surgery, which left that leg shorter than the other. After the accident, he was declared unfit for flying duties until April 1940, when he was posted to No. 139 Squadron for active service due to the outbreak of war.[6] He was promoted to flight lieutenant on 21 May 1940.[10]
Second World War
In May 1941, Edwards was made Commanding Officer of No. 105 Squadron replacing their squadron commander who had been killed in an anti-shipping raid on Stavanger. At that time, the Squadron was engaged in a series of daylight operations against Germany and the occupied countries, with its principal targets being enemy shipping, power installiations, shipbuilding yards, locomotives, steelworks and marshalling yards.[6] On 15 June, by now an acting wing commander, Edwards led six Blenheim bombers on a search for enemy shipping and soon sighted a convoy of eight merchantmen anchored near The Hague. He launched an attack at low level, his bombs striking a 4,000 ton ship. He was subsequently awarded the Distinguished Flying Cross (DFC) for this action.[11]
On 4 July 1941, Edwards led a daylight attack ("Operation Wreckage") against the port of Bremen, one of the most heavily-defended towns in Germany. Edwards' force of twelve Blenheims attacked at a height of about 50 feet through telephone wires and high voltage power lines. The bombers successfully penetrated fierce anti-aircraft fire and a dense balloon barrage, but further fire over the port itself resulted in the loss of four of the attacking force. Edwards brought his remaining aircraft safely back, although all had been hit and his own Blenheim (serial V6028) had been hit over 20 times. His actions in the raid earned him the Victoria Cross (VC).[12]
The full citation for Edwards' Victoria Cross appeared in the London Gazette on 22 July 1941, it read:[13]
Air Ministry, 22nd July, 1941.
ROYAL AIR FORCE
The KING has been graciously pleased to confer the Victoria Cross on the undermentioned officer in recognition of most conspicuous bravery:—
Acting Wing Commander Hughie Idwal Edwards, D.F.C. (39005), No 105. Squadron.
Wing Commander Edwards, although handicapped by a physical disability resulting from a flying accident, has repeatedly displayed gallantry of the highest order in pressing home bombing attacks from very low heights against strongly defended objectives.
On 4th July, 1941, he led an important attack on the Port of Bremen, one of the most heavily defended towns in Germany. This attack had to be made in daylight and there were no clouds to afford concealment. During the approach to the German coast several enemy ships were sighted and Wing Commander Edwards knew that his aircraft would be reported and that the defences would be in a state of readiness. Undaunted by this misfortune he brought his formation 50 miles overland to the target, flying at a height of little more than 50 feet, passing under high-tension cables, carrying away telegraph wires and finally passing through a formidable balloon barrage. On reaching Bremen he was met with a hail of fire, all his aircraft being hit and four of them being destroyed. Nevertheless he made a most successful attack, and then with the greatest skill and coolness withdrew the surviving aircraft without further loss.
Throughout the execution of this operation which he had planned personally with full knowledge of the risks entailed, Wing Commander Edwards displayed the highest possible standard of gallantry and determination.
Photograph of a man with two women. The man is in the centre, wearing military uniform, a cap and a large coat, with a bag over his shoulder. He is holding the hand over the younger woman on his right. Both women are dressed formally, with hats and fur coats.
Edwards with his wife, left, and mother-in-law, right, leaving Buckingham Palace after attending an investiture ceremony.
In July 1941, Edwards took the Squadron to Malta, in order to conduct operations against Axis shipping carrying reinforcements from Italy to Tripoli and Benghazi. The unit remained in the area until October, when they returned to Britain. Participating in a goodwill mission to the United States, he was appointed chief flying instructor at an operational training unit in January 1942, before re-assuming command of No. 105 Squadron on 3 August.[6] During this time, Edwards married Cherry Kyrle "Pat" Beresford; the pair were later to have a son, Anthony, and a daughter, Sarah.[14][15] He was promoted to temporary wing commander on 1 September.[16]
On 6 December 1942, Edwards participated in a daylight bombing raid on the Philips Factory at Eindhoven, the Netherlands. Despite heavy opposition, the bombers successfully damaged or destroyed many of their targets, with two gun posts being silenced. Several members of the raid were decorated, including Edwards, who was awarded the Distinguished Service Order (DSO);[17] becoming the first airman to receive the Victoria Cross, Distinguished Service Order and Distinguished Flying Cross in the Second World War.[14] Promoted to acting group captain, he assumed command of the bomber station at Binbrook in February 1943, where, despite his senior position, he continued to participate in operations.[18] On 18 August, he was promoted to war substantive wing commander.[19]
With the end of the European campaigns in sight, Edwards was transferred to the Pacific theatre, first to Ceylon as Group Captain, Bomber Operations. In January 1945, he was Mentioned in Despatches,[20] and appointed the senior administrative staff officer at Headquarters, South East Asia Command; serving in this position until the conclusion of the war.[14]
Later career
Edwards continued his career in the post-war RAF, and was granted the substantive rank of squadron leader from 1 September 1945.[21] Posted as a staff officer at Air Headquarters, Malaya, from November 1945 until February 1946, he served with the Netherlands East Indies Forces for a short period before returning to Malaya as air adviser to the General Officer Commanding. In September 1945, he was posted as station commander at the RAF Base in Kuala Lumpur; he remained there until May 1947,[14] and was awarded an Officer of the Order of the British Empire (OBE) for his services in south-east Asia.[22]
Returning to Britain in June 1947, he undertook a six month course at the Staff College, before receiving a two year posting as senior personnel staff officer of No. 21 Group, Flying Training Command. Promoted to wing commander on 1 July 1947,[23] his next posting was as the senior instructor on the leadership course at Digby, Lincolnshire. Subsequently, he was appointed station commander at Wattisham, Suffolk. He was promoted to group captain on 1 January 1954.[24] During the Suez Crisis, Edwards commanded the RAF Station at Habbaniyah in Iraq, before returning to Britain on 21 October 1958 to command the Central Fighter Establishment, West Raynham, with the acting rank of air commodore.[14]
Awarded a Companion of the Order of the Bath (CB) in the 1959 New Year Honours,[25] he was promoted to the substantive rank of air commodore on 1 July 1959,[26] and appointed as an aide-de-camp to Queen Elizabeth II in March 1960.[14] His final appointment with the RAF was as Director of Establishments at the Air Ministry, London, from January 1962 until his retirement on 30 September 1963.[12]
Later life and governorship
Bronze, life size statue of a man wearing the clothes and equipment of an aviator. A street and buildings can be seen in the background.
Statue of Edwards in Fremantle, Western Australia.
Returning to Australia, Edwards became the Australian Representative for Selection Trust.[18] In 1966 his wife, Cherry, died; he married Dorothy Carew Berrick in 1972. The pair were said to complement each other well, as Dorothy limped on her left leg after being knocked over by a car on a crosswalk in Sydney in 1970, while Edwards limped with his right after his flying accident in 1938.[27] In 1974, Edwards relinquished his position as the Australian Representative for Selection Trust and was appointed Governor of Western Australia. He was sworn in on 7 January 1974,[28] and knighted as a Knight Commander of the Order of St Michael and St George (KCMG) the following October.[29]
His knighthood involved some controversy, following his wife's public comment that he was the only Australian state governor without such an honour. As knighthoods were then conferred by the Queen on the recommendation of her Federal and State governments, and the Governor was the Queen's representative in the state, this was seen as highly inappropriate, especially given the Western Australian ALP State government of the day, led by John Tonkin had a policy of not recommending Imperial Honours. However, the Tonkin Government was defeated in April 1974 and the incoming Liberal Premier, Sir Charles Court, was happy to make the necessary recommendation.[30]
While Governor, Edwards' first official role was to christen Alan Bond's America Cup challenger, Southern Cross. One of the couple's first visitors to the Governor's estate was a man by the name of Thomas Dunhill, who had consumed ten beers and wanted to see the house. Lady Edwards apparently found him in the pantry; he was arrested by the police but no charges were laid.[27] Ill health forced Edwards to resign his vice-regal appointment on 2 April 1975,[14] and he and Lady Edwards went to live in Sydney, where he continued in semi-retirement with commercial interests.[27]
On 5 August 1982, while on his way to attend a Test match at the Sydney Cricket Ground, Edwards unexpectedly collapsed and died; he was buried in the Karrakatta Cemetery, Perth, after a State Funeral. His Victoria Cross is on display at the Australian War Memorial, Canberra,[31] and on 26 November 2002 a life-size bronze statue depicting Edwards was unveiled by then Governor of Western Australia, John Sanderson, in Kings Square, Fremantle.[32] The Hugh Edwards Ward at Hollywood Private Hospital has been named in his honour.[
Unsubmitted photo - test image
Reflections - BRIEF 1
The people have spoken. Our Photo5 community have chosen ‘Reflections’ for the 2013 Open Brief (and what a great brief it is). The word inspires so many interpretations – whether it be stark reflections from mirrors, or transparent ones upon glass; you might capture an outdoor reservoir, or an introspective reverie. It’s a broad theme, so head towards what inspires you most and bring your own signature style to the shot.
There’s one key piece of advice I’ll offer for this kind of brief – don’t hold back. You need to catch our eye quickly with something original and compelling. So go big, go crazy and be different. Be critical and challenge your ideas. Ask yourself, “will others do something similar?” You really need to try and stand out to beat the other entries.
FLOUR // CONTRAST - Brief 2
Using flour, create a high contrast image with visual punch. Think about capturing a striking difference between elements – like tones or colours – to create a bold statement.
How will the texture of flour appear in high contrast – whether still, airborne or otherwise? How can you use backgrounds and negative space?
Don’t be limited by the flour* provided – you can use as much as you like.
Flour is such a great subject, so don’t be boring. Use it in an interesting way.
Discovering something unique may mean testing a lot of approaches, so don’t be afraid to fail. Be open-minded and experiment.
As the brief says, think about texture. Shutter speed techniques should be considered to create affects and drama in the piece.
EYES // PERSONIFY - Brief 3
First, make some cartoon eyes using the black and white circles inside your Photo5 box. Then use these to create an image that breathes life into something inanimate. Secret faces hide everywhere – on mailboxes and trees, throughout your home – you just need a bit of imagination to see them. Use the cartoon eyes to bring these characters to life. Think about their expressions and personalities. What are they doing? Do they tell a story?
This is a playful brief, so get out and have some fun. Focus on the ‘character’ element of the brief. You really need to create someone or something. How does the setting and scene add to their story? Try to spot something (and create someone) that no one else will.
JELLY // LIGHT - Brief 4
Create an image where light plays upon – or through – the distinctive qualities of jelly. Sometimes, if you look a little closer, everyday things can become quite extraordinary. What magic can you find in jelly? What can you create with it? And how can light make it even more striking? To bring your idea to life, use as much jelly* as you like (not just what’s provided).
Light is the key to any good image, and with a subject matter such as jelly, the opportunities to experiment are endless. So try something new. I want to see inspired effects created with either natural or studio light. Think about how aperture settings affect the subject and image too. Be a magician – create some magic with this ordinary subject.
SHADOWS // STENCIL - Brief 5
Create an image that incorporates light that's filtered through the stencil provided. You can use one pattern, or all of them. How do the shapes interact with difference scenes? What will the shadows fall across? Are the outlines of the shapes hard or soft, distorted or dreamlike? Think about how these shapes can create mood and texture in your image. The two key words from the brief are ‘mood’
and ‘texture’. How will you create these? What interesting techniques can you use?
Consider experimenting with different aperture settings, light sources and any other methods to play with focus in the image. And as with all the briefs, originality stands out. So surprise me
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Belgian freecard by Boomerang.be. Photo: Warner Bros. Keanu Reeves, Laurence Fishburne and Carrie-Anne Moss in The Matrix Reloaded (Lana Wachowski, Lilly Wachowski, 2003).
Keanu Reeves (1964) is a Canadian actor, producer, director and musician. Though Reeves often faced criticism for his deadpan delivery and perceived limited range as an actor, he nonetheless took on roles in a variety of genres, doing everything from introspective art-house fare to action-packed thrillers. His films include My Own Private Idaho (1991), the European drama Little Buddha (1993), Speed (1994), The Matrix (1999) and John Wick (2014).
Keanu Charles Reeves was born in 1964, in Beirut, Lebanon. His first name means ‘cool breeze over the mountains’ in Hawaiian. His father, Samuel Nowlin Reeves Jr., was a geologist of Chinese-Hawaiian heritage, and his mother, Patricia Bond (née Taylor), was a British showgirl and later a costume designer for rock stars such as Alice Cooper. Reeves's mother was working in Beirut when she met his father. Upon his parents’ split in 1966, Keanu moved with his mother and younger sister Kim Reeves to Sydney, to New York and then to Toronto. As a child, he lived with various stepfathers, including stage and film director Paul Aaron. Keanu developed an ardour for hockey, though he would eventually turn to acting. At 15, he played Mercutio in a stage production of 'Romeo and Juliet' at the Leah Posluns Theatre. Reeves dropped out of high school when he was 17. His film debut was the Canadian feature One Step Away (Robert Fortier, 1985). After a part in the teen movie Youngblood (Peter Markle, 1986), starring Rob Lowe, he obtained a green card through stepfather Paul Aaron and moved to Los Angeles. After a few minor roles, he gained attention for his performance in the dark drama River's Edge (Tim Hunter, 1986), which depicted how a murder affected a group of adolescents. Reeves landed a supporting role in the Oscar-nominated period drama Dangerous Liaisons (Stephen Frears, 1988), starring Glenn Close and John Malkovich. Reeves joined the casts of Ron Howard's comedy Parenthood (1989), and Lawrence Kasdan's I Love You to Death (1990). Unexpectedly successful was the wacky comedy Bill & Ted's Excellent Adventure (Stephen Herek, 1989) which followed two high school students (Reeves and Alex Winter) and their time-travelling high jinks. The success led to a TV series and a sequel, Bill & Ted's Bogus Journey (Pete Hewitt, 1991). From then on, audiences often confused Reeves's real-life persona with that of his doofy on-screen counterpart.
In the following years, Keanu Reeves tried to shake the Ted stigma. He developed an eclectic film roster that included high-budget action films like the surf thriller Point Break (Kathryn Bigelow, 1991) for which he won MTV's ‘Most Desirable Male’ award in 1992, but also lower-budget art-house films. My Own Private Idaho (1991), directed by Gus Van Sant and co-starring River Phoenix, chronicled the lives of two young hustlers living on the streets. In Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula (1992), Reeves embodied the calm resolute lawyer Jonathan Harker who stumbles into the lair of Gary Oldman’s Count Dracula. In Europe, he played Prince Siddharta who became the Buddha in Bernardo Bertolucci’s Italian-French-British drama Little Buddha (1993). His career reached a new high when he starred opposite Sandra Bullock in the hit action film Speed (Jan de Bont, 1994). It was followed by the romantic drama A Walk in the Clouds (Alfonso Arau, 1995) and the supernatural thriller Devil’s Advocate (Taylor Hackford, 1997), co-starring Al Pacino and Charlize Theron. At the close of the decade, Reeves starred in a Sci-Fi film that would become a genre game changer, The Matrix (Lana Wachowski, Lilly Wachowski, 1999). Reeves played the prophetic figure Neo, slated to lead humanity to freedom from an all-consuming simulated world. Known for its innovative fight sequences, avant-garde special effects and gorgeous fashion, The Matrix was an international hit. Two sequels, The Matrix Reloaded (Lana Wachowski, Lilly Wachowski, 1999) and The Matrix Revolutions (Lana Wachowski, Lilly Wachowski, 1999) followed and The Matrix Reloaded was even a bigger financial blockbuster than its predecessor.
Now a major, bonafide box office star, Keanu Reeves continued to work in different genres and both in big-budget as in small independent films. He played an abusive man in the supernatural thriller The Gift (Sam Raimi, 2000), starring Cate Blanchett, a smitten doctor in the romantic comedy Something’s Gotta Give (Nancy Meyers, 2003) opposite Diane Keaton, and a Brit demon hunter in the American-German occult detective film Constantine (Francis Lawrence, 2005). His appearance in the animated Science Fiction thriller A Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick, received favourable reviews, and The Lake House (Alejandro Agresti, 2006), his romantic outing with Sandra Bullock, was a success at the box office. Reeves returned to Sci-Fi as alien Klaatu in The Day the Earth Stood Still (Scott Derrickson, 2008), the remake of the 1951 classic. Then he played a supporting part in Rebecca Miller's The Private Life of Pippa Lee (2009), which starred Robin Wright and premiered at the 59th Berlin International Film Festival. Reeves co-founded a production company, Company Films. The company helped produce Henry's Crime (Malcolm Venville, 2010), in which Reeves also starred. The actor made his directorial debut with the Chinese-American Martial arts film Man of Tai Chi (2013), partly inspired by the life of Reeves' friend, stuntman Tiger Chen. Martial arts–based themes continued in Reeves's next feature, 47 Ronin (Carl Rinsch, 2013), about a real-life group of masterless samurai in 18th-century Japan who avenged the death of their lord. Variety magazine listed 47 Ronin as one of "Hollywood's biggest box office bombs of 2013". Reeves returned as a retired hitman in the Neo-Noir action thriller John Wick (Chad Stahelski, David Leitch, 2014). The film opened to positive reviews and performed well at the box office. A sequel, titled John Wick: Chapter Two, is currently in production and is scheduled to be released in 2017. This year, he could be seen in the psychological horror film The Neon Demon (Nicolas Winding Refn, 2016) and the romantic horror-thriller Bad Batch (Ana Lily Amirpour, 2016). Reeves’ artistic aspirations are not limited to film. In the early 1990s, he co-founded the grunge band Dogstar, which released two albums. He later played bass for a band called Becky. Reeves is also a longtime motorcycle enthusiast. After asking designer Gard Hollinger to create a custom-built bike for him, the two went into business together with the formation of Arch Motorcycle Company LLC in 2011. Reported to be one of the more generous actors in Hollywood, Reeves helped care for his sister during her lengthy battle with leukaemia and has supported such organisations as Stand Up To Cancer and PETA. In January 2000, Reeves's girlfriend, Jennifer Syme, gave birth eight months into her pregnancy to Ava Archer Syme-Reeves, who was stillborn. The strain put on their relationship by their grief resulted in Reeves and Syme's breakup several weeks later. In 2001, Syme died after a car accident.
Sources: Biography.com, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Depeche Mode were strung like the Phantom of the Opera; on the one hand ashamed and hidden, and on the other, a star without a stage, craving the light like a dying sunflower. This duality has placed Depeche Mode in a unique position, niche, gloomy, introspective stadium fillers. Too influential to be underground, yet not mainstream either. They filled a space no-one in the music industry even knew was there, and yet into that breathless vacuum has rushed more than two generations of fanatical fans to prostrate themselves on the alter of Gahan's strutting vocals, Fletch's inimical synth or Gore's dark, biblical obsessions with girls, spirituality, girls and women.
Songs of Faith and Devotion wasn't their finest album, but that is no way a slight, because 20 years later it remains one of the most interesting. Dropping in summer 1993, we faced a taut, stringy Dave Gahan, tattooed and filled with the vacant joys of heroin. Dave had been deeply impressed by the emergent grunge scene spear-headed by Nirvana, Jane's Addiction and Pearl Jam. He was ready to take DP in a new direction and ready to issue ultimatums to Gore and Fletch. Anybody who's seen the 1989 documentary 'Depeche Mode 101" and beheld the wonders of Gahan striding around in his Y-fronts threatening to fire his manager would recognise the force of character in the deceptively soft-voiced singer. Yet somehow the quartet managed to find a middle ground , it worked. Somehow.
Songs of Faith and Devotion is the only radical departure, sonically, in DP's back-catalogue. Gahan's immersion in LA culture and Grunge can be heard in the muscular flex of real guitars - yes real guitar in a Depeche Mode record! - and the throb of a drum that doesn't require the suffix 'machine'. Furthermore it seems to be the album the divides fans like no other, yes electro purists should look elsewhere, but there are standout records on the album that are classic Depeche Mode, even with the conventionally rock emphasis. Let's start with track 1, "I Feel You", a brawny-belter, banded about with muscle and foot-stomping grandiosity. Yes it's unusually aggressive for a band of DP's reputation but none more so than their signature tune 'Personal Jesus'.
'Walking in My Shoes" is more recognisable DP, eloquent with beautiful counter-melodies and gorgeous synth textures curtesy of Fletch. "Condemnation' is a true oddity, a gospel song sung with utter conviction by Gahan. It may in fact by the vocal performance of his career. It is an odd inclusion however and reflects the degree of varying musical influences that were struggling for dominance within the band at the time. Perhaps in some ways it says more than that about the people in it.
After this strong opening we have (and it pains me to say this in ways you cannot comprehend), the usual collection of hits and misses. I hesitate to call Depeche Mode a singles band, but I perhaps only 'Music for the Masses' and 'Violator' are albums that I can put my hand on my heart and say I appreciate each and every track. In Your Room' is the standout recording, a histrionic warbler, a slow-builder with a deeply spiritual preoccupation and vocal. It stands shoulder to shoulder with the best of DP.
'Rush' and 'Mercy in You" are worth noting, the former with a rocky, powerful sound and fatty drum reminiscent of early Trent Reznor. The latter mixes classic DP, gloomy, pretentious, unfulfilled, with a hint of throaty guitar feedback and bluesy dirt.
Despite sometimes being likened to a proverbial Black Sheep, Songs of Faith and Devotion would be a chart topper in both the US and UK, proving that for a band that hit its peak with 1990's 'Violator", there was still the worshippers, the faithful. The ones still enthralled by a band that sings about nothing we know, little we understand and everything that we feel.