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I had spent some time in this area to keep an eye on when the Hollywood Public Works and other Streetmosphere actors would be doing their "shows". This was a shot that I just quickly took without thinking much of, but after processing it I realized how much I liked it.
trendy_taste-look-outfit-street_style-blog-blogger-fashion_spain-moda_españa-liujo-zara-leather_jacket-chaqueta_cuero-botines_charol-falda_asimétrica-asymmetric_skirt-winter-invierno-natalia_cabezas-clutch
Helsinki City Hall
Olympus XA, Zuiko 35mm, f2,8, Kodak Tti-x 400, (200) Spur Acurol N, 20 Celsius degrees, 14 min.
Moinhos Shopping
Styling: Patricia Cuozzo
Beleza: Hugo Beauty
Modelo: Juliana Pavlak
Foto: Fábio Mattos
Designer: Zhao Youhua (赵幼华)
1997, September
Looking ahead
Zhanwang (展望)
Call nr.: BG E37/537 (Landsberger collection)
More? See: chineseposters.net/themes/dengxiaoping
*OLD PHOTO= LATE UPLOAD :D*
model: Yvonnie Villacura
location: CDO
*This was just a quick shot.
**Behind her is a mountain
also visit: leipre.deviantart.com
Thanks! Happy new year!
Seen in explore also
Standing in a queue, a woman looking forward to the people waiting in line ahead of her to get into the Royal Ontario Museum in Toronto. Some parts of the people waiting in queue are reflected on the glass wall (i.e., “the Crystal”) of the museum.
Standing on a lookout one glorious day looking south to Gerringong and then on to Nowra.
Got to love days off and a wife that let's you stop and capture the view!
P.S. just posted this to a couple of groups where it hasn't been because I added it early in my flickr life - looked back and loved the clouds and colours again ;-)
Olympus Mju-II | Ilford Delta 100 | Singapore
Man I love this shot. I vaguely remember shooting it, I was mostly bus and train hopping in Singapore and I guess one of those times I just looked up and snapped this.
I'm trying to make a change, I think it's my current lifestyle that's got me like this, my bedroom is a mess, I used to be able to get work done in there but now I usually just go there to sleep, I even moved my scanner downstairs cause I couldn't stand scanning in there.
I really wanna get active here again too, but I can't find make the time to do it right, i'm just posting for the sake of posting, my contacts don't even know me anymore.. Maybe i'll have to do a huge clean up and just follow a small amount of close contacts... Would that help? Maybe get active in group discussions for once.. I'm looking at my list and holy crap I have more than 500 contacts... I tend to just add people who have a style or camera I like.. Lol I think thats a pretty bad practice. Its like... Trying to confirm my feelings that having this camera will let me do what they're doing which is completely not the case..
Hell, I gotta get my act together.. I'm tired of the one dimensional posts too... I used to get critiqued really well by some people, and they really did help during my first year or two.. What am I saying i'm only 17 and I started maybe 3 years ago.. What the hell is wrong with me, haha I should be glad i'm shooting film among a sea of ignorant digital teenagers... I'm trying to get an old enlarger my uncle had going, i've shot a tonne of images i'm really really proud of..
I think i'll spend some time.. Doing some self reflection, printing and framing some of my old and most favourite work and just lay it all out there, see everything i've done, and ask myself what and where I wanna go from there. What do I want out of all of this..? Have I found my purpose? I've no syle... at least that I know of.. I think i'm subconciously copying my 500 contacts, every image has some trace of western and asian styles which I love so much...
The print thing sounds like a good idea... Anyone can send me a Flickrmail anytime to chat.. I'd love to discuss photography any time of day =)
Yeah sounds good. Sorry, I don't like talking to people I know about things like this, somehow just typing all this out makes me feel better. I think I'm ready to set things straight.
I took some pictures of a friend's kids this afternoon and after decided to see if I could use the warm afternoon light to get some updated shots of Zoey.
Although this shot looks as if it could have been taken on a hike it was really just in a park. I had her jump up on a large boulder facing into the sun.
This was a one-shot HDR from 7 shots at .5 EV steps from -1.5 to 2.0 - It was shot at 1000 ISO with some fill flash. For this image I did mask a little of the original image but for the background, not the subject which is different than I usually do. Also, Photomatix does seem to add a bunch of blue to the scene even when the white balance is adjusted prior to tone-mapping so I took out the blue using a hue adjustment.
Anyone that doesn't understand the power of using HDR in their photography (at least from time to time) will always be stuck shooting at sunrise and sunset - and will have a heck of a time getting good pictures of their black dog!
Enjoy!
Someone said....there are exactly seven look-alikes of one person in the world!!!
~taken in Brisbane,Aus city area.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
When something this tragic happens the only place to look is up. Our hearts ache for the separation of parents, siblings, children and friends from those who died so senselessly. I believe the children and adults who died are with God and free of a world where something this ugly can happen in moments. They are at peace. For those left behind, my prayers are with you and the whole country mourns and shares your loss.
St Nicholas, Bedfield, Suffolk
I've now been visiting this remote little church for twenty years. I love to cycle around the back lanes of Suffolk as summer becomes autumn, the land quietly putting itself to bed for the winter, woodsmoke in the air, the edgy cries of pheasants in the woods, the light whitening out as the afternoon lengthens.
When I first came to St Nicholas, it was in early October 1998. They were getting their church ready for the harvest festival, one of those very English events which must seem curious to a foreign visitor. Harvest festivals are one of those peculiarly Anglican inventions. Like many such ancient traditions, they actually only date back to the 1840s or so. Most Suffolk village churches have them, and do them very well. For some churches, it seems the only time apart from Christmas that the building comes alive.
On this occasion, half a dozen people were busy arranging apples, and marrows, and pumpkins, and leeks, piled in crates and carrier bags at the entrance to the church. They chatted as they did so, and it struck me that this was a kind of communion, the parish being together and talking to itself.
There is a particular smell to a medieval church filled with fruit and vegetables. Once experienced, it is never forgotten, and instantly draws your imagination back to ancient walls, soft wood and cool tiles. For me, it still recalls the beautiful late medieval roodscreen at Bedfield, lined with apples and onions.
I had cycled here along the track from Tannington. Once this leaves the farmyard behind, it becomes the kind of track you'd have found all over Suffolk before the 1920s and 1930s. When you look at an old road map of Suffolk, you find many more byways marked than there are today. Some of them were surfaced, many have disappeared completely. The track between Tannington and Bedfield seems to be still deciding whether or not to settle on the latter option, for at several points it becomes nothing more than overgrown tractor ruts in the mud. But for most of the way it is a gravel track which for part of its route winds pleasantly through woodland.
Once, in the last year of the 20th Century, I passed a real gipsy caravan on this track. It was late winter, and the cold afternoon light was fading. The brightly coloured caravan had come to a halt, the little horse pulling miserably at the coarse tussocks on the field side. Behind, a man was working at a makeshift forge, the coals flaring suddenly in the uncertain dusk. He nodded once as I passed. I still don't know if it was real.
I came back later in the year on the occasion of the Historic Churches bike ride, and Bedfield church was bathed in the honeyed warmth of late summer. A giant puffball grew by the churchyard gate, and would have made a fine meal if the rats hadn't got to it first. Again the church was busy, a smiling lady at a table signing the forms of a couple of teenage girls with their dad. On this occasion, I could see the roodscreen without having to negotiate fruit and vegetables.
Unusually, the panels contain eight Old Testament prophets in gorgeous reds and greens. The faces of some of the prophets have been viciously attacked with a knife. This may have been the work of mid-16th century reformers, but it appears as though the same thing done at Brundish, a couple of miles off, was actually work commissioned by the iconoclast William Dowsing on behalf of the puritans a century later. Dowsing never came to Bedfield, though, but perhaps the Brundish churchwardens did. We stood together, the smiling lady and me, imagining the past.
Why even do it? It may simply have been a result of the injunction against images, that fundamentalist mistrust of the beauty of the human face being depicted. We have had a reminder with the evils meted out by the Islamic State in Syria and Iraq that fundamentalism never did anybody any good, and the terrors of the Cromwellian night extended far beyond destroying artwork. As Eric Maria Remarque observed, tolerance is the daughter of doubt. So it gives me immense pleasure to see that behind the wicked knife slashes, the prophets seem a jolly lot, with smiles on their faces and the attitudes of old friends having a good time. Perhaps that is why they were attacked.
St Nicholas sits on the edge of another farmyard, although a proper road connects it to the fine pub and the village beyond. The tower dates from the 14th century, when the entire church seems to have been rebuilt, although there's quite a lot of evidence of the earlier church, including a fine Norman north doorway. There are three niches on the west face of the tower. From their relationship with each other, we can deduce that they probably contained a rood group.
Peter and I came this way in June 2007, as part of my plan to revisit the 650-odd Suffolk churches I had explored more than six years earlier. Quite honestly, we didn't expect to get in, because what I haven't mentioned was that, in those days, Bedfield church was just about the only medieval church in this part of Suffolk which was kept locked without a keyholder. However, as with several other places in the area on this beautiful day, St Nicholas was undergoing its spring clean. The grass was being cut, the benches polished, the floors mopped. In fact, they were just finishing, cars pulling off. As we walked up the graveyard path, we met the keyholder coming the other way. She was very kind, and very helpful. She went and checked with her husband that it would be okay for us to see inside, and then let us into the Priest door, and we stepped inside to the trim interior.
The church is smaller than it looks from outside. There was a major restoration in 1870, which left St Nicholas looking the very model of a rural parish church. The brick floor is an organic setting for some lovely rustic woodwork. It seems that the village had an enthusiastic carpenter in the late 17th century, for the group of benches by the door, the font cover and the pulpit all date from this time The benches are haunting, and it doesn't take much to imagine our ancestors tight-packed on them, shuffling their bottoms awkwardly at the preaching of the Word. I assume that most churches once had benches like this, and that they were destroyed at the time of 19th century restorations. The font cover is intricate, and it opens up without the need to remove it, as at Bramford and Boxford.
This was all well and good, but something was nagging me as we poked around. And then I was startled to notice that the rood screen had gone. Now, this isn't the kind of thing you usually expect. Surely it couldn't have been stolen? Fortunately not, for I was told it had been removed to be cleaned by the artist Christine Easton, who lives in the village, and would shortly be returned.
When it came back, so did I. I had also been told that Bedfield church was now open every day, so with some enthusiasm I cycled down the track from Tannington again, which twenty years on is now near impassable in places, necessitating getting off my bike and lifting it over rubble.
Ahead of me, St Nicholas was beautiful in the early autumn sunshine, a diadem at the end of the long track. I stepped inside to its instantly familiar homeliness and small-scale elegance, to the sight of the old screen as if it had never been away. Beyond the screen, the sanctuary was a riot of tiles and gothic lettering. vibrant in the light. Decoration of this type was deeply unfashionable for most of the twentieth century, and it did well to survive.
A poignant ledger stone to Thomas Dunston bears a simple skull and the inscription Hodie Mihi, Cras Tibi ('Mine today, yours tomorrow'). It is dated December 25th 1657, which is Christmas Day for us, but not for Thomas Dunston, for this was during Oliver Cromwell's Commonwealth, and the celebration of Christmas, like so much else, was illegal. Hard to imagine, now, perhaps, although intolerance survives like a virus in abeyance, and always needs to be guarded against.