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Maudlynne and her friend Bella taking time to dolly dream. Side note: Maudlynne can wear Delilah Noir outfits.
I keep shooting Ezekiel, the white-and-red color scheme is both new for me and interesting to explore. I wish I had him earlier, so that I could have made a neo-little-red-riding-hood cosplay.
Living Dead Girls Photo Shoot at Sauvie Island, Oregon
May 2012.
Lighting -- Einstein 640 w/Large Softbox high camera left feathered towards the front triggered with cybersyncs.
If you like this sort of thing, check out my collection here:
www.flickr.com/photos/tooloose-letrek/sets/72157632263412...
Found this this morning on a milk bottle top that I'd put some honey on yesterday to attract some ants. Both the crab spider and ant were dead
Movie: flic.kr/p/2nY817F
A dose of encyclopedic reminders:
The Danse Macabre (Dance of Death), is an artistic genre of allegory of the Late Middle Ages on the universality of death. It consists of the dead, or a personification of death, summoning representatives from all walks of life to dance along to the grave. The effect was both frivolous, and terrifying. It was produced as memento mori, to remind people of the fragility of their lives.
So remember: Vanitas vanitatum et omnia vanitas, and even bricks will turn to cinders and ash, especially since they are made from plants (by the way - they will last longer than our bodies, anyway).
Strobist info: Single speedlite with dome diffuser in Apollo Orb upper CL-ish (largely over head), exterior baffle off. Silver reflector below, Pocket Wizard trigger.
A macabre little vignette. The Blood-bot is the brainchild of a demented inventor who's creations use blood as fuel.
The bulk of the footage was taken out of the window of an aircraft and then treated as abstract input: squeezed into the tube for 'painting'. The first and last bokeh sections were taken on the big Jupiter.
This is the third music/photographic production made in reaction to the theft of the innocence of 2022: stolen for horror around the Black sea.
The films are modest 'living photographs' and texts to the lost innocence of our post covid age of '22. The first work is a commentary on the nuclear bomb pandora's box and mother nature's witness via 'The Atomic Mr Basie'; the second a commentary on the running away perverse excitement of the criminal mind with it's wilted flowerings of justifications illustrated via Serge Gainsbourg's work on 'Bonnie and Clyde', and here, a take on 'La Danse Macabre' by Camille Saint-Saëns. I have linked the other films below.
'La Danse Macabre' is preluded by a quiet life-pulse, like a bell ringing time. It stikes as recognisably real and essential, and signs no mischief, phantasmagoria or stigma. The 'dead' rose to 'dance' for Saint-Saëns music in 1874, so when the iron from the blood of the tens of thousand Parisian Communards, who had been lined up and shot on Parisian terre-battue, was still a real and visible oxidising hue (and cry): Saint-Saëns with this music - a witness.
The Paris Commune was predominantly an innocent flânerie of heartfelt ideas for redistribution politics. It was from before the complex hierarchies of 'radical' ideology, and so less 'polit', and nihilism-police than of latter periods and a mosaic of ideas at the opposite end of the political spectrum when contrasted with Russia Today. The teacher Louise Michel and the artists Manet and Courbet perhaps appearing first out of a wide and chattering Communard spectrum - a visibility that comes in part from the fact that they survived.
The style of Saint-Saëns music can be deemed Romantic, but it contrasts with the lengthy diatribes of the real Wagner, as Saint-Saëns work is precise, without pith or tiring repetition and has a concluding ending that was not floating in the 'heroic' - details that will have pitted internally-wreathing Versailles academics against this most concise and vivid opus and tone-poem. Another short work of vivid melody and narrative was also finished in 1874, a work that is today considered a profoundly Russian masterpiece: Modest Mussorgsky and his collection of tone-poems titled 'Pictures at an Exhibition'. It was respectfully revised in both 1922 and 1971 in international ways that show that Russian culture can fascinate and influence clean from Wagnerian transgressions.
In the film we see here a distant billowing of cerebral 'calculation', void from all visible reality, bookended by the quiet reality of light and nature without any procurement of narrative glory from plunder; no power, heroism or 'history'; just light and nature. And today 'La Danse Macabre' stands aside Ravel's 'Bolero' and Bizet's 'Carmen' as one of the most globally popular works from the French classical spectrum.
Films are made by 'hand' without automatic generators.
Press play and then 'L' and even f11. Escape and f11 a second time to return.
Undead are quite friendly, really.
Very quick study at 24mm.
Actually. Maybe it's more of a nightmare coming out of the closet at night to wash over your brain.
Small flash in white interior beauty dish, sock diffuser on, CL, short light position. Radio trigger.
A lone Wardancer, entangled in a dreadful dance, overcoming foul demons in a spiral vortex of blades.
Those suscectible to the divine rhythms of nature can see her ever-changing paths and follow them accordingly. Wardancers move swiftly along these unseen patterns in order to remove any creature who tries to block the flow of energy. They rely on the protection of the three blue tokens bestowed by the goddess herself.
For a list of customization techniques see here: www.eurobricks.com/forum/index.php?/forums/topic/151276-t...
Ali Mardan, originally a noble at the court of the Safavid king Shah Tahmasp, after surrendering Iranian Qandahar to Emperor Shahjahan in 1638, rose rapidly to great heights at the Mughal court. He became an indispensable member of the Mughal nobility and was appointed Governor of Kashmir, Lahore and Kabul. In 1639, Ali Mardan Khan was given the title of Amir al-Umara (Lord of Lords), made a Haft Hazari (commander of 7,000 troops) and appointed viceroy of the Punjab which then stretched from Kabul to Delhi.
An eminent engineer, Ali Mardan Khan is credited with supervising construction of several royal buildings in Kashmir and digging of the Delhi canal, which runs between the Red Fort and the old city. The water supply system of Shalimar Gardens in Kashmir (Gulmarg) was also planned by him. His lasting contribution to actualize Shah Jahan's paradisiacal vision for Lahore was the construction of a canal from the river Ravi for the supply of water to the Shalimar Gardens, as well as for the irrigation and cultivation of surrounding areas. Although the Shalimar canal was later completed by others, Ali Mardan also became known for the canal he built at Shajahanabad (Delhi). There is little doubt that "he excited universal admiration at the court by the skill and judgement of his public works." He is known to have built many edifices and gardens—at Nimla (near Kabul), Kabul, Peshawar and Lahore. Much to the sorrow of the emperor, his favorite noble died in 1657, while on his way to Kashmir. Ali Mardan Khan's body was carried back to be buried in the magnificent tomb that he had built for his mother. He was buried along the graves of his mother and her maid servant.
The tomb itself is a massive brick construction work, octagonal in plan with a high dome and kiosks on angular points and standing on an eight sided podium, each side measuring 58 ft. It was originally a magnificent structure with the dome finished with white marble inlaid with floral design in black marble. Its sides punctured by lofty Timurid iwans, surmounted by a massive 42' diameter dome raised on a drum. Although most of the chattris (domed kiosks) at the corners of the octagon are lost, it is a decorative feature often utilized in 16th and 17th century Mughal tombs.
Today, shorn of surface decoration, except the remains of frescoes in some of the alcoves, the exterior walls must once have carried scintillating tile mosaic (kashi kari), as can be seen in the extant gateway at some distance to the north of the sepulcher. The chambers had peitra dura work in the massive marble columns and fresco paintings in walls and ceilings. The graves were on a three-foot high red sand stone platform beneath a larger than usual dome which was profusely decorated with inlaid precious and semi-precious stones and fresco floral patterns.
The tomb once stood at the centre of a paradisiacal garden, a favorite theme as evidenced in the sepulcher of Jahangir. The extent of Ali Mardan garden can be gauged by the double-storey gateway in the north mentioned above. Similar gateways would have marked the centers of the south, west and east edges of the garden square.
Although Ali Mardan Khan was a Mughal noble and not a saint, the spiritually-inclined locals call the tomb Mardan Khan's durbar or shrine. The grave which is in the subterranean chamber, and accessed through a descending flight of steps, is decorated in the manner of a saint's shrine.
The ravaged condition of the tomb is attributed to the Sikh rule, when the tomb structure was used as a military magazine be Gulab Singh, one of Ranjit Singh's generals, and the gateway as residence by Gurdit Singh, colonel of the Sikh battalion Misranwali.
Published today in Daily Times Lahore...