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The original School Master puppet from Pink Floyd's "The Wall" live shows on display at the "Mortal Reamains" exhbition at London's V & A museum
Malaysia.
Camera : 500C/M Planar 80mm f2.8 Lens.
Film : Ilford SFX 200 with IR Filter.
Self-developed : HC-110 ( B Dilution ).
Thanks.
Master Gardiner Tour, June 24, 2023 in Sequim, Washington. Six homes were opened to the public exhibiting a vast array of flowers and other ornamental lawn and yard art.
Off the lobby in the second floor of the Sterling Hotel in Wilkes-Barre, Pa.
This might have been a dining room or meeting room at one time. Now it appears to be the dumping ground for the work lights used in the pre-demolition asbestos removal.
It’s also where a couple of squatters had their bed rolls. You can see a pill bottle and coffee cup on the lower left -- the sleeping bags were just beyond that.
Think I’ll wrap up my photography before they come home for the night.
Balcony overlooking Union Street from the "Master Bedroom" of the Catahoula Hotel in New Orleans, Louisiana.
Looks like the little cobbler making shoes way into the wee hours. Actually, this is my 95 year old dad! Why buy a new heater when you can just fix the old one, one that is only about 50 years old. He was successful! He drew a schematic and went to work. By golly, it works. He likes his bedroom to feel like a 100 degrees!
"If it's worth the risk, then take the fall."
Is anyone competitive swimmers?
I just joined my schools swim team, and I had my first practice Friday, and had noo idea how hard it is. I'm hopin' my body gets used to the workout and I get better, cause I get outta breath after 2 laps. Geeze.
(From left) Actresses Nicole Kidman, Meryl Streep, Gwyneth Paltrow, Cate Blanchett, Kate Winslet, Vanessa Redgrave, Chloe Sevigny, and Penelope Cruz.
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COMENTEM POR FAVOR!!
Dê zoom para melhor vizualização.
Conheci uma revista sobre PhotoShop chamada "PhotoShop Creative" na capa mostrava uma imagem parecida com essa minha, comprei a revista e traduzi para o PHOTOFILTRE STUDIO e é claro retirei algumas coisas que só recursos do PS poderiam fazer na imagem, ficou um tanto simples mas eu gostei bastante, espero que gostem também!
This is a portrait of Cambodian Master Musician, Ieng Sithul, who I first met two weeks ago...with this shot taken yesterday (when I saw the Children of the Khmer show for the third time at this year's Edinburgh Fringe).
In Cambodia, he is one of the most popular recording artists and a regular host on TV. He survived the atrocities of the Khmer Rouge and now he uses his considerable talents to enrich and enhance the lives of a new generation in Cambodia.
He teaches classical wedding dance to a large class of students in Phnom Penh. In doing so, he is changing many lives for the better as well as preserving the heritage and cultural traditions of Cambodia.
Meeting the Children of the Khmer has been one of my most positive Fringe experiences ever. For the most part, we don't share a common language...but have still established a connection.
The World Festival at St George's West won a 'Spirit of the Fringe" award on Friday. It was richly deserved. In a year where there has been a shambolic ticketing system...and oppressively fussy High Street stewarding, this venue has demonstrated what the Fringe is all about.
My thanks are due to Toby, John, Dickie, Dickon, Carol and Jerome for letting me share in the experience. I also owe a vote of thanks to Alex Hewitt from The Scotsman for helping me to get permission to photograph Children of the Khmer in the first place.
However, most of all my thanks are due to Master Ieng Sithul and his fellow teachers. Cambodia is a country which has suffered greatly in the recent past, but it was inspirational to watch these talented students perform what they clearly love doing.
Please consider supporting the work of Cambodian Living Arts in some way.
I showed the donkey master yesterday, here are the donkeys, taken at campsite above Carhuacocha lake. These animals transport food, tents, luggage and supplies during the trek. The small stream at the bottom right corner is the water supply for the campsite. MUST boil before drinking.
Description of the photographer: The photo shows a master, a young man, who agreed to do a hard work in bad working conditions in absence of jobs he is trained for. The salary is about 250 €, if he receives it. In He Djerdap, Serbia.
Author: Milorad Drča, Serbia
This photo was received in the framework of the ILO 'Work4Youth' photo contest.
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creative
Grasshoppers are a group of insects belonging to the suborder Caelifera. They are among what is probably the most ancient living group of chewing herbivorous insects, dating back to early Triassic around 250 million years ago.
In: KAPPELMAYR, Barbara (Red.) (1995). Geïllustreerd handboek van de kunst. VG Bild-Kunst/De Hoeve, Alphen aan de Rijn. ISBN 90 6113 763 2
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Pp. 874ff in: QUADRALECTIC ARCHITECTURE – A Panoramic Review by Marten Kuilman. Falcon Press (2011). ISBN 978-90-814420-0-8
quadralectics.wordpress.com/4-representation/4-2-function...
‘Real’ palaces were designed and constructed in Spain at about the same time as Palladio provided the Valmarana family with shelter in Italy. The Royal Palace of the Escorial is located some forty-five kilometers northwest of Madrid (Spain) at the rim of the Guadarrama Mountains. It appears as a great stone platform carved from the mountain and its harmonizing with the landscape makes it a stone scape. It has reminiscence, according to George KUBLER (1982, p. 98), to certain Quattrocento paintings of ideal cities drawn with a single-point perspective in Renaissance Italy. He gives the panel painting ‘A City Square’, attributed to Luciano de Laurana, in the Walters Art Gallery in Baltimore, as an example.
The history of the Escorial has four distinct elements, which were planned by King Philip II (1527 – 1598) after he became King of Spain in 1556: 1. The initial purpose as a place to house the tombs of the dynasty, in particular his father Charles V, who was buried in Yuste; 2. The foundation of a monastery (with hospital buildings); 3. A basilica (with a dome); 4. A palace (with a library). These four intentions, which were brought forward more or less simultaneously, have aspects of higher division thinking, but the psychological setting of the King is hard to prove.
Spain was in the second half of the sixteenth century on the heights of its political power, covering the larger part of Europe when Philip II was King of Spain and Portugal, King of Naples, Duke of Milan, Ruler of the Spanish Netherlands, and King consort of England (as the husband of Mary I). It was furthermore, a global player in the colonial expansions across the Atlantic.
King Philip II began his search for a foundation of a new monastery in 1558 – 1559. He called it San Lorenzo de la Victoria – referring to the victory in the battle of San Quintin (in northern France) on 10 August 1557, on the day of San Lorenzo. The King employed the help of the Jeronymite Order, but their suggestions and plan, where about half the size than the cuadro (block), which was laid out in April 1562 in a location near El Escorial. The plan of the monastery, which was first to be started, had a classical tetradic design.
George KUBLER (1982) mentioned three Jeronymite friars, who played a major role in the history of the construction of the Scoria. Juan de San Jeronimo was present from 1562 to 1591 as the chief accountant and most authoritative as a chronicler. Antonio de Villacastin was the Obrero mayor (chief workman) and Jose de Sigüenza wrote a history of the building by recording the progress of design and construction.
The official work started in 1563 with the intention of Philip II to bring the body of his father Charles V, the Emperor, who died in 1558, from Yuste to the new location. Philip had an interest in building matters, which only increased after his European tour at his father’s command (1548 – 1551). The King visited England for the marriage to Queen Mary (1516 – 1558, also known as Bloody Mary, because she had three hundred religious dissenters burned at the stake) in July 1554. He was accompanied at that (political-inspired) trip by the architect and engineer Gaspar de Vega, who had to study foreign buildings and constructions, which could be useful in Spain. Vega returned overland and visited places like the Louvre, St.Germain-en-Laye and Fontainebleau.
The three main architects of the Escorial were Francisco de Villalpando, Juan Bautista de Toledo, and Juan de Herrera. The first named architect was originally a bronze worker, who translated Serlio. He was titled as a ‘geometer and architect’, which was the first official use of this term by a Spanish royal patron. His qualities as a humanist and theorist gained him (royal) recognition in the liberal art of architecture (KUBLER, 1982).
The second, Juan Bautista de Toledo, was appointed as an architect in 1559. He had been Michelangelo’s assistant at St. Peter from 1546 to 1548. His promotion turned into a personal tragedy when his wife and two daughters and all his books and papers were lost when the ship sank, which had to bring them from Naples to Spain. His appointment – after this event and as an outsider – was marred with conflicts and crises, but the King backed him until he died on 21 May 1567.
The third, Juan de Herrera, was an assistant of Toledo, appointed by the King in 1563 to check on the unpredictable authority of Toledo. He was appointed in 1576 as a royal architect – after years working in the background, with close ties to the King as Master of the Horse (1569 – 1577) and later (1579) as a court chamberlain.
The inactive year of Toledo’s death (1567) was followed two years later by an increase in activities. Flemish slaters expanded their trade after the work on the King's temporary dwelling La Fresneda was finished. The main staircase, which was the showpiece of the monastery, the roofing of the kitchen wing, and the paving made good progress. The cloister was finished in 1579 when the parapets were placed. The basilica started in 1574 and was finished in 1586.
The building of the fountain began in 1586, following the symbolism of the Garden of Eden, with four rivers watering Asia, Africa, Europe and America. The design had similarities with the Fons Vitae, also with four basins, at the Manga cloister of Santa Cruz in Coimbra (Portugal), built in 1533 – 1534.
The work on the actual royal dwelling (King’s House) in the northeast quadrant had begun in 1570 – 1572. It took nearly fifteen years until the court moved from their provisional quarters to the new accommodation in August 1585, but most of the palace and the college had still to be finished.
The library portico, which was part of Toledo’s ‘’universal plan’, only started when the construction of the palace, basilica, and college had ceased and was finished in 1583. The hospital buildings (infirmary) were situated outside the main cuadro (of 1562) at the southwestern corner. Farm buildings, later known as La Compana, were also outside the monastery. The northern service buildings (casas de oficios) were mentioned in 1581. Fig. 727 shows the Escorial in a reconstruction of the situation in 1568.
The history of the Escorial came into a new phase after Philip died in September 1598. The complex was complete except for its initial purpose: the underground burial chamber intended for the tombs of the dynasty. The circular plan of Panteón, initiated under Herrera’s direction, had four stairs and a light shaft. However, little work was done until 1617 – 1635 when G.B. Crescenzi altered the plan from circular to octagonal. After he died in 1635 the work was completed in 1654 by Fray Nicolas de Madrid (following Crescenzi’s plan). The crypt was described by Fray Francisco de los Santos as the Panteon. His book included all the rituals of transferring the royal bodies since 1586.
Several fires caused damage to the complex in later years. The first one happened in 1577 at the southwest tower. A most destructive fire took place on the 7th of June 1671, in which also the monastery roofs burst into flames. Many manuscripts were destroyed. Some sixty years later, in 1731, the fire started again at a chimney in the college. The Compana was destroyed in 1744, and the last great fires took place in 1763 and 1825.
A plague of termites threatened the building in 1953. This event sparked a restoration program instigated by the government. The crossing towers in the monastery and college were rebuilt in 1963. Their spires were re-designed by Bartolomé Zúmbigo in 1673 in a Baroque fashion but changed again to the original layout of Herrera as given in the last quarter of the sixteenth century. The result was an example of the use of two of the major elements of a quadralectic architecture: the octagonal roof fitted onto the square of the tower.
Characterization of the Escorial complex by art historians (like Nikolaus Pevsner) pointed to a classification as a ‘mannerist’ building. Mannerism is the term (from maniera) used for imitation and exaggeration of the work of the High Renaissance. Its severity and simplicity were associated in the first half of the twentieth century (mainly by German art historians) with puritanism and asceticism, like the character of Philip II himself. This perception was later challenged and even denied: ‘If psychic states and architectural forms were this closely related in the process of design, then architecture as a whole would long ago have been recognized as a dictionary of psychic attitudes’ (KUBLER, 1982; p. 126).
The plan of the Escorial near Madrid follows tetradic lines with a four-division in function (palace, college, monastery, and place of contemplation) organized around a church with a square ground plan.
Some observers pointed to Post-Reformation geomancy as initiating the design. Nigel PENNICK (1979) stated that ‘the Escorial at Madrid was built according to a Jesuit interpretation of the Vision of Ezekiel’. Others go further back and tried to find Renaissance ideas of magic underlying the design of the Escorial (TAYLOR, 1967). René Taylor wondered whether the courtier and ‘architect’ Herrera could not be ‘a Magus, a man deeply versed in Hermetism and occult lore, who by virtue of this was attached in a special way to the King?’
George Kubler (pp. 128 – 130) denied the view that the King and Herrera had occult views. He could prove that the King did not sympathize with astrology and horoscopes. The court’s association with the mystic Ramon Lull (1232 – 1316) – the ‘Doctor illuminatus’ with his combinatorial method for categorizing all possible knowledge (see p. 780), but also with his intention to convert Muslims to Christianity – was purely academically, according to Kubler. It is regrettable that none of these authors make any reference to a particular type of division thinking, which might elucidate such labels like Mannerism, Puritanism, astrology, magic, etc.
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Bibliography
KUBLER, George (1982). Building the Escorial. Princeton University Press, Princeton, New Jersey. ISBN 0-691-03975-5
PENNICK, Nigel (1979). The Ancient Science of Geomancy. Man in harmony with the earth. Thames and Hudson Ltd., London.
TAYLOR, René (1967). Architecture and Magic. Considerations on the Idea of the Escorial. Pp. 81 – 109 in: Essays in the History of Archtecture Presented to Rudolf Wittkower. New York.
Master Gardiner Tour, June 24, 2023 in Sequim, Washington. Six homes were opened to the public exhibiting a vast array of flowers and other ornamental lawn and yard art.
ODC: Toy, Game or Puzzle
It is a two person game. One hides four colored pegs behind the shield. The other person tries to guess the colors and arrangement of the pegs by placing four colored pegs in a row on the other side of the shield. The person who hid the colored peg shows which guesses are correct with the small black and white pegs. A white peg mean that there is a peg of the correct color, but it is not in the correct location. A black peg means that there is a peg of the correct color in the correct location. With this information the other person makes another guess and the hider responds with another set of black and white peg. This continues until the correct arrangement has been guessed.
Natuurlijk is het niet moeilijk om met de D850 foto's te maken.
Maar deze camera heeft zo verschrikkelijk veel mogelijkheden die ik zeker nog niet allemaal ken.
Dit boek van meer dan 600 pagina's zou alle geheimen moet onthullen :)
Het zal wel een aantal weken kosten om het hele boek door te nemen, maar stap voor stap, elke dag een stukje.
Of course it is not difficult to take pictures with the D850.
But this camera has so many possibilities that I certainly don't know all of them yet.
This 600+ page book should reveal all the secrets :)
It will probably take several weeks to go through the whole book, but step by step, a little bit each day.