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During the studio session with the materials I've collected over the years.
Not only is the feel important and the visual quality important, but I also like the smell of materials...
This is a shimmering piece of organza.
It's an ongoing process that you are witnessing, the creative struggles of a photographer, tee hee.
Photography has changed, one used to have ideas and be creative BEFORE, arrange and set everything up, do the shoot on the day, adrenaline pumping stuff... then... at last, the results, that was about it, maybe a little bit of retouching!
NOW, that's when it starts for most, no prints, a screen and a whole new skill: 'photoshopping', a lot more work than it used to be, from scanning my negs on 'high res' to finish, much more time-consuming than the wet darkroom, he?
I'm not complaining just stating a fact and reviewing a situation.
Have a wonderful day and thank you for your time, Magda, (*_*)
For mor of my other work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
portrait, woman, material, shimmering, organza, blond, black-background, studio, colour, design, horizontal, "Magda Indigo", eyes
We live in a material world and I'm a material... man. So I had to find a new job and I focused all resources on this task. A new contract is signed, so now I can see what you were up to!
PS I. Attached: counting donations in the Trichy temple. It doesn't happen very often, so we were quite lucky!
PS II. The photo is so-so, but IMHO it matched my message :-)
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Model : Marzia
canon eos 300d
Tamron 17-35
starblitz with umbrella on the right and sigma dg 500 on camera
Hdr from single RAW file
Materials: oil on canvas. Dimensions: 98.7 x 134.3 cm. Source: artvee.com/dl/a-country-road-2/. I have changed the light and contrast of the original photo. P.S. It is to be found on the site of the museum.
Material Circulante: UTD 592.227
Hora: 11:08
Data: 16-10-2014
Local: Carapeços (PK 55 - Linha do Minho)
Serviço: Comboio n.º 31305 (Contumil --» Valença) [Ensaio das UTD 592.2]
Material Circulante: CP 5601 + 6 Sorefame Renovada IC + 1 Corail
Hora: 16:55
Data: 15-06-2023
Local: Monte Novo - Palma (PK 66 - Variante de Alcácer)
Serviço: IC 672/3 (Faro --» Lisboa - Oriente)
Material Circulante: Medway 5623 + 14 Laagrss (Transfesa)
Hora: 11:50
Data: 11-02-2017
Local: Apeadeiro de Vila Garcia (PK 213 - Linha da Beira Alta)
Serviço: Comboio Internacional n.º 42807 (Alfarelos --» Vilar Formoso)
all photographs are straight out of camera!
I'm so excited.
posting the edited versions tomorrow:P hahaha
well now I'm making it less exciting showing you guys everything but I simply couldn't wait. hahaha and thanks for my little brother and sister for helping me out a bit:=) they're lovely. and I've AAAALWAYS wanted to do a shoot with milk, but the truth is as a POOR student in Oslo I couldn't get myself to waist that money:P hahah and I don't really even like drinking milk which is a REEEALLY norwegian thing to do (besides eating BREAD 3 times a day). Enjoy!
ps: WHAT HAS istopmotion done with the format?! totally stretched out.
Materials: oil on canvas. Dimensions: 45 x 68 cm. Source: www.flickr.com/photos/amber-tree/26336672280/in/album-721.... I have changed the light and contrast of the original photo.
Material Circulante: CP 1909 + 34 Kbs
Hora: 08:29
Data: 27-03-2014
Local: Couto de Cambeses (PK 41 - Ramal de Braga)
Serviço: Comboio Especial n.º 92209 (Gaia --» Terminal de Mercadorias Tadim)
Material Circulante: CP 4722 + 5 Sggmrss + 7 Sgnss + 4 Sgmms + 1 Lgnss
Hora: 12:48
Data: 12-09-2015
Local: Estação de Santarém (PK 74 - Linha do Norte)
Serviço: Comboio Especial n.º 95226 (Entroncamento --» Terminal de Mercadorias da Bobadela)
I wanted to play with different textures and materials with the monochromatic black outfit combining soft wool and shiny leather.
The OOAK fashion consists of rouched leatherette shorts, thigh high snake leatherette boots with lacing, a tailored double collar wool coat with tulle ruffle detailing, and a Philip Treacy meets HR Giger's alien hardened netting hat.
The outfit is modelled by and tailored to Sybarite Inque. The hard cap wig by Ilaria aka Time of Doll.
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 36.014+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on May 8th 2020
CREATIVE RF gty.im/1223173023 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 4,236th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
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Photograph taken at an altitude of Nineteen metres at 10:24am on Wednesday 6th May 2020 off Abbey Road B213 and New Road in the grounds of Lesnes Abbey Woods in the London Borough of Bexley, England. Lesnes Abbey woods joins to abbey wood and Abbey wood open space as well as Bostall Heath and woods.
After weeks of self isolation due to the global pandemic that we know as COVID-19 Coronavirus, we are allowed to go out for exercise once per day and keep away from others. A walk in the local woodlands after the rain came today to taste the fresh air and get my limbs moving again.
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Nikon D850 Hand held with Nikkor VR Vibration Reduction enabled on normal setting. Focal length 19mm Shutter speed: 1/125s Aperture f/13.0 iso640 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Manual exposure. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Miniumum shutter speed 125). White blance on: Auto1. Colour space: RGB. Actve D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1
Nikkor AF-S 16-35mm f/4.0G IF ED VR. Lee filters SW150 holder. Lee filters SW150 77mm screw in adapter ring. Lee filters Circular Polariser Glass filter. Lee filters SW150 filters field pouch. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
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LATITUDE: N 51d 29m 14.68s
LONGITUDE: E 0d 2m 7.24s
ALTITUDE: 19.0m
RAW (TIFF) FILE: 130.00MB NEF: 94.0MB
PROCESSED (JPeg) FILE: 57.80MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Materials: oil on canvas. Dimensions: 61 x 32 cm. Inscriptions : P. Mønsted 1896. Auctioned by Blomquist, in Oslo, on May 8, 2018. Source: www.blomqvist.no/mobile/layout/set/print/Klassisk-auksjon.... I have changed the light and contrast of the original photo.
Materials
Hero Arts S4878 Old Letter Writing
Hero Arts Cl497 Find Joy
Wild Honey, and Vintage photo distress inks
Tim Holtz Tattered florals die
Notes: map showing existing and abandoned railway lines, buildings, tunnels and roadways including Cox's Old Road
Format: printed map 42 cm x 29 cm, CC Singleton cartographer
Date Range: 1957
Location: Lapstone - Glenbrook
Licensing: Attribution, share alike, creative commons
Repository: Blue Mountains Library library.bmcc.nsw.gov.au
Part of: Local Studies Collection - Maps
Provenance: BMCC
Links:
flickriver.com/photos/javier1949/popular-interesting/
FUNDACIÓN FRANCISCO GINER DE LOS RÍOS Rehabilitación y Ampliación
Paseo del General Martínez Campos, 14. Madrid
Pabellón Macpherson: arquitecto, Joaquín Kramer Arnaiz: 1908-1909.
Rehabilitación y Ampliación: AMID[cero9]-Cristina Díaz Moreno & Efrén García Grinda arquitectos-. Concurso: 2004-05. Proyecto 2006-2007. Construcción.- 2011-2014. Paisajista Teresa Galí-Izard. Colaboradores. Concurso: Ana Belén Franco, Iñigo González-Haba Plana, David Marsinyach, Jorge Martín Sainz de los Terreros. Proyecto básico: Jaime Bartolomé Yllera, Íñigo González-Haba Plana, Julia Gómez Candela, Jesús Isla, José Quintanar Iniesta, Jorge Saz Semolino y Rebeca Vallecillo.
La Fundación Francisco Giner de los Ríos, uno de los pedagogos más significativos de la Europa contemporánea, encarna desde 1916 a la Institución Libre de Enseñanza. Se creó a la muerte de Giner, para asegurar la continuación de su labor, encargándose de la tutela de su patrimonio material e intelectual. Su Patronato ha mantenido sin interrupciones la continuidad desde aquella fecha, lo que permitió que, tras la incautación sufrida tras la Guerra Civil, en los años de la transición democrática la Fundación viera de nuevo reconocida plenamente su personalidad jurídica y recobrara sus bienes. Desde entonces, ha venido trabajando en la recuperación del legado de la Institución Libre de Enseñanza para la sociedad española de nuestro tiempo.
En el año 2003, debido a las condiciones de deterioro de los edificios de la Fundación se inicia un proceso para la rehabilitación y ampliación de su sede. Los ganadores del concurso público son Cristina Díaz Moreno y Efrén García Grinda. Su propuesta mantiene íntegramente los edificios históricos del conjunto, la casa de Giner y Cossío, de finales del XIX, que existía ya antes de la llegada de la institución, y el Pabellón Macpherson, y sustituye el resto de edificaciones por una serie de volúmenes que se relacionan entre sí a través del jardín, espacio generador de todo el proyecto.
La rehabilitación y ampliación refleja la visión vanguardista del espacio arquitectónico, de la naturaleza y del paisaje de Francisco Giner de los Ríos, a la vez que recrea la organización espacial de su sede histórica a partir de 1884 alrededor del jardín que perseguía el ideal pedagógico de la Institución de aproximarse hasta el último grado posible a la vida al aire libre.
El proyecto ha conservado y rehabilitado íntegramente los edificios históricos: la casa de Giner y Cossío, edificio preexistente a la instalación de la Institución, y el Pabellón Macpherson, como un objeto que atesora la memoria de la arquitectura escolar inspirada por la ILE antes de su implantación como modelo con validez general. En ambos casos se han mantenido las fachadas, el volumen y la espacialidad originales. El resto de edificaciones, añadidas tras la guerra civil o desfiguradas y deterioradas por las sucesivas remodelaciones, incluyendo el llamado pabellón de párvulos, han sido sustituidas por un conjunto de nuevos espacios vinculados directamente al jardín, que cobra su original protagonismo, y adaptados a las funciones que la renovada Institución tiene que cumplir en nuestros días.
Se preserva la idea original del jardín como "punto de encuentro" y se convierte en un espacio cambiante y en continuo proceso, mostrando su evolución en las distintas estaciones. Un espacio vivo y activo recuperado gracias a la documentación gráfica y escrita y al trabajo de la paisajista Teresa Galí-Izard. El edificio queda tan sólo como el elemento que configura el jardín, cediéndole todo el protagonismo. Las salas del conjunto, tanto cerradas como al aire libre, se vuelcan hacia el jardín generando entrantes y salientes, que lo dividen en sectores múltiples, jardines diferentes. Son los conos visuales a lo largo del recorrido por el jardín los que determinan la disposición de los volúmenes, con el objetivo de crear espacios con distinto grado de privacidad y exposición.
"Las aulas son espacios multifocales sin dirección predominante, rodeados por un cerramiento de vidrio y sistemas flexibles de cuelgue que permiten modificar intencionadamente sus condiciones acústicas y lumínicas de manera sencilla. Su geometría replica el sistema de plantaciones del jardín y permite diferentes configuraciones para ensayar también con el espacio como herramienta educativa. Los distintos tamaños y agrupaciones de las salas, así como las posibilidades de apertura del cerramiento exterior, permiten entender las salas en perfecta continuidad con el exterior".
De los 5.000 metros cuadrados construidos, la mitad lo está bajo tierra. Unas escaleras conectan el patio ajardinado con un deambulatorio subterráneo. Al final del pasillo, como una sorpresa inesperada, aparece un vanguardista auditorio con 263 butacas que se utilizará para congresos, conferencias o proyecciones. Para la directora de la Fundación, Elisa Navas, el resultado final de este proyecto "hace honor a la tradición innovadora de la Institución Libre de Enseñanza y es perfectamente adecuado a las necesidades de la Fundación".
Las ideas de la Institución están también presentes en la elección de los materiales, sostenibles, durables, austeros y fáciles de mantener. La envolvente exterior hacia el jardín está formada por una celosía metálica que varía la escala de sus barras y su disposición actuando de protección solar y de filtro visual entre las aulas y el espacio al aire libre.
Amid.cero9 define la ampliación como una "medianera especializada". El edificio se construye como un muro que se deforma ensanchándose y comprimiéndose a lo largo de todo el perímetro para albergar salas de diversos tamaños que, sin necesidad separar físicamente el espacio y condicionar futuros cambios de uso, pueden destinarse a funciones distintas. Se ha mantenido la altura de la construcción anterior, dejando bajo rasante la zona destinada a los actos públicos. Los espacios vierten sobre el salón de actos principal, con la posibilidad de abrirse o cerrarse, variando el tamaño de la sala según la audiencia.
"El proyecto trata al mismo tiempo de instalarse dentro de la geografía sentimental de la Fundación y el ideario institucionista, tejiendo con cuidado los hilos de las relaciones entre las personas y su legado material e intelectual, para construir una evocación del espíritu de la Institución sin conservación acrítica del pasado; admitiendo el valor espacial y escala del jardín y pabellones existentes, pero redefiniéndolo de forma confiada y optimista a través de una sensibilidad completamente contemporánea para ayudar a proyectar la Fundación hacia el futuro".
La Rehabilitación y ampliación ha sido Premio COAM 2015 por "su excelente implantación en el lugar a nivel urbano, manejando una escala acertada y adecuada”. El interés del proyecto motivó su elección para formar parte del Pabellón de España en la 14ª edición de la Bienal de Arquitectura de Venecia de 2014
www.fundacionginer.org/index.htm
www.openhousemadrid.org/#!fundacion-francisco-giner-de-lo...
www.metalocus.es/content/es/blog/fundaci%C3%B3n-giner-de-...
bacecg.com/newsandmedia/premio-coam-2015-para-el-proyecto...
www.coam.org/es/actualidad/noticias/sede-fundacion-franci...
www.fueradeserie.expansion.com/2015/04/21/arquitectura/14...
Materials: oil on canvas. Dimensions: 52 x 87 cm. Inscriptions: F. del Campo, Venezia, 1885. Sold by Sotheby’s in New York, on November 4, 2010. Source: www.sothebys.com/en/auctions/ecatalogue/2010/19th-century.... I have changed the contrast of the original photo.
En la vía 1 de Estación Temuco se encuentra ubicado automotor TLD-504 y junto a el, en la vía número 2 se encuentran los coches 10000 del servicio TerraSur Temuco (el regreso, luego de 5 años de ausencia), esperando la noche para su retorno hacia Alameda.
Saludos!
Materials: oil on canvas. Dimensions: 109 x 163 cm. Sold by Bruun Rasmussen in Copenhagen, on September 16, 2014. Source: www.the-athenaeum.org/art/display_image.php?id=710369. I have changed the light of the original photo.
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
The regenerated apple
by
Michelangelo Pistoletto (born 23 June 1933 in Biella)
is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.
From 1947 until 1958, Pistoletto worked in his father’s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.
In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto’s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the USA, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paulo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called "Zoo Group", which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto’s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life. Pistoletto is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York.
"Arte Povera"
Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of "art" and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of "post-pop art" and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L'uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the USA in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.
FOR MORE INFORMATIONS:
en.wikipedia.org/wiki/Michelangelo_Pistoletto
For the place:
wikimapia.org/#lang=it&lat=45.484893&lon=9.203330...
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“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
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Please don't use any of my images on websites, blogs or other media without my explicit written permission.
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