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I bought some battery operated fairy lights for my huge "money tree" (crassula ovata also known as jade plant), to use at Christmas, so of course, had to try them out!
Max was fascinated by the reflection the lights cast on the wall alongside the plant.
Similar shot from earlier just a different camera and a different angle of view. Mainly using the d200 as a light meter for the preceding shots tagged Medium Format.
#33 Max Verstappen (NED) Red Bull Racing Tag Heur after the race for the British Grand Prix held at Silverstone Circuit, Northamptonshire, England from the 7th - 10th July 2016
New Game: Everybody guess why this girl looks borderline homicidal riding on the Max.
(The Winner gets bragging rights).
Well that was quick! My two new kiddos came today :) So exciting <3 Can't wait to start painting faceups :D
Also know as "The Blessed Virgin Chastises the Infant Jesus Before Three Witnesses: André Breton, Paul Éluard and the Artist"
Die Jungfrau züchtigt das Jesuskind vor drei Zeugen: André Breton, Paul Éluard und dem Maler
La vierge corrigeant l’enfant Jésus devant trois témoins: André Breton, Paul Éluard et le peintre
Max Ernst 1926
From the Inside Out
Suppose that for most of your life, you’ve had a heart condition. Your activities have been restricted. But then comes the transplant. You have a new heart. Within you dwells a new power. You might say, “I can’t climb stairs, I’m too weak.” Does your choice negate the presence of a new heart? Dismiss the work of the surgeon? No, it would suggest you haven’t learned to trust your new power. At some point you’ve got to try those stairs.
The same is true in our walk with Christ. You have a new heart--you are not who you used to be! As a result you can do what you couldn't do before--you can forgive...you can love... you can live! Put your new heart to the test. You can climb the stairs not by your strength, but by His!
From Next Door Savior. Max Lucado
United Airlines Boeing 737 MAX 9 parked at Renton Airport. It will eventually be delivered to United and become N27526.
The Flax Barn at Laren is one of Liebermann’s main works among his large-scale paintings of groups of people and workers from the 1880s. At the time, Holland was an important destination for Liebermann and his contemporaries. They saw Rembrandt and Frans Hals as their artistic role models, and by working directly from observation of their subjects, they learned to leave their dark studios and to shake off the fetters of Munkácsy’s working methods. In addition, in Holland they found the ideal of a bourgeois society and a solid social structure put into practice. At the time, plein air painting was still confusingly modern, but The Flax Barn at Laren was all the more offensive for the scale of development of its subject matter.
In a bright, low, yet extensive shed, all the figures are performing the same task, spinning flax. By the wall under the windows, there are children using flywheels to wind the flax onto spindles. Women and girls stand spaced throughout the room, each with a bundle of flax under her arm, spinning the thread with her hands. The scene is marked by its strong, even rhythm; in their structure the parallels of the floorboards and the beams strengthen the harmony of the work. The women stand in the space like “pillars.” The work depicts the calm of everyday life — and a sense of permanence in the monotony of constantly repeated movements. The colours are also without dramatic contrasts, reserved and cool. That peculiarly Dutch, pale, silvery-grey light, which Liebermann loved so much, permeates the scene. Above all it is the light here, in all its various reflections, that underlines the life and beauty of the scene — an everyday poem, calm and composed.
[Oil on canvas, 135 x 232 cm]
gandalfsgallery.blogspot.com/2011/06/max-liebermann-flax-...
Max Nagl Quintett - 13.02.2026 - Jazzit Musik Club Salzburg
www.jazzfoto.at/konzertfotos26/max-nagl-quintett/Index.htm
Georg Vogel: Piano;
Gregor Aufmesser: Bass;
Martin Eberle: Trompete;
Max Nagl: Saxophon;
Phil Yaeger: Posaune;
Max Pechstein.
Born December 31, 1881
Painter and print-maker.
Love the art that he created .
Max was hated by the Nazis because of his artwork.
Over 326 of his paintings were taken down from German museums.
Some of his paintings were displayed in the Degenerate Art exhibition of 1937.
That is what the Nazis called art (Degenerate Art),
That didnt fit into the mold they considered art,
Kind of ironic a degenerate philosophy of the Nazis,
Could call anything degenerate,
Especially people and great art,
Max went into seclusion in rural Pomerania.
Max made many prints,
Producing 421 lithographs, 315 woodcuts and engravings,
Max was also a teacher at the Berlin Academy for ten years,
He was dismissal by the Nazis in 1933.
He was reinstated in 1945,
Eventually Mr.Pechstein won numerous titles and awards for his work.
Max Died June 29, 1955.
Steve.H.
“I started driving them about 40 years ago. I’m a graduate engineer and I worked overseas in aid for a long time. When I got divorced, I had to do something else for a bit. So I got into cars because I could do it. I decided to work on cars that I liked, and now I exclusively work with the Mini.
This car came my way a long time ago. It just got left with me, nobody really wanted it. When my daughter said she wanted a car, I decided to do it up. I took it to pieces and repaired it completely. She gave it back when she had no use for it, and I’ve been driving it around since; I can’t seem to let go of it. The great thing about these cars is that I can buy every part for it. These are toys, I can play with them – I can take bits out, I can change and alter anything as I like. I’m Max and I maximise Minis.”
She stood out from the crowd of students who were filling Gould Street in downtown Toronto as Ryerson University came to life for the fall term. It was not just her impressive height that made her stand out; it was also her beauty and great sense of style. When I approached her, she was conversing with friends but she politely listened to my introduction and my request to photograph her for my photo project. She smiled, looked at my contact card, and said she could spare the couple of minutes I had requested. “Where do you want to do it?” she asked. I pointed to the space between campus buildings next to where we were standing. Coincidentally, it was the same location as the one used for my most recent project photo a week ago. I told her a bit more about the project as we walked. Meet Max.
Max handed her coffee to her friend who had accompanied us to the narrow, backlit space between two brick walls. He waited patiently while we did the photos. I didn’t ask if Max had modeled before but her ease in front of my camera, and her striking presence suggested she may have. After a test shot, we could both see the potential of the brief session and I pulled out my reflector to balance out the light and make the most of Max’s great eyes. She held it as I clicked off a half-dozen more photos.
I explained I would like to ask her a few questions to complete the interpersonal aspect of the project and told her she could decline answering any questions if she wished. She said “No problem” with a smile. Max is 20 and came to Toronto for university from Barrie, a city an hour and a half north but considers Toronto her home now. She is studying Fashion Journalism and is in the Creative Industries program. I told her I had met another student in this interesting program which is described by the university as follows: “Unique among Canadian universities, Ryerson’s Creative Industries program studies the creative fields from the perspective of enterprise development and entrepreneurship, and blends artistic, media, communication, cultural and business studies to prepare students for employment opportunities or advanced education in today’s creative economy.”
Max’s advice to her younger self is “don’t share everything about yourself on social media.” She went on to say she used to have a tendency to overshare which I know to be an issue these days. A challenge she has faced in life is “Identity. Reconciling the difference between who I want to be and who I am.” I thought it was an interesting and thoughtful response which would have been interesting to pursue if I wasn’t aware that her friend was waiting with Max’s rapidly-cooling cup of coffee. Her message to the project is “Don’t let compassion become a lost art. Care about others.”
In our final shared moments, Max said she has had to do projects that involved approaching strangers and asking for cooperation and is sympathetic to how difficult it can me. This motivated her to want to help me with my project, for which I am thankful. I told her that I’ve become much more comfortable in approaching strangers as I’ve become more experienced with it but I still go through times when I get a “project block,” something I have been experiencing this last couple of weeks. “The reasons for this are somewhat mysterious” I said,
“but I’m sure they are internal. Thank you for helping me break through the block today.”
We parted with a warm handshake and with Max wishing me much success with the project. I thanked her friend for his patience. This is my 531st submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.