The Inner City eagle was a methodical eater. It ate the pigeon's legs individually, both like this. It looks like the eagle might spit out the leg here, but it was just getting the angle right. It did the same with the pigeon's intestines. Some raptors discard them and I thought this one was in the process of doing so several times, but it just wanted to get the angle right before they went down the hatch. In the end, nothing remained of the pigeon other than plucked feathers.

Patron of Art Homage to Napoléon Bonaparte Limited Edition 4810 Fountain Pen M

CAD$4,200.00 plus 13% HST.

An excellent Flickr Album:

www.flickr.com/photos/cyrillem/albums/72157719039923930

Napoléon is mainly remembered for his military achievements, but he was a true patron of the arts. His glory lives on in the great ‘architecture parlante’ style of the famous Parisian structures built during his reign. In addition to architecture, other arts such as painting, sculpture and the decorative arts also blossomed under his leadership.

The overall design of the pen is inspired by the neoclassic style. The pattern of golden bees on dark blue lacquer is inspired by Napoléon’s throne in Fontainebleau, and the sword-shaped clip bears the Napoléonic “N”. The engravings on the cap top – a laurel wreath, imperial crown and an eagle – refer to Napoléon’s coronation insignia. The clip end is decorated with a red stone recalling the coronation ring of Napoleon’s wife Joséphine.The cap is crowned by the Montblanc Emblem in precious resin.

In homage to Napoléon Bonaparte, the handcrafted 18kt solid gold nib bears a portrait of Napoléon with the typical bicorn.

Golden Bees importance: CLICK on links to see his Golden Bee images. *********

www.geriwalton.com/the-importance-of-bees-to-napoleon-bon...

www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-child...

The Importance of Bees to Napoleon Bonaparte

By Geri Walton | February 8, 2019 | 1

The importance of bees to Napoleon Bonaparte became obvious when he decided to adopt this ancient symbol older than the fleur-de-lys. Supposedly, when Napoleon thought about wearing the imperial purple, he decided to adopt the bee based on the following story:

“It was a custom in France, during its early and barbarous ages, that whenever a monarch died, his horse and page were killed and buried with their master, that they might be in ready attendance upon him in the next world. In the year 1658, the tomb of Childeric, the father of Clovis, was discovered [by the archeologist Jean-Jacques Chifflet*], and within it were found the skeleton of a man that of a horse, and part of the skeleton of a youth, concluded to be the remains of Childeric and his companions … a gold signet ring was taken from the finger of the large skeleton; upon it appeared an engraved head, having long hair flowing over the shoulders, and around it the words, ‘Childerici Regis;’ several buckles, massy gold bracelets and a gold head of an ox, supposed to be an image of the idolatrous worship of the deceased. … [In addition,] on further search in the tomb were found a purse, containing a hundred pieces of gold and two hundred pieces of silver, bearing the heads of different emperors of France; a crystal ball or orb, a pike, a battleaxe, the hand, mounting, and blade of a sword; gold tablets and style; the bit and part of the harness of a horse; fragments of a dress or robe; and more than three hundred little bees of the purest gold, their wings behind inlaid with a red stone like cornelian.”[1]

When Childeric’s tomb was discovered in 1653, Louis XIV received the treasure, but he wasn’t impressed and stored it at what later became the Bibliothèque Nationale de France. When Napoleon came to power, his advisor, Jean-Jacques-Régis de Cambacérès, suggested he adopt the bee as his personal symbol and mentioned the treasure of Childeric. Napoleon took his advisor’s advice after learning that Childeric had lived between 437 and 481 and that he founded the Merovingian dynasty. Moreover, Napoleon learned that Childeric’s symbol of the bee preceded the fleur-de-lis adopted by his son Clovis.

Besides being associated with the Merovingians, Napoleon also wanted to be associated with the Carolingians, a dynasty that reached its peak in AD 800 with the crowning of Charlemagne as the first Emperor of Romans. The spread eagle that Napoleon used on his shield came from the Carolingian founder Charlemagne and was suggested for use by by the Council Commission, made up from members of the Council of State, whose job was to oversee the coronation of Napoleon and his Empress, Josephine. They soon determined:

“Even if the arms of Charlemagne were not accurately known, it could still be pointed out … that in the time of Louis le Débonnaire, and doubtless earlier, ‘an eagle of metal was placed in the western portion of the Imperial palace at Aix, and it was always the custom of those who got possession of the palace, first of all to seize upon this eagle.’”[2]

It was also pointed out that the fleur de lys would have been inappropriate alongside the Carolingian symbol of the eagle, another reason for selecting the bee. Moreover, some in the Council Commission erroneously suggested that the fleur-de-lys were just badly drawn bees. One twentieth-century historian noted:

“The fleurs de lys which had been sown broadcast on the carpets, hangings, and insignia of the Capetian kings would have been scarcely suitable to match with the eagles. Besides, they belonged to the old order of things which was to be forgotten. It was necessary to choose some plant or animal from the heraldic flora or fauna which could be adopted in the place of the fleur de lys, and was yet known to French historical tradition. As nothing suitable of this kind could be found in the Age of Charlemagne, it was necessary to search farther back. … [It was also] remembered that, during the sitting of the National Convention on the 3rd of Brumaire of the year IV, Daubermesnil, speaking in the name of the Committee of Public Instruction, had proposed that the emblem of the State should be a hive swarming with bees, and that it should be placed upon the front of every national building. To which Citizen Barallion had indeed objected that ‘bees were cognizance of several Kings of France of the first dynasty, such as Childebert and Chileric. Besides,’ he added, ‘bees can never be the emblem of the Republic, for is it not well known that they all pay court to a queen?’ The convention was struck with this merry quip, and rejected the harmless suggestion of Daubermesnil.”[3]

Napoleon apparently ignored the idea that bees might be related to a queen and found bees an appropriate symbol for his empire. He knew illusion was power and that the bee had greater antiquity than the fleur-de-lis. He also thought because the bees were a symbol of the Merovingian kings, it would give him added legitimacy to rule as Emperor. Thus, when he was crowned, the importance of bees to Napoleon was obvious as he made sure bees appeared prominently on his coronation robes.

To aid in this, he used the best-known miniature painter Jean-Baptiste Isabey, who also happened to be a close friend of the Bonaparte family. Isabey decided the bee found with Childeric’s remains lacked detail and was too small and dense. Therefore, he developed a new larger bee created volant en arrière, or in other words, when viewed from the top its wings were partially opened.

Isabey’s bee was the one used to embellish the coronation mantles. Embroidery of the bees on the mantles cost 15,000 francs and were accomplished by Picot, embroiderer to the Emperor and the Empress. One historian gave the details of Napoleon’s mantle, stating:

“The Imperial mantle of purple velvet powdered with golden bees; in the embroidery are interlaced branches of olive, laurel and oak surrounding the letter N. The lining, the border, and the tippet are of ermine. The mantle, open on the left side, allows the sword to be seen, which is sustained by a scarf of white satin embroidered and trimmed with a cord of gold; the long robe is of white satin embroidered with gold on all the seams, the hem of the robe embroidered with a cord of gold.”[4]

The Empress was also resplendent and likewise had a mantle of purple velvet powdered with golden bees, as did the French princes. Pages wore green coats with shoulder-knots of green silk embroidered with eagles at each end and powdered with bees. Moreover, golden bees also appeared on the square purple velvet cushion that held Charlemagne’s crown. (To see the only known embroidered bee that survives, click here).

Despite the importance of bees to Napoleon, he never gave an Order in Council or officially announced the adoption of it. He also never gave a formal explanation for why he chose the bee. He did, however, make sure that the bee was an important symbol at his imperial court after he was crowned. Bees could be found embellishing clothing and fabric and were incorporated into ceramics, furniture, glass, and metalwork. One historian also reported:

“He [Napoleon] sprinkled bees liberally on his ensign as General-in-Chief, he introduced them on the borders of the Army colours, he adorned the upper portion of the escutcheons of the Grand Dignitaries and good towns with them, he powdered them over his own carpets and hangings.”[5]

The bee was so important to Napoleon, it was exclusively reserved for the imperial family, and not even dukes could use it. However, on 19 May 1802, Napoleon established a reward for civil and military merit called the Légion d’Honneur and to indicate the importance of the bee, he used a version in the medal. This was, and is, France’s highest honor, and although there were critics who thought of it as a bauble, Napoleon knew its value, stating, “It is with baubles that men are led.”[6]

After the Treaty of Fontainebleau and his exile to Elba, he designed his own flag for Elba and once again used the bee that he so cherished. Perhaps, he did so because it linked him to the imperial mantle. The flag that floated over the island had a white background with a diagonal red stripe and three golden bees in the stripe. Gloria Peria, director of the Historical Archives of the Communes of the Island of Elba, notes:

“Having chosen to give the Island of Elba three bees meant giving the island a sense of unity under his reign, even though from an administrative point of view it was divided into several Municipalities … Napoleon’s flag of Elba was immediately a great success, so much so that, according to Pons de l’Herault in his Souvenirs et Anecdotes de l’Ile d’Elbe, even the Barbaresque pirates greeted it, because they saw in it the symbol of their war hero, Napoleon, in person, as they sailed the Tyrrhenian Sea.”[7]

When Louis XVIII came to power in 1815, he methodically replaced or destroyed Napoleon’s bee with the fleur-de-lys. Ultimately, few bees from Napoleon’s reign survived Louis’ eradication. The bee seemed to all but disappear until Napoleon’s remains were returned in 1840. One newspaper reported that the car carrying Napoleon’s body was “truly magnificent,” and that on the pedestal, “on both sides hung two velvet imperial mantles, sprinkled with bees.”[8]

*Although Chifflet thought what he discovered was bees, some scholars have suggested they were cicadas, a symbol that meant both death and resurrection to the Merovingians. However, other scholars believe they were flies because flies were found on the coats of arms of families from the territories of Venice and Flanders that were once controlled by the Merovingians. If they were flies, Napoleon’s enemies would have likely got a chuckle thinking he was covered with flies rather than bees.

References:

[1] W. H. Ireland, The Napoleon anecdotes, ed. by W.H. Ireland (London: C.S. Arnold, 1822), p. 18.

[2] F. Masson, Napoleon and His Coronation, (Philadelphia: J.B. Lippincott Company, 1907), p. 97.

[3] Ibid., p. 98–99.

[4] Ibid, p. 314.

[5] Ibid., p. 99.

[6] B. Farwell, The Encyclopedia of Nineteenth-century Land Warfare: An Illustrated World View (New York: W.W. Norton, 2001), p. 488.

[7] “History of the flag of the Island of Elba,” Info Elba, accessed November 16, 2018, www.infoelba.com/discovering-elba/curious-facts/the-flag-...

[8] Downpatrick Recorder, “Funeral of Napoleon,” December 26, 1840, p. 1.

The water buffalo or domestic Asian water buffalo (Bubalus bubalis) is a large bovid originating in South Asia, Southeast Asia, and China. Today, it is also found in Europe, Australia, and some American countries. The wild water buffalo (Bubalus arnee) native to Southeast Asia is considered a different species, but most likely represents the ancestor of the domestic water buffalo.

Two extant types of water buffalo are recognized based on morphological and behavioural criteria – the river buffalo of South Asia and further west to the Balkans, Egypt, and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The origins of the domestic water buffalo types are debated, although results of a phylogenetic study indicate that the swamp type may have originated in China and was domesticated about 4,000 years ago, while the river type may have originated from India and was domesticated about 5,000 years ago. Water buffalo were traded from the Indus Valley Civilisation to Mesopotamia, in modern Iraq, 2500 BC by the Meluhhas. The seal of a scribe employed by an Akkadian king shows the sacrifice of water buffalo.

At least 130 million domestic water buffalo exist, and more human beings depend on them than on any other domestic animal. They are especially suitable for tilling rice fields, and their milk is richer in fat and protein than that of dairy cattle. The large feral population of northern Australia became established in the late 19th century, and smaller feral herds are in New Guinea, Tunisia, and northeastern Argentina. Feral herds are also present in New Britain, New Ireland, Irian Jaya, Papua New Guinea, Colombia, Guyana, Suriname, Brazil, and Uruguay.

CHARACTERISTICS

The skin of river buffalo is black, but some specimens may have dark, slate-coloured skin. Swamp buffalo have a grey skin at birth, but become slate blue later. Albinoids are present in some populations. River buffalo have comparatively longer faces, smaller girths, and bigger limbs than swamp buffalo. Their dorsal ridges extend further back and taper off more gradually. Their horns grow downward and backward, then curve upward in a spiral. Swamp buffalo are heavy-bodied and stockily built; the body is short and the belly large. The forehead is flat, the eyes prominent, the face short, and the muzzle wide. The neck is comparatively long, and the withers and croup are prominent. A dorsal ridge extends backward and ends abruptly just before the end of the chest. Their horns grow outward, and curve in a semicircle, but always remain more or less on the plane of the forehead. The tail is short, reaching only to the hocks. Height at withers is 129–133 cm for males, and 120–127 cm for females. They range in weight from 300–550 kg, but weights of over 1,000 kg have also been observed.

Tedong bonga is a black pied buffalo featuring a unique black and white colouration that is favoured by the Toraja of Sulawesi.

The swamp buffalo has 48 chromosomes; the river buffalo has 50 chromosomes. The two types do not readily interbreed, but fertile offspring can occur. Buffalo-cattle hybrids have not been observed to occur, and the embryos of such hybrids do not reach maturity in laboratory experiments.

The rumen of the water buffalo has important differences from that of other ruminants. It contains a larger population of bacteria, particularly the cellulolytic bacteria, lower protozoa, and higher fungi zoospores. In addition, higher rumen ammonia nitrogen (NH4-N) and higher pH have been found as compared to those in cattle

ECOLOGY AND BEHAVIOR

River buffalo prefer deep water. Swamp buffalo prefer to wallow in mudholes which they make with their horns. During wallowing, they acquire a thick coating of mud. Both are well adapted to a hot and humid climate with temperatures ranging from 0 °C in the winter to 30 °C and greater in the summer. Water availability is important in hot climates, since they need wallows, rivers, or splashing water to assist in thermoregulation. Some breeds are adapted to saline seaside shores and saline sandy terrain.

DIET

Water buffalo thrive on many aquatic plants and during floods, will graze submerged, raising their heads above the water and carrying quantities of edible plants. They eat reeds (quassab), a giant reed (birdi), a kind of bulrush (kaulan), water hyacinth, and marsh grasses. Some of these plants are of great value to local peoples. Others, such as water hyacinth, are a major problem in some tropical valleys, and water buffalo may help to keep waterways clear.

Green fodders are used widely for intensive milk production and for fattening. Many fodder crops are conserved as hay, chaffed, or pulped. Fodders include alfalfa, berseem and bancheri, the leaves, stems or trimmings of banana, cassava, fodder beet, halfa, ipil-ipil and kenaf, maize, oats, pandarus, peanut, sorghum, soybean, sugarcane, bagasse, and turnips. Citrus pulp and pineapple wastes have been fed safely to buffalo. In Egypt, whole sun-dried dates are fed to milk-buffalo up to 25% of the standard feed mixture.

REPRODUCTION

Swamp buffalo generally become reproductive at an older age than river breeds. Young males in Egypt, India, and Pakistan are first mated at about 3.0–3.5 years of age, but in Italy

they may be used as early as 2 years of age. Successful mating behaviour may continue until the animal is 12 years or even older. A good river male can impregnate 100 females in a year. A strong seasonal influence on mating occurs. Heat stress reduces libido

Although buffalo are polyoestrous, their reproductive efficiency shows wide variation throughout the year. Buffalo cows exhibit a distinct seasonal change in displaying oestrus, conception rate, and calving rate. The age at first oestrus of heifers varies between breeds from 13–33 months, but mating at the first oestrus is often infertile and usually deferred until they are 3 years old. Gestation lasts from 281–334 days, but most reports give a range between 300 and 320 days. Swamp buffalo carry their calves for one or two weeks longer than river buffalo. It is not rare to find buffalo that continue to work well at the age of 30, and instances of a working life of 40 years are recorded.

TAXONOMIC HISTORY

Carl Linnaeus first described the genus Bos and the water buffalo under the binomial Bubalis bubalus in 1758; the latter was known to occur in Asia and as a domestic form in Italy. Ellerman and Morrison-Scott treated the wild and domestic forms of the water buffalo as conspecifics whereas others treated them as different species. The nomenclatorial treatment of wild and domestic forms has been inconsistent and varies between authors and even within the works of single authors.

In March 2003, the International Commission on Zoological Nomenclature achieved consistency in the naming of wild and domestic water buffalo by ruling that the scientific name Bubalus arnee is valid for the wild form. B. bubalis continues to be valid for the domestic form and applies also to feral populations.

DOMESTICATION AND BREEDING

Water buffalo were domesticated in India about 5000 years ago, and in China about 4000 years ago. Two types are recognized, based on morphological and behavioural criteria – the river buffalo of the Indian subcontinent and further west to the Balkans and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The present-day river buffalo is the result of complex domestication processes involving more than one maternal lineage and a significant maternal gene flow from wild populations after the initial domestication events. Twenty-two breeds of the river type water buffalo are known, including Murrah, Nili-Ravi, Surti, Jafarabadi, Anatolian, Mediterranean, and Egyptian buffalo. China has a huge variety of buffalo genetic resources, comprising 16 local swamp buffalo breeds in various regions.

Results of mitochondrial DNA analyses indicate that the two types were domesticated independently. Sequencing of cytochrome b genes of Bubalus species implies that the domestic buffalo originated from at least two populations, and that the river and the swamp types have differentiated at the full species level. The genetic distance between the two types is so large that a divergence time of about 1.7 million years has been suggested. The swamp type was noticed to have the closest relationship with the tamaraw.

DISTRIBUTION OF POPULATIONS

The water buffalo population in the world is about 172 million.

IN ASIA

More than 95.8% of the world population of water buffalo are found in Asia including both river and swamp types. The water buffalo population in India numbered over 97.9 million head in 2003, representing 56.5% of the world population. They are primarily of the river type, with 10 well-defined breeds comprising Badhawari, Murrah, Nili-Ravi, Jafarabadi, Marathwada, Mehsana, Nagpuri, Pandharpuri, Toda, and Surti. Swamp buffalo occur only in small areas in the north-eastern part of the country and are not distinguished into breeds.

In 2003, the second-largest population lived in China, with 22.759 million head, all of the swamp type with breeds kept only in the lowlands, and other breeds kept only in the mountains; as of 2003, 3.2 million swamp-type carabao buffalo were in the Philippines, nearly three million swamp buffalo were in Vietnam, and 772,764 buffalo were in Bangladesh. About 750,000 head were estimated in Sri Lanka in 1997.

The water buffalo is the main dairy animal in Pakistan, with 23.47 million head in 2010. Of these, 76% are kept in the Punjab. The rest of them are mostly in the province of Sindh. Breeds used are Nili-Ravi, Kundi, and Azi Kheli. Karachi has the largest population of water buffalos for an area where fodder is not grown, consisting of 350,000 head kept mainly for milking.

In Thailand, the number of water buffalo dropped from more than 3 million head in 1996 to less than 1.24 million head in 2011. Slightly over 75% of them are kept in the country's northeastern region. The statistics also indicate that by the beginning of 2012, less than one million were in the country, partly as a result of illegal shipments to neighboring countries where sales prices are higher than in Thailand.

Water buffalo are also present in the southern region of Iraq, in the marshes. These marshes were drained by Saddam Hussein in 1991 in an attempt to punish the south for the uprisings of 1991. Following 2003, and the fall of the Saddam regime, these lands were reflooded and a 2007 report in the provinces of Maysan and Thi Qar shows a steady increase in the number of water buffalo. The report puts the number at 40,008 head in those two provinces.

IN EUROPE AND THE MEDITERRANEAN

Water buffalo likely were introduced to Europe from India or other Oriental countries. To Italy they were introduced about the year 600 in the reign of the Longobard King Agilulf. As they appear in the company of wild horses, they probably were a present from the Khan of the Avars, a Turkic nomadic tribe that dwelt near the Danube River at the time. Sir H. Johnston knew of a herd of water buffalo presented by a King of Naples to the Bey of Tunis in the mid-19th century that had resumed the feral state in northern Tunis.

European buffalo are all of the river type and considered to be of the same breed named Mediterranean buffalo. In Italy, the Mediterranean type was particularly selected and is called Mediterranean Italian breed to distinguish it from other European breeds, which differ genetically. Mediterranean buffalo are also found in Romania, Bulgaria, Greece, Albania, Kosovo, and the Republic of Macedonia, with a few hundred in the United Kingdom, Germany, the Netherlands, Switzerland, and Hungary. Little exchange of breeding buffalo has occurred among countries, so each population has its own phenotypic features and performances. In Bulgaria, they were crossbred with the Indian Murrah breed, and in Romania, some were crossbred with Bulgarian Murrah. Populations in Turkey are of the Anatolian buffalo breed.

IN AUSTRALIA

Between 1824 and 1849, water buffalo were introduced into the Northern Territory from Timor, Kisar, and probably other islands in the Indonesian archipelago. In 1886, a few milking types were brought from India to Darwin. They have been the main grazing animals on the subcoastal plains and river basins between Darwin and Arnhem Land since the 1880s. In the early 1960s, an estimated population of 150,000 to 200,000 buffalo were living in the plains and nearby areas.

They became feral and are causing significant environmental damage. Buffalo are also found in the Top End. As a result, they were hunted in the Top End from 1885 until 1980. The commencement of the brucellosis and tuberculosis campaign (BTEC) resulted in a huge culling program to reduce buffalo herds to a fraction of the numbers that were reached in the 1980s. The BTEC was finished when the Northern Territory was declared free of the disease in 1997. Numbers dropped dramatically as a result of the campaign, but have since recovered to an estimated 150,000 animals across northern Australia in 2008.

During the 1950s, buffalo were hunted for their skins and meat, which was exported and used in the local trade. In the late 1970s, live exports were made to Cuba and continued later into other countries. Buffalo are now crossed with riverine buffalo in artificial insemination programs, and may be found in many areas of Australia. Some of these crossbreds are used for milk production. Melville Island is a popular hunting location, where a steady population up to 4,000 individuals exists. Safari outfits are run from Darwin to Melville Island and other locations in the Top End, often with the use of bush pilots. The horns, which can measure up to a record of 3.1 m tip-to-tip, are prized hunting trophies.

The buffalo have developed a different appearance from the Indonesian buffalo from which they descend. They live mainly in freshwater marshes and billabongs, and their territory range can be quite expansive during the wet season. Their only natural predators in Australia are adult saltwater crocodiles, with whom they share the billabongs, and dingoes, which have been known to prey on buffalo calves and occasionally adult buffalo when the dingoes are in large packs.

Buffalo were exported live to Indonesia until 2011, at a rate of about 3000 per year. After the live export ban that year, the exports dropped to zero, and had not resumed as of June 2013.

IN SOUTH AMERICA

Water buffalo were introduced into the Amazon River basin in 1895. They are now extensively used there for meat and dairy production. In 2005, the buffalo herd in the Brazilian Amazon stood at roughly 1.6 million head, of which 460,000 were located in the lower Amazon floodplain. Breeds used include Mediterranean from Italy, Murrah and Jafarabadi from India, and Carabao from the Philippines.

During the 1970s, small herds were imported to Costa Rica, Ecuador, Cayenne, Panama, Surinam, Guyana, and Venezuela.

In Argentina, many game ranches raise water buffalo for commercial hunting

IN NORTH AMERICA

In 1974, four water buffalo were imported to the United States from Guam to be studied at the University of Florida. In February 1978, the first herd arrived for commercial farming. Until 2002, only one commercial breeder was in the United States. Water buffalo meat is imported from Australia. Until 2011, water buffalo were raised in Gainesville, Florida, from young obtained from zoo overflow. They were used primarily for meat production, frequently sold as hamburger.[38] Other US ranchers use them for production of high-quality mozzarella cheese.

HUSBANDRY

The husbandry system of water buffalo depends on the purpose for which they are bred and maintained. Most of them are kept by people who work on small farms in family units. Their buffalo live in very close association with them, and are often their greatest capital asset. The women and girls in India generally look after the milking buffalo while the men and boys are concerned with the working animals. Throughout Asia, they are commonly tended by children who are often seen leading or riding their charges to wallowing places. Water buffalo are the ideal animals for work in the deep mud of paddy fields because of their large hooves and flexible foot joints. They are often referred to as "the living tractor of the East". It probably is possible to plough deeper with buffalo than with either oxen or horses. They are the most efficient and economical means of cultivation of small fields. In most rice-producing countries, they are used for threshing and for transporting the sheaves during the rice harvest. They provide power for oilseed mills, sugarcane presses, and devices for raising water. They are widely used as pack animals, and in India and Pakistan also for heavy haulage. In their invasions of Europe, the Turks used buffalo for hauling heavy battering rams. Their dung is used as a fertilizer, and as a fuel when dried.

Buffalo contribute 72 million tones of milk and three million tones of meat annually to world food, much of it in areas that are prone to nutritional imbalances. In India, river-type buffalo are kept mainly for milk production and for transport, whereas swamp-type buffalo are kept mainly for work and a small amount of milk.

DAIRY PRODUCTS

Water buffalo milk presents physicochemical features different from that of other ruminant species, such as a higher content of fatty acids and proteins. The physical and chemical parameters of swamp and river type water buffalo milk differ. Water buffalo milk contains higher levels of total solids, crude protein, fat, calcium, and phosphorus, and slightly higher content of lactose compared with those of cow milk. The high level of total solids makes water buffalo milk ideal for processing into value-added dairy products such as cheese. The conjugated linoleic acid (CLA) content in milk ranged from 4.4 mg/g fat in September to 7.6 mg/g fat in June. Seasons and genetics may play a role in variation of CLA level and changes in gross composition of the water buffalo milk.

Water buffalo milk is processed into a large variety of dairy products:

- Cream churns much faster at higher fat levels and gives higher overrun than cow cream.

- Butter from water buffalo cream displays more stability than that from cow cream.

- Ghee from water buffalo milk has a different texture with a bigger grain size than ghee from cow milk.

- Heat-concentrated milk products in the Indian subcontinent include paneer, khoa, rabri, kheer and basundi.

- Fermented milk products include dahi, yogurt, and chakka.

- Whey is used for making ricotta and mascarpone in Italy, and alkarish in Syria and Egypt.

- Soft cheeses made include mozzarella in Italy, karish, mish, and domiati in Egypt, madhfor in Iraq, alghab in Syria, kesong puti in the Philippines, and vladeasa in Romania.

- The semihard cheese beyaz peynir is made in Turkey.

- Hard cheeses include braila in Romania, rahss in Egypt, white brine in Bulgaria, and akkawi in Syria.

- Watered-down buffalo milk is used as a cheaper alternative to regular milk.

MEAT AND SKIN PRODUCTS

Water buffalo meat, sometimes called "carabeef", is often passed off as beef in certain regions, and is also a major source of export revenue for India. In many Asian regions, buffalo meat is less preferred due to its toughness; however, recipes have evolved (rendang, for example) where the slow cooking process and spices not only make the meat palatable, but also preserve it, an important factor in hot climates where refrigeration is not always available.Their hides provide tough and useful leather, often used for shoes.

BONE AND HORN PRODUCTS

The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.

ENVIRONMENTAL EFFECTS

Wildlife conservation scientists have started to recommend and use introduced populations of feral domestic water buffalo in far-away lands to manage uncontrolled vegetation growth in and around natural wetlands. Introduced water buffalo at home in such environs provide cheap service by regularly grazing the uncontrolled vegetation and opening up clogged water bodies for waterfowl, wetland birds, and other wildlife. Grazing water buffalo are sometimes used in Great Britain for conservation grazing, such as in Chippenham Fen National Nature Reserve. The buffalo can better adapt to wet conditions and poor-quality vegetation than cattle.

Currently, research is being conducted at the Lyle Center for Regenerative Studies to determine the levels of nutrients removed and returned to wetlands when water buffalo are used for wetland vegetation management.

However, in uncontrolled circumstances, water buffalo can cause environmental damage, such as trampling vegetation, disturbing bird and reptile nesting sites, and spreading exotic weeds.

RESEARCH

The world's first cloned buffalo was developed by Indian scientists from National Dairy Research Institute, Karnal. The buffalo calf was named Samrupa. The calf did not survive more than a week, and died due to some genetic disorders. So, the scientists created another cloned buffalo a few months later, and named it Garima.

On 15 September 2007, the Philippines announced its development of Southeast Asia's first cloned buffalo. The Philippine Council for Agriculture, Forestry and Natural Resources Research and Development (PCARRD), under the Department of Science and Technology in Los Baños, Laguna, approved this project. The Department of Agriculture's Philippine Carabao Center (PCC) will implement cloning through somatic cell nuclear transfer as a tool for genetic improvement in water buffalo. "Super buffalo calves" will be produced. There will be no modification or alteration of the genetic materials, as in genetically modified organisms.

On 1 January 2008, the Philippine Carabao Center in Nueva Ecija, per Filipino scientists, initiated a study to breed a super water buffalo that could produce 4 to 18 litres of milk per day using gene-based technology. Also, the first in vitro river buffalo was born there in 2004 from an in vitro-produced, vitrified embryo, named "Glory" after President Gloria Macapagal-Arroyo. Joseph Estrada's most successful project as an opposition senator, the PCC was created through Republic Act 3707, the Carabao Act of 1992.

IN CULTURE

Some ethnic groups, such as Batak and Toraja in Indonesia and the Derung in China, use water buffalo or kerbau (called horbo in Batak or tedong in Toraja) as sacrificial animals at several festivals.

- Legend has it that the Chinese philosophical sage Laozi left China through the Han Gu Pass riding a water buffalo.

- According to Hindu lore, the god of death Yama, rides on a male water buffalo.

- The carabao subspecies is considered a national symbol in the Philippines.

- In Vietnam, water buffalo are often the most valuable possession of poor farmers: "Con trâu là đầu cơ nghiệp". They are treated as a member of the family: "Chồng cày, vợ cấy, con trâu đi bừa" ("The husband ploughs, the wife sows, water buffalo draws the rake") and are friends of the children. Children talk to their water buffalo, "Bao giờ cây lúa còn bông. Thì còn ngọn cỏ ngoài đồng trâu ăn." (Vietnamese children are responsible for grazing water buffalo. They feed them grass if they work laboriously for men.) In the old days, West Lake, Hà Nội, was named Kim Ngưu - Golden Water Buffalo.

- The Yoruban Orisha Oya (goddess of change) takes the form of a water buffalo.

FIGHTING FESTIVALS

- Pasungay Festival is held annually in the town of San Joaquin, Iloilo in the Philippines.

- Moh juj Water Buffalo fighting, is held every year in Bhogali Bihu in Assam. Ahotguri in Nagaon is famous for it.

- Do Son Water Buffalo Fighting Festival of Vietnam, held each year on the ninth day of the eighth month of the lunar calendar at Do Son Township, Haiphong City in Vietnam, is one of the most popular Vietnam festivals and events in Haiphong City. The preparations for this buffalo fighting festival begin from the two to three months earlier. The competing buffalo are selected and methodically trained months in advance. It is a traditional festival of Vietnam attached to a Water God worshipping ceremony and the Hien Sinh custom to show martial spirit of the local people of Do Son, Haiphong.

- "Hai Luu" Water Buffalo Fighting Festival of Vietnam, According to ancient records, the buffalo fighting in Hai Luu Commune has existed from the 2nd century B.C. General Lu Gia at that time, had the buffalo slaughtered to give a feast to the local people and the warriors, and organized buffalo fighting for amusement. Eventually, all the fighting buffalo will be slaughtered as tributes to the deities.

- "Ko Samui" Water Buffalo Fighting Festival of Thailand, is a very popular event held on special occasions such as New Year's Day in January, and Songkran in mid-April, this festival features head-wrestling bouts in which two male Asian water buffalo are pitted against one another. Unlike in Spanish Bullfighting, wherein bulls get killed while fighting sword-wielding men, Buffalo Fighting Festival held at Ko Samui, Thailand is fairly harmless contest. The fighting season varies according to ancient customs & ceremonies. The first Buffalo to turn and run away is considered the loser, the winning buffalo becomes worth several million baht. Ko Samui is an island in the Gulf of Thailand in the South China Sea, it is 700 km from Bangkok and is connected to it by regular flights.

- "Ma'Pasilaga Tedong" Water Buffalo Fighting Festival, in Tana Toraja Regency of Sulawesi Island, Indonesia, is a very popular event where the Rambu Solo' or a Burial Festival took place in Tana Toraja.

RACING FESTIVALS

Carabao Carroza Festival is being held annually every May in the town of Pavia, Iloilo, Philippines.

Kambala races of Karnataka, India, take place between December and March. The races are conducted by having the water buffalo (he buffalo) run in long parallel slushy ditches, where they are driven by men standing on wooden planks drawn by the buffalo. The objectives of the race are to finish first and to raise the water to the greatest height and also a rural sport. Kambala races are arranged with competition, as well as without competition and as a part of thanks giving (to god) in about 50 villages of coastal Karnataka.

In the Chonburi Province of Thailand, and in Pakistan, there are annual water buffalo races.

Chon Buri Water buffalo racing festival, Thailand In downtown Chonburi, 70 km south of Bangkok, at the annual water buffalo festival held in mid-October. About 300 buffalo race in groups of five or six, spurred on by bareback jockeys wielding wooden sticks, as hundreds of spectators cheer. The water buffalo has always played an important role in agriculture in Thailand. For farmers of Chon Buri Province, near Bangkok, it is an important annual festival, beginning in mid-October. It is also a celebration among rice farmers before the rice harvest. At dawn, farmers walk their buffalo through surrounding rice fields, splashing them with water to keep them cool before leading them to the race field. This amazing festival started over a hundred years ago when two men arguing about whose buffalo was the fastest ended up having a race between them. That’s how it became a tradition and gradually a social event for farmers who gathered from around the country in Chonburi to trade their goods. The festival also helps a great deal in preserving the number of buffalo, which have been dwindling at quite an alarming rate in other regions. Modern machinery is rapidly replacing buffalo in Thai agriculture. With most of the farm work mechanized, the buffalo-racing tradition has continued. Racing buffalo are now raised just to race; they do not work at all. The few farm buffalo which still do work are much bigger than the racers because of the strenuous work they perform. Farm buffalo are in the "Buffalo Beauty Pageant", a Miss Farmer beauty contest and a comic buffalo costume contest etc.. This festival perfectly exemplifies a favored Thai attitude to life — "sanuk," meaning fun.

Babulang Water buffalo racing festival, Sarawak, Malaysia, is the largest or grandest of the many rituals, ceremonies and festivals of the traditional Bisaya (Borneo) community of Limbang, Sarawak. Highlights are the Ratu Babulang competition and the Water buffalo races which can only be found in this town in Sarawak, Malaysia.

Vihear Suor village Water buffalo racing festival, in Cambodia, each year, people visit Buddhist temples across the country to honor their deceased loved ones during a 15-day period commonly known as the Festival of the Dead but in Vihear Suor village, about 35 km northeast of Cambodia, citizens each year wrap up the festival with a water buffalo race to entertain visitors and honour a pledge made hundreds of years ago. There was a time when many village cattle which provide rural Cambodians with muscle power to plough their fields and transport agricultural products died from an unknown disease. The villagers prayed to a spirit to help save their animals from the disease and promised to show their gratitude by holding a buffalo race each year on the last day of "P'chum Ben" festival as it is known in Cambodian. The race draws hundreds of spectators who come to see riders and their animals charge down the racing field, the racers bouncing up and down on the backs of their buffalo, whose horns were draped with colorful cloth.

Pothu puttu matsaram, Kerala, South India, is similar to Kambala races.

WIKIPEDIA

With so few flowers in bloom at this time, I had to really be on the lookout for Hummers. The foraging Hummers also have to be on the lookout for any blooming plant.This lady was methodically sampling all of these red blooms on an ornamental shrub in my daughter's back yard. I saw only a few flying Hummers species (mostly female Anna's and Costa's). These ladies are segregated from each other for IDs mainly on their bill shapes. This bill is said to be straighter... but there is overlap. This lady also usually has a dark spot on her throat (like shown).

IMG_9905; Anna's Hummingbird

I am incredibly excited to announce that my debut book "Collected memories" published by Hatje Cantz is now available for a limited number of pre-orders.

Working towards this book has been a labour of love for the past 5 years and I'm incredibly proud of the result.

All book pre-orders will be signed.

Alongside the regular edition, there is also a special signed and numbered (/50) artist limited edition of the book with one of two signed and numbered archival giclee prints.

The debut monograph by Australian photographer Mark Forbes: Collected memories presents a cohesive blend of carefully composed scenes, from faded interiors and common, relatable spaces, to the romance of our environment being reclaimed by nature. Turning the pages there is a stirring sense of both subtle ordinary beauty and inherent personality sprinkled across each plate. Forbes’ photographic preference, using medium format film, is slow and methodical - and this approach can be felt throughout the quiet pages.

Hardcover book, 300 x 250 mm

112 pages, 57 colour plates

Published by Hatje Cantz

Printed in Berlin, Germany

Editor: Nadine Barth

Book design: Julia Wagner

Cover illustration: Seth J Lally

I really look forward to sharing this book with you.

Link to purchase "Collected memories" and the special artist limited edition:

www.markforbes.com.au/monograph

A storm clears the Friendship and the nearby Pedrick House. This building is the original building that was built in 1770 on the Marblehead side of Salem harbor. The building had many purposes over the years and it's link to Salem was through one of it's owners. William Story bought the building from Pedrick and intended to run his business from there as he was a ship captain and he sailed as Captain of the 1797 version of the Friendship (The link to Salem). The park service managed to get the building transferred to them and Salem's NHS (National Historic site) and then a labor of love began as it was taken apart very methodically and brought to Salem. It was then piece by piece put back together and it sits much as it had in the 1770s through the early 1900s..

Featured on: Centrifuge - Methodical Wasting -

www.youtube.com/watch?v=SnRxiXT3o2o

The Grote Kerk or St.-Bavokerk is a Protestant church and former Catholic cathedral located on the central market square in the Dutch city of Haarlem. Another Haarlem church called the Cathedral of Saint Bavo now serves as the main cathedral for the Roman Catholic Diocese of Haarlem-Amsterdam.

This church is an important landmark for the city of Haarlem and has dominated the city skyline for centuries. It is built in the Gothic style of architecture, and it became the main church of Haarlem after renovations in the 15th century made it significantly larger than the Janskerk (Haarlem). First mention of a church on this spot was made in 1307, but the wooden structure burned in the 14th century. The church was rebuilt and promoted to chapter church in 1479 and only became a cathedral in 1559.

The organ of the Sint-Bavokerk (the Christiaan Müller organ) is one of the world's most historically important organs. It was built by the Amsterdam organ builder Christian Müller, with stucco decorations by the Amsterdam artist Jan van Logteren, between 1735 and 1738. Upon completion it was the largest organ in the world with 60 voices and 32-foot pedal-towers. In Moby-Dick (1851), Herman Melville describes the inside of a whale's mouth:

"Seeing all these colonnades of bone so methodically ranged about, would you not think you were inside of the great Haarlem organ, and gazing upon its thousand pipes?"

(Source: Wikipedia)

Taken by: Emiel Dekker (emield.myportfolio.com/)

I have no methodical way of editing and so today's post is back to my California trip. I edit what I feel and I've been yearning for the ocean in a big way.

This is a capture just as the sun was setting at Rocky Point off the Big Sur coast line.

"To sit in silence off the shore, watch the waves and hear the surf, is to appreciate the very breath and heartbeat of the earth." ~Doe Zantamata

You can follow me here:

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Thank you for stopping by and taking a look at my photography.

DSC_0095

thegoldensieve.com

A good thing continues

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

... of Robert Huffstutter

I have been intrigued with Robert's art for some time. I think he works mostly in colored pencil, but I could be wrong. It doesn't matter, what he basically works in is color on paper and his brain is too busy feeling the need to implant images and information on the paper, he is totally unconcerned with style and technique.

Robert is a pure natural painter. He's not a primitive as we defined that school of art from a long time ago. I would call Robert a naturalist, because he stays natural to not only his subject matter, but to himself. His is the kind of art that not only tells the message he is sending, but is magically therapeutic for him as well.

I know vocabulary is changed with time. My father would have studied about dementia praecox (sp), while I was told this title was obsolete and people could be paranoid or perhaps manic-depressive, but that dementia praecox no longer had meaning. Nowever Senile dementia is still a good descriptor.

Again, watch out for me, because I got my basic education over sixty years ago. Artistically children were grouped into two categories, visual and haptic. Visual people generally attempt to draw things as they visualize them, while haptic children tend to draw things as they FEEL them.

Robert is not totally haptic, because his layouts are all just the way you would see the subject matter, but on the other hand Robert strongly draws what he feels as well.

Here's an example of what a visual-haptic person can do. I watched this happen over the years with adults, trained and untrained, who were thus gifted.

Teaching adults for me was almost entirely for the night hours, so going out to sketch was impossible. I furnished a target image with a slide and projector. Most of the pictures I took of subject matter introduced was from either a kneeling or standing position and looking straight on at the subject. That usually placed the horizon line low or midway in the center of interest.

The haptic person, might be expected to do anything under the sun, whereas the visual person would usually do the expected layout and the teacher needed only to show them how to set up and correct the perspective and how to measure distances and comparisons and with a lot of practice a student could soon be drawing very realistic things.

Now, comes along a visual/haptic person and they do a very visual house the only thing is they draw the house they are looking straight into as if they were on the second floor of a house across the street and hence are not looking AT the house but DOWN ONTO the house. And, of course I stood there appalled. I mulled over the phenomenon over many years and never ever tried to tell the person not to do that.

What they were doing was a perspective project, so complicated, had I required a first semester drawing class to do it would have caused them to walk out on me. That kind of ability is one of the main things about a visual/haptic person.

I learned that as you begin to draw, you start work on the right side of your mind, very methodically doing everything very meticulously and thought-out. Then somewhere along the line, you began to paint automatically and become consciously unaware of the forces working within your mind. Here is where the miracles come from. Sometimes a sentenced ending in a preposition imparts great wisdom. Koff koff,

That stage is where the haptic person is all the time. They are working on the opposite side of their brains. Everything is emotional and everything is just as they want it to be. They have already arrived at style and technique. They are already purely original, as purely as an artist can be.

Visual/haptics, or what I call naturalists (a bad title because it sounds like they're collecting butterflies or bugs). Haptics and visual/haptics both resist training and the reason is they are doing what they came to do. They are not trying to develop a style, a technique or any of the words we use to describe painting and painters. They have arrived and just want to be free to work. They begin every picture on the opposite side of their brain and end it the same way. Actually, I think the visual/haptic has no dividing line and simply lives in a perfect blend of the two conditions or perhaps, they automatically flip back and forth from one brain hemisphere to the other.

I've told this badly, but I hope I've given you a new understanding into the kinds of artists we have amongst us.

Vaya con Dios, Roberto....

... as I meander through Robert's photostream, I always have the urge to CHANGE something, not improve and not correct, simply change it, so that now you have TWO to look at from time to time. Robert welcomes this kind of collaboration. I looked at his view (image on the left) of an LA street from a hotel lobby and thought about it with a GLOW all around the edges (image in the middle), then I wondered what if the glow "whispered" instead of spoke out loud (image on the right).

Here's a link to Robert/s photostream ...

www.flickr.com/photos/29528454@N04/

Mama Mia, I have seen a shitload of films in theaters these past two weeks. It’s all thanks to my AMC A-List membership. Now this is no paid endorsement of AMC, but I switched from MoviePass to A-List and I gotta say it was one of the best decisions I’ve ever made. If you’re a film lover like me, 3 movies a week for $20 is a HOT DEAL. Plus I movies in Dolby and IMAX are included in this 3 movie a week deal which is sweet! Anyways, I’ve been really taking advantage of this deal to catch up on a lot of films, so here are my quick thoughts on some movies that I’ve recently seen!

A Star is Born -

My biggest hesitation going into a Star is Born was the music. I knew there were going to be a lot of of music performances in the film and I feared it end up like Nashville were I'm bored to tears with 2 hours of country music. Thankfully the music was actually really good. They bop, my dudes. But more importantly, the story's really good too. I totally bought the chemistry between Lady Gaga and Bradley Cooper, the believability of the film is sort of built on it. This film will inspire you, but it will also make you cry. The only things I'd say that didn't make it a perfect film for me is that there are a lot of things I've seen in this film before, yeah I know it's a remake of like 4 other films, but there are lots clichés from other films too. It also got a little slow in the middle, but it finished off strong. Overall, I can seriously see an Oscar contender here. What a great directorial debut from Rocket Raccoon!

Score: 8/10

The Sisters Brothers -

The Sisters Brothers is one of the most bizarre westerns I’ve seen. I got a lot of Coen Brothers vibes with doses of Greek and absurdist storytelling in terms of narrative and tone. John C Reilly and Joaquin Phoenix are grey in this film, it’s clear they were portraying two sides of the same coin in this bizarre allegory about life. This movie took me a bit to fully wrap my head around because I wasn’t accustomed to their unique dialogue, but it’s a fun film to discuss because there can be so many takes on what it represents.

Score: 8/10

Smallfoot -

First thing's first, Smallfoot is a movie is for children. The humor is for children, the music's for children, but most importantly, the message is for children. Did I roll my eyes through 70% of this movie's humor and music? Yes. But that's purely because it just wasn't my style, which is why I can't give this movie a higher rating. If you loved the humor and music, more power to you! As for the film's message, I do feel like I've seen quite a few animated movies play with this concept of "truth" and how it tackled both sides to why lies are created in society. I think Smallfoot handled these themes pretty good for the most part, but I'd never hold it up with films like Zootopia and The Lego Movie. What I will say I loved was, I know this is gonna sound dumb, but this was a movie about Yetis. I was obsessed with Bigfoots and Yetis as a kid, and if this came out like 10 years ago, I'd be all over this film. Except for the musical numbers, even I wasn't a fan of animated musicals as a kid. Though I must say, I thought that one musical number performed by Common was actually pretty dope!

Score: 6/10

Halloween -

It’s pretty fun, but it’s also pretty dumb. Most of all, it’s pretty run of the mill for these kinds of movies. First of all, just gotta say that I've never been a slasher fan, just don't find them all that scary. I original Halloween is the best one I've seen and even then I think it's okay. This year's Halloween (I hate that there are like 4 different movies called 'Halloween') does it's best to recapture the original while also adding some aspects that did and didn't work. One thing I did think worked was this Halloween was the humor and the way the kills were shot, it made the film a lot more fun to watch than the original, whereas that film finds it's success in its eerie atmosphere and methodical pacing. Where I think this film falls flat on its face is its narrative there are just some twists and characters in this film that were so dumb, not fun dumb, just dumb. I must say, the movie did leave me off on a good note with a great third act minus this ridiculous twist, which is why I wouldn't say this is a terrible film, but it wasn't all that great either. It was a great film to watch in a packed theater, I'll give it that!

Score: 6.5/10

First Man -

Damn, space is fucking terrifying, man. Technically, this film is absolutely stunning. The cinematography, sound design, and the score all blew me away, especially in the end. First Man does a fantastic job at capturing this historical event from personal perspectives. Some complain that they didn't find Gosling and Neil Armstrong all that compelling, but I think Chazelle distancing the character from the viewer was kind of the point given all the tragedy that has gone on in this man's life. I had no knowledge of Armstrong's backstory going into this film, so it was so interesting to follow along through his life leading up to the moon landing. I'd say my biggest complaint with this film is that given it's a slow burner type of film, there were moments where I started to feel the film's length. But overall, I had a fantastic time experiencing this on an IMAX screen, I'd definitely recommend checking it out in that format if you can!

Score: 8.5/10

Bad Times at the El Royale -

A film that answered all the wrong questions. Bad Times at the El Royale is one of those films that I would've enjoyed a hell of a lot more if I went into this film completely blind. This film was way over marketed, I probably watched the trailer for this film in front of almost a third of the films I've seen in theaters this year. In fact, they played FOUR different trailer for this film before I saw The Predator. So along with knowing a few of the reveals that would've been crazy to not have seen coming while watching the film, I feel like the film also set me up to expect it to explore certain mysteries like what the hotel actually is, whereas it didn't even really matter who "management" is in this film. So I was really disappointed on that front, but besides that I would say I enjoyed the film! Drew Goddard does a really great job both writing and directing the film and exploring each and every character. He got me to root for some and completely hate others, so mission accomplished on that end. Overall, I had a great time watching Bad Times at the El Royale, I guess I expected the mystery to be more deep than what it really was.

Score: 7/10

If you have seen any of these films, let me know what you thought of them in the comments below!

If you like these mini reviews, I upload these almost EVERY DAY, both old and new movies, on my Letterboxd account! Make sure to create an account and follow me there!

Link: letterboxd.com/antman3000/

A small, dark heron arrayed in moody blues and purples, the Little Blue Heron is a common but inconspicuous resident of marshes and estuaries in the Southeast. They stalk shallow waters for small fish and amphibians, adopting a quiet, methodical approach that can make these gorgeous herons surprisingly easy to overlook at first glance. Reference www.allaboutbirds.org/guide/Little_Blue_Heron/id

Image - Copyright 2018 Alan Vernon

Well, I don't know, there you are quietly chugging along with a two cylinder Lister beating out its methodical tune, when, all of a sudden, the tranquility is shattered by the awsome thunder of a resurrected Grid!

56094 performing the honours across Chirk Viaduct, above the Llangollen Canal Aqueduct crossing the River Ceiriog. Chirk canal tunnel (complete with internal towpath) looms for the boater, who was enjoying a cup of tea as he passed me. I did thank him for his timely appearance. The narrowboat is on hire from Black Prince Holidays, and is probably younger than the Class 56!

56094 is working 6Z50, the 08.16 Chirk - Baglan Bay empty timber wagons, Monday, 29.10.12.

With so few flowers in bloom at this time, I had to really be on the lookout for Hummers. The foraging Hummers also have to be on the lookout for any blooming plant.This lady was methodically sampling all of these red blooms on an ornamental shrub in my daughter's back yard. I saw only a few flying Hummers species (mostly female Anna's and Costa's). These ladies are segregated from each other for IDs mainly on their bill shapes. This bill is said to be more curved... but there is overlap. The underparts of this lady also seem to be clearer and whiter.

IMG_9873; Costa's Hummingbird

In a cave deep underground cavers work together to carefully give life to a long dead formation aptly named the Christmas Tree. Located in Tumbling Rock Cave over a mile deep in the mountainside this formation formed in a large chamber referred to as The Great Hall of Mysteries which got the name due to the high reaches of darkness with several leads yet to be explored. The Great Hall is a junction where the cave forks. To the right takes you down to the stream level which runs through much of the known cave. To the left takes one up to a crawl leading to the Emperors Room – the largest known chamber in the cave. This area of the cave is the turning around point for many new cavers while more seasoned folks will push on through the constrictions required to reach the rest of the cave. The old formation sees them all, the first time caver, the seasoned caver who has visited and seen many of these amazing places, the parent caver who sharing this place with their children for the very first time, and those who dream of discovering a new place.

Today we joined to carefully and methodically decorate the old formation working very cautiously to not touch the limestone with hands. The hands off approach involves using a long pole to wrap the decorations an lights around the tree – a process that involved the teamwork of several cavers.

I am very thankful for my caving friends.

Well, here it is. At last. My F-4J MOC, in the VF-74 "BEDEVILERS" Naval Fighter Squadron. It took loads of work and lots of hours, but I'm so glad I can say I finally did a Phantom.

Initially designed with the U.S. Navy in mind, the McDonnell aircraft company -- creator of the F-4 Phantom -- of the early 1950s tirelessly and methodically analyzed the Navy's needs and desires. They determined that the jet ideal for current and future carrier operations was an aircraft that was quick, technologically advanced, and able to fill multiple roles (i.e., dogfighting, ground attacks, etc.). Initially, designers from McDonnell wanted to modify their F3H Demon aircraft to simply be faster, more modular (to perhaps have different nose or cockpit variations), and more efficient. However, while beginning to proceed with this idea, many Naval officers consented that they had the role of an attack fighter already fulfilled by emerging aircraft from other companies. Eventually, McDonnell started working on a highly-requested all-weather defensive interceptor that would become the F-4 Phantom. Though this was a tall order to fill, F-4 deliveries began in the early 1960s to the U.S. Navy, and, proving highly versatile, eventually was given to the U.S. Marine Corps and U.S. Air Force.

The F-4J is one, later variant of the Phantom family, and with modifications to the airframe, engines and weapons systems, it was certainly one of the more advanced models. In fact, it was the first fighter in the world to incorporate a look-down/shoot-down targeting system. Among the Naval Fighter Squadrons that recieved the F-4Js, the VF-74 "BEDEVILERS" were certainly some of the finest that received them. Transitioning from their F-4Bs to the new F-4Js in the early 1970s, they partook in aerial combat in Vietnam, and didn't lose a single aircraft to enemy forces. They were also successful elsewhere, winning many awards during peacetime -- one of which was the Admiral Joseph Clifton Award, rendering them as the top Naval Fighter squadron in 1976. My F-4J is in a typical, later skin they'd use on the USS Forrestal (CV-59) aircraft carrier.

My model itself features dual, opening canopies, room for two minifigures in their respective tandem cockpit arrangement, functioning landing gear, and a simulated loadout of two AIM-7 Sparrows and four AIM-9 Sidewinders. I worked very tirelessly on both the diorama and the jet, and I do hope you like it. Comments, faves, and constructive criticisms, as always, are greatly appreciated!

bird feeders down and they should have already been in for the season

I wrote this several years ago and the start of the month of March always reminds me of what happened in San Antonio 174 years ago.

Greece had it's Thermopylae...where a band of 300 hand picked warriors voluntarily gave up their lives to slow the onslaught of the massive Persian war machine. The reason they died willingly? Because of their views of duty, honor and courage....and because they bought precious time for their countrymen to prepare their defenses. And of course, history tells us they did their duty so well that the Persians did not destroy their country - although they had the strength of numbers to do so.

Does that sound at all familiar to you? If it doesn't, you may not be a student of history. But what is remarkable is that America has it's own Thermopylae as well. A small band of men who willingly gave up their lives to protect their countrymen from the hordes of an advancing, supposedly superior force of men. Yes...we're talking the Alamo, folks....one of the most remarkable, evocative sites in these United States.

I have visited the Alamo in downtown San Antonio over a dozen times...and it never fails to move me. Perhaps its the fact that the volunteer guides....The Daughters of the Texas Revolution - who stand at the entrance as you enter - perhaps its the fact that they deplore you to remove your hat and whisper...since you are entering a shrine. Yes - a shrine. Not a battle site. Not a historical monument. A shrine.

And as you see the war beaten walls....feel the bullet holes with your own fingertips....and hear the echoes of the past.....you are filled with a sense of awe...and with a sense of pride. These 187 men....commanded jointly by Colonels Travis, Crockett and Bowie....did the exact same thing that their Spartan brothers did thousands of years previously. They knew someone had to slow down General Santa Anna and his thousands of troops before they destroyed Texas methodically...town by town. They knew that their brethren at Goliad had been butchered....400 men taken into a vacant field and shot like animals....and they knew that no one was coming to their rescue.

It is called the epiphany...the moment of realization that all men experience at least once it their lives. When one looks at their own mortality and realizes that the moment is upon them. And to a man, they did not blink. They could have fled....they could have slipped off in the night....but they chose to stand and fight...and buy time....precious time...for their countrymen to prepare. Just think about that....would you be willing to give up your life today for your countrymen? Today. Not tomorrow....not next week. Today. Leave you families behind....leave the joys of life behind....and STAND because you believe in duty, honor and valor?

Remember, these were not West Point grads....not military men by any sense of that word. These were volunteers....some barely old enough to hold a musket. And they were in an old mission that had crumbling walls and little in the way of a defensive position. But it did lie in the path of "The Napolean of the West"....Santa Anna...who was thought in the year of 1836 to be invincible. And he had several thousand men with him. Several thousand. Then...as you visit the Alamo....and see the rooms where our Spartans sat the night before the final assault...I do believe you will feel their presence....and feel their pain.

Oh...and one more thing that should elevate San Antonio from a thought of "hey, that would be a nice place to visit sometime"....to a thought of "I need to go see this place as soon as possible". If you are a parent of children who seem to take the attitude of "whatever"....the common teenage attitude of not really caring about anything much....I'd urge you to book a flight to San Antonio soon. Sure....the Riverwalk is breathtaking...and the Mexican food is top notch. But the true reason to visit San Antonio is directly in the center of town...surrounded by high rises...and seemingly insignificant compared to today's structures.

But tell your kids a bit about what this mission means...and why its held it such high esteem by Texans and non Texans alike. Tell them why this site is America's Thermopylae...and why those men are our Spartans....and why 160 plus years later we still hold their efforts....their sacrifice...with such awe and respect. Let them walk through the entrance...let them feel the bulletholes....let them look at the art that tries to capture this significant moment in our collective pasts.

And yes -I do believe they will be moved.... regardless of their ages. I do believe you will plant a seed in their minds that they may harvest 30...or even 50 years later....when they face their own ephiphany. And perhaps....just perhaps....it will help them understand a bit about self sacrifice and what it means to give all for something.

In fact, I do believe that we ALL need to make that pilgrimage to the Alamo at least once in our lives.

Why?

Because it is one of the few sites in the world where you can stand and actually feel the essence of man.... and feel the spirit of what makes man such a different creature from others.

American White Pelicans flying very high over Hurricane, Utah. April 11, 2017. Flying over the high (3000') desert.

www.allaboutbirds.org/guide/American_White_Pelican/id

One of the largest North American birds, the American White Pelican is majestic in the air. The birds soar with incredible steadiness on broad, white-and-black wings. Their large heads and huge, heavy bills give them a prehistoric look. On the water they dip their pouched bills to scoop up fish, or tip-up like an oversized dabbling duck. Sometimes, groups of pelicans work together to herd fish into the shallows for easy feeding. Look for them on inland lakes in summer and near coastlines in winter.

They are superb soarers (they are among the heaviest flying birds in the world) and often travel long distances in large flocks by soaring. When flapping, their wingbeats are slow and methodical.

Other photos of the same flock...

www.flickr.com/photos/webnet/33943134786/in/dateposted-pu...

www.flickr.com/photos/webnet/33139259874/in/dateposted-pu...

We got one of these multi-flavored cheesecakes from BJ's wholesale club around the time of my 40th birthday, but those damn party guests ate a number of the slices, while I was in the hospital ER getting a head wound stitched up (long story...)

So, this time I bought the cheesecake just for myself, and I intend to try each and every flavor over the course of a week's time. That's 14 flavors, 2 slices a night, and since anything worth doing is worth doing methodically, I will document my journey with photos and ratings for each flavor.

NOTE: Eating an entire 3 1/2 pound cheesecake in one week is NOT medically recommended. As always, please consult your doctor before beginning a cheesecake regimen. I'm a professional, so kids, don't try this at home.

Maker: Berenice Abbott (1898-1991)

Born: USA

Active: France/USA

Medium: gelatin silver print

Size: 10 1/4 in x 12 in

Location: USA

Object No. 2022.315

Shelf: A-4

Publication: Berenice Abbott, Photographs, Horizon Press, New York, 1970, pg 154

Hank O'Neal, Berenice Abbott, American Photographer, McGraw-Hill Book Co, New York, 1982 pg 221

Documenting Science, Steidl, Gottingen, 2012, pg 28

Other Collections:

Provenance: Estate of Harry Lunn

Rank: 900

Notes: Printed 1976. Signed in pencil on recto below image with Abbott's Abbott, Maine hand stamp on verso. Berenice Abbott (1898-1991) was born in Springfield, Ohio and attended Ohio State University. In 1918 she moved to New York and then Paris in 1923 where she was introduced to Man Ray, who hired her to be his photography assistant. Despite having no experience in photography, Abbott soon started to produce her own work, eventually opening a studio of her own. In 1926, Abbott had her first solo show, featuring dynamic portraits of the artistic and literary avant-garde. Abbott had first encountered the work of Eugène Atget through Man Ray in 1925. Though Atget had been documenting Paris for three decades, he was long forgotten by the public by the time they became friends. The only known portraits of Atget were made by Abbott shortly before his death in 1927. She purchased more than 5000 negatives, glass slides, and prints of his work, returning to New York with the extensive archive she had amassed. She was fiercely dedicated to preserving Atget’s legacy over the next forty years. Abbott’s collection was ultimately acquired by the Museum of Modern Art in 1968. Upon returning to the U.S. Abbott took on commercial assignments and taught photography at the New School for Social Research. She dedicated herself to documenting New York with the methodical vigor and passion Atget had previously given to Paris, shooting its streets, buildings, parks—and of course, its people. With the support of the WPA Federal Art Project from 1935 to 1939, she created the seminal the body of work, Changing New York, an extensive socio-historical record of New York’s vanishing past as well as the construction of its modern future. The results of the project were distributed to high schools, libraries, and various public institutions throughout the metropolitan area; to this day, Changing New York serves as an invaluable record of New York’s history. Abbott then shifted her focus towards science. In the 1940s, she served as photo editor for Science Illustrated, and went on to photograph scientific principles and processes for the Physical Sciences Study Committee at the Massachusetts Institute for Technology in 1958, developing innovative techniques and mechanisms which enabled her to capture scientific phenomena. Easily her most creative and innovative work, her aesthetically elegant photographs of swinging pendulums, bouncing balls, and wave patterns lend understandable reality to the many complex concepts of physical science. In 1970, Abbott’s first major retrospective opened at the Museum of Modern Art. Her work has since been exhibited and acquired by many institutions throughout the world. Abbott lived in Maine from 1966 until her death. (source: Howard Greenberg Gallery)

To view our archive organized by Collections, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

In the south-west corner of Western Australia, there were Aboriginal communities full of mysteries, one of these mysteries was a boat that had come up from out of the sand, only the prow could be seen, the rest was imprisoned in the ground.

One day, the Little Girl Giant, busy with her travels, fell into one of the Aboriginal communities of the Noongar Nation, into one of those families who are in love with the barrab (sky), the boodja (earth), the yorgam (trees) and keap (water).

She was so welcomed that she decided to stay with them for a long time.

She then witnessed the evolution and change of these inhabitants in the face of the transformation of the Australian continent. She lived there as though it were a beelya (river), full of dreams that jumped like fish.

One day, one of the community’s children brought her an old book full of drawings. It was dog-eared, crumpled, aged. It told the story of a little girl in a lighthouse full of love and sorrow, who watched soldiers leaving Australia on ships, carrying hope into lost battles. It was 1915 on the beaches of Gallipoli where the sand, reddened by the blood of men, frightened the moon. Through the book, the Little Girl Giant, as she looked at the sky, saw the past, the present and even the future.

Her gaze plunged into the centre of the battle, and she could see men disappearing, like being suddenly wiped from the earth as an eraser would rub out on a drawing. She also saw a boat sink, snatched by a gust stronger than a cathedral and laid down on the bottom of the ocean, then an Australian diver, sent to find survivors, stuck in air bubbles. As he could not see a living soul on the seabed, he decided to stay there. Miraculously and without knowing it, he started walking and this removed the tubes and the air that filled his lungs. As he turned his head, he saw dozens of boats lying in the sand. Methodically, he entered each ship and brought dead men out of them. He dug the ground to bury each one and he continued, his muscles toned by an infernal will, so much so that around each sunken boat, there was a graveyard, like small heaps of sand without crosses, only small bellies emerging from the dust. There were hundreds like this around each boat, peaceful. With a madness which cannot be named, he continued his work. But from graveyard to graveyard, his body grew thicker, denser and without realising it, one day he was able to overturn the ships. He had monumental strength. He had quite simply grown like a child in a bath who suddenly realises that his feet are touching the taps. It was simply the story of a Giant who became big at the bottom of the sea.

In the Noongar country, the Little Girl Giant closed the last page of the book. The little Aboriginal child, his eyes full of colours, was sad then, in his gaze a rainbow flew away to the clouds.

He understood then that the Little Girl Giant had to leave to re-join her family, and when the sun lifted the horizon, he hurried to fetch his father. Whilst the stars hid in the sky, lying behind the morning light, all the people of the Noongar Nation saw a tear come from the Little Girl Giant’s eyelid. As it touched the ground, a small puddle was swallowed up by the soil. In this very spot, a tree could be seen growing in the space of two hours. From a small and barely awoken sprout, a trunk developed, full of branches with leaves that the wind enjoyed moving. It was just a tree in the boodja (country).

Then she thought that the buried boat could sail the earth to find the diver. The Aboriginals began digging and within ten days, the ship was ready on the ground. The Little Girl Giant climbed onto it and the Noongars began to sing the rain. Accompanied by the sound of the boomerangs, she crossed Western Australia. The sand made waves, the boodja filling with water. In short, she arrived in Minang boodja (Albany) from where she sent a hot air balloon, like a moon over the ocean, to call the diver. Then she headed to Whadjuk boodja (Perth).

Upon her arrival in the big city, she placed her head underwater and blew bubbles which echoed at the bottom of the ocean. Everyone knows that whales can hear sounds from 5,000 kilometres away when they call each other and that the sound of people’s footsteps on pavements reverberates to the centre of the earth.

The air bubbles that were pushed by the tide floated around the Giant Diver. With their large, small or tiny shapes, they followed one another like a convoy of boats and one after the other, they exploded in front of the Giant’s eyes. They expressed signals like Morse code: a point, a line, two points then nothing and again two lines and a point. It was a language the man of the sea knew well. He could then read sentences in which each message ended with ‘come’. No sooner had he understood he was surrounded by a tornado of fishes. They circled him faster and faster so that the swirl of force became a gust of wind. On the surface, the agitated fog started to cough so hard that a storm swallowed the bottom of the water, throwing the diver into the sky all the way into the clouds. Then, like a lost body, he fell down unconscious in Perth. The earth trembled and suddenly a great spray of water burst out of the ground between two buildings. A geyser was born, as if to greet through space the arrival of the Giants.

Bar-tailed Godwits are the world record holders for non-stop flight: they have been recorded travelling 11,000km from Alaska to New Zealand in only 8 days, flying at an average of more than 50km/h. This journey is also a fantastic weight-loss program, as the birds lose almost half of their body weight along the way. Luckily, once they arrive in Australia, our mudflats are waiting, filled with tasty morsels to help them recuperate.

When on the long migration from their Siberian breeding grounds, Red Knots usually fly in ‘V’-shaped flocks, but once they reach their non-breeding grounds in Australia, they form vast flocks, comprising thousands of birds which fly about in ovoid-shaped flocks, which have a flat bottom that is parallel to the ground below. They also forage in large, dense flocks, with birds rapidly, intensively and methodically probing the wet mud as they walk quickly across the mudflats exposed by the falling tide.

Source: Birdlife Australia

Born Lourens Tadema (Alma being his middle name) in Dronryp, Friesland, to Pieter Tadema, a notary, and his second wife Hinke Brouwer - from an early age Alma-Tadema showed artistic ability and the beginnings of his highly methodical and exacting nature as demonstrated in his subsequent paintings. He only adopted the now familiar form of his name after moving to London in 1870.

At the age of 16 Alma-Tadema enrolled at the Antwerp Academy where he studied under Gustav Wappers and Nicaise de Keyser, both exponents of the Romantic movement in art. Later he became an assistant to the historical painter Baron Hendryk Leys whilst living in the house of an archaeologist, Louis de Taye. From these two men he began to develop his interest in history and archaeology, which was further developed by contact with the German Egytologist, Georg Ebers. He assisted Leys in painting historical murals in Antwerp's Town Hall.

His early works depicted the history of the Merovingian dynasty, rulers of Gaul from the 6th to 8th centuries AD. However, having visited the International Exhibition in London in 1862, he became inspired by the Elgin Marbles and Egyptian artefacts in the British Museum, leading him to turn ever more towards Egyptian themes.

In 1863 he married a French woman, Marie Pauline Gressin de Boisgirard, and they honeymooned in Italy where he encountered the newly-found ruins of Pompeii. So fascinated was he by the Roman remains with their abundance of marble that very quickly ancient Roman subject matter came to the fore in his paintings.

The Tademas soon moved to Paris where Lourens entered into a long-term contract with the well-known art dealer Ernest Gambart, an influential man with connections throughout Europe. Within a short time he relocated his studio to Brussels.

But in the 1860s, tragedy struck: his only son dying of smallpox in 1865 and his wife in 1869, leaving him to care for his two daughters Anna and Laurence. But fortune in his career followed swiftly and, in the same year, two of his paintings - A Roman Art Lover and Phyrric Dance - were exhibited at the Royal Academy in London.

So well were his paintings received overall that, upon visiting England the same year to see a doctor, and in part due to the possible Prussian invasion of France, Alma-Tadema moved his home to London in 1870.

The following year he married his seventeen-year-old pupil, Laura Epps, a doctor's daughter and member of a then well-known family of cocoa manufacturers. In 1873 he became a naturalized British citizen, at the same time consciously joining his middle name, Alma, to his surname. The hyphenation was in fact done by others and this has since become the convention. It also had the fortuitous 'side-effect' of elevating his name to a top position in alphabetical catalogues!

Soon after marriage, the Tademas moved from a rented home in Camden Square to Townshend House, near Regent's Park. Elegant and cosmopolitan in decor, their home soon became a popular venue for gatherings of fellow artists. Fame and prosperity soon followed and in 1876 Alma-Tadema became an Associate of the Royal Academy, being elected to a full Royal Academician in 1879. The Grosvenor Gallery staged an exhibition of 287 of his paintings in 1882. He had become one of the most famous painters in Britain.

'Building' on this success, Alma-Tadema drew up plans for a more spectacular home - the building for which he found in St John's Wood. In fact it was the former home of French artist James Tissot that had been abandoned after the death of his mistress, Kathleen Newton. It was then fairly modest but had a number of classical features that appealed to him (such as the famous colonnade beside a garden pond, which featured in several of Tissot's canvases). However Alma-Tadema made it into almost a palace, designing every detail himself - from the weather vane in the form of an artist's palette and the doorway modelled on one from Pompeii, to the rainspouts in the form of lions' heads. The hall was lined with panels painted by fellow artists and the enormous galleried and marble-floored studio was crowned with a polished aluminium dome - the brightness of the light it reflected noticeably affected his paintings from then on.

Both of his London homes were famous for their extravagant parties, often in fancy dress - the artist himlself having a predilection for dressing as Nero - and where music was always a feature. Distinguished guests included personalities such as Tchaikovsky and Enrico Caruso.

Alma-Tadema received awards and honours from around the world, although notably not from his own country of birth - including a knighthood from Britain in 1899 followed by the prestigious Order of Merit in 1905. His clients included members of the British Royal family and the Russian Imperial Family - he was in fact a noted Society portraitist. Indeed approximately 60 of his 400 plus paintings are commissioned portraits of sitters ranging from the British Prime Minister Arthur Balfour to the Polish pianist and Prime Minister Paderewski.

By the time of his death in 1912 at the German spa of Wiesbaden, he was so famous an artist that the British 'establishment' saw fit for him to be buried in St Paul's Cathedral. Soon afterwards, his famous house and contents were sold - the house being converted into apartments, leaving few of the splended architectural details.

Captured the VAB and Crawler-Transporter 2 during the Artemis II Wet Dress Rehearsal. There’s a different kind of tension in the air on WDR days—the hardware is out there, the teams are in the zone, and these massive machines are the silent partners in the process. It’s a privilege to document the slow, methodical "practice runs" that ensure a safe trip to the Moon. _DSC5191

I've been going through my Europe 2008 pics to make a photo book -- but it's a complex process, since I'm being so methodical (of course) about it.

Anyway, here's a "lost photo" from Barcelona, taken on the tour bus. I think the cruise ship on the left is the Navigator of the Seas, based on the blurry writing on the side, but I could be wrong. It's definitely in the Voyager class of Royal Caribbean's ships. I think the Pullmantur ship on the right is the SS Oceanic.

This past week, I went to Spring Lake Resort with Ally and our little girl, who is one month old now. We went to Algonquin Provincial Park, Arrowhead Provincial Park, and saw some other stuff. I'll post those pics eventually; my Canon EOS IX Lite (APS SLR) didn't work at all, but thankfully I had my Canon EOS Elan IIe, and shot a roll of that (35mm film) while I was there.

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IMG_8703ps

☆Private collection

Sotheby's past sales, London, November 2012

This work will be including in catalogue raisonné on the artist by Blanca Pons Sorolla.

📌Painted in 1895 on Valencia beach, Valencian Fishermen is Sorolla's brilliant sequel to his painting La vuelta de la pesca (Return from Fishing) painted a year earlier (www.flickr.com/photos/140907479@N08/49414280996/in/datepo...). Celebrating the labour of the local fishermen, from both the present work and Return from Fishing stems the painterly technique and characteristic subject matter that lies at the heart of Sorolla’s aesthetic, a style and theme from which he would draw inspiration repeatedly over the succeeding two decades.

Shaded from the hot sun by their traditional fishing hats and everyday working clothes, the two fishermen in the foreground clean their distinctive bell-shaped creels, the basket-like traps that they used for collecting small fish, shellfish, crabs and lobsters. Behind them a third fisherman lands more creels to scrub down. Set against the lapping shallows of the Valencian sea that washes over the men’s feet, and using a palette of subtle colour gradations that range from the rich earthy tones of the wet sand in the foreground to the deep watery blues beyond, Sorolla fills the composition with the dazzling Valencian light that glints on the whites of the waves and dances across the picture surface.

Sorolla was the first to acknowledge the critical importance of his work of the mid-1890s in establishing his future success. In a letter of 1913 to Rodolfo Gil he wrote: ‘How long did it take me to form my style? Twenty years! … Until my painting in the Luxembourg [Return from Fishing], I was not fully aware of the ideal I was pursuing. It was a laborious process, but a methodical and rational one; gradually the hesitations were ironed out, but not all of a sudden…’ (quoted by Carmen Gracia ‘Sorollism: A Unique Adventure’ in The Painter Joaquín Sorolla, exh. cat., IBM Gallery of Science & Art, New York, and travelling, 1989, p. 38).

It was an admission that was widely shared by later commentators. Describing the central role played by the present work and Return from Fishing in the development of Sorolla’s career, Marqués de Lozoya wrote: 'There is a moment in every artist's career which usually follows many years of strenuous effort, in which experiences are accumulated in an intuition of marvellous clarity; the artist's vision becomes precise and clear; the paths that lead to success are firmly perceived and easily and happily pursued, without any effort at all... For Sorolla this moment arrived with his first beach scenes: Return from Fishing (1894) and Valencian Fishermen (1895) [the present work]... These paintings do not resemble any of those he had painted before and in all of them we find the vigour of the best of Spanish painting.' (Marqués de Lozoya, in Catálogo de la Exposición Sorolla. Su obra en el Arte Español y sus obras en la Argentina, Buenos Aires, 1942).

Sorolla exhibited Return from Fishing at the Paris Salon where it received the highest honours possible for a painter from abroad, and was purchased by the French state to hang in the Musée du Luxembourg. The present work Sorolla submitted to the Berlin International Kunstausstellung the following year, where it was unanimously awarded the gold medal, and was singled out for purchase by the director of the Berlin Nationalgalerie, the influential Hugo von Tschudi.

Although sharing the same theme, the two works are very different in purpose, execution and ambition. Sorolla conceived Return from Fishing specifically for the Paris Salon. Large in size (265 by 325cm.) the individual elements of the composition are painted on a grand scale. The figures – both men and oxen – are monumental, their actions eternal; while their man-handling of the boat with its billowing sail takes on a mythic drama. For Sorolla the painting was arduous work. He mentioned in a letter to his friend Pedro Gil: ‘Thank God we are home after a summer of hard work, because the painting for the Salon was tough. I experienced moments of such difficulty that I had already decided to abandon it, but my own self-respect is stronger than a locomotive…’ (quoted in Joaquín Sorolla, Museo Nacional del Prado, Madrid, exh. cat., 2009, p. 236).

In comparison Valencian Fishermen is much more intimate in feel. Sorolla's facility in recording the moment reflects the same work-a-day honesty as the fishermen's own simple actions cleaning their creels by the water’s edge. Notably smaller in size, it has a fluidity in the brush work and gentle humility in the figures that expresses a profound sense of integrity, that compares closely with the work of Jean-Francois Millet. Sorolla was already familiar with Millet's work, as well as that of other leading French Naturalist painters, but the solemn forms of the fishermen bear such close comparison with Millet's noble peasants that he may well have reacquainted himself with the Frenchman's work when in Paris during June at the time of his Salon triumph with Return from Fishing.

The feeling of closeness to the motif that Valencian Fishermen engenders is also the consequence of a new departure in Sorolla's work - a result of the painting being executed on the beach, making the present work one of his earliest full-scale finished compositions to have been painted en plein air. To accomodate his new 'out-doors' approach, Sorolla streamlined the composition. The zig-zag of diagonals and intersecting triangles that jostle for attention in the structure of Return from Fishing are removed; grandiose gestures are toned down, the baroque drama of the billowing sail is reduced and the horizon line is raised. Unlike Return from Fishing, painted in his studio and which, as he wrote, he struggled to complete, in Valencian Fishermen, men, creels and boat are arranged with apparent ease and understatement against the backdrop of a tranquil sea.

The desert sun finally dipped below the horizon, leaving the sky a deep, bruised crimson that cast long, distorted shadows across the sand. Naiche stood slowly, the second boot gripped in his hand. He looked down at the man he had dismantled—not with the fire of a killer, but with the cold, hollow satisfaction of a man who had reclaimed a debt.

With a chilling, methodical neatness that contrasted the violence of the act, Naiche stepped to Elias’s side. He did not drop the boots; he set them down. He placed them upright, side-by-side, the tall black leather standing like two grim sentinels next to the Captain’s head. The polished surfaces caught the last of the dying light, a mocking reminder of the officer Elias had been only an hour before.

Beside the stiff, orderly boots, Elias was a ruin of motion. His body was seized by involuntary convulsions, his chest hitching in shallow, wet rattles as his nervous system buckled under the trauma of the arrow and the assault. His legs, now entirely bare, lay heavy and limp in the dirt. His feet were stained with the red dust of the territory, the soles greyed by the grit, his toes twitching feebly against the heat-soaked ground.

Naiche retrieved his rifle, the metal barrel still warm from the sun. He looked one last time at the streak of blood drying on Elias’s chin and the way the Captain’s eyes rolled back, white and unfocused. There was no mercy left to give, and no more pride left to take.

Without a word, the War Chief turned and began to walk. His silhouette grew smaller against the darkening mesa, leaving Elias pinned to the earth by the hickory shaft in his chest. The only sound left in the vast, empty expanse was the soft, rhythmic scrape of Elias’s bare heels against the sand as his body continued its slow, agonizing dance with the end.

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

.

Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

en.wikipedia.org/wiki/Gautama_Buddha

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

.

Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

en.wikipedia.org/wiki/Gautama_Buddha

Located at no. 58 Hauptstraße.

"Front building, two-storey, gable-independent hipped roof building with decorative half-timbered upper floor projecting over leaf consoles and an eaves extension with a plastered half-timbered upper floor facing the main street, ground floor with drilled sandstone frames, marked 1680, neo-baroque sandstone frames on the ground floor marked 1881.

Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.

Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.

Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.

From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.

In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.

In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.

The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.

Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.

In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.

From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.

Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).

Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.

Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.

Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.

The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

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Built in the fields near the banks of River Lergue and a fair distance from the closest village of Ceyras, this chapel, dedicated to Saint Peter, is very old and very atmospheric, in spite of the energetic efforts of the civil servants from the administration of Monuments Historiques to hide its beauty under a heavy beurrage —read thick plastering and painting that completely hides the apparel and effectively obliterates the monument’s history by silencing the stones. This is recent and happened most certainly further to the chapel being listed as a Historic Landmark in 1999.

This chapel was likely built during the late 900s, by a very old road created during the Antiquity, and which forded the river right there, allowing pedestrians to cross. The church would then have been seen as a refuge and a place of safety by pilgrims, merchants and other travelers. Its structure is Wisigothic: one single nave ending in a quadrangular apse, strongly protruding out of the church’s base rectangle. The name Léneyrac probably refers to the Latin linarius, –acum, meaning the people who worked flax to create linens.

There is a ruined building right next to the church, on the southern side, which may have served as a hermitage as some point.

Nearby is also a ruined Mediæval tower that was used to keep watch over the environs, as part of the surveillance network of the local lords of Guilhem.

The southern door is the only access into the church today. At some point in time, part of the original arch was filled in, and only a smaller door (very narrow and low: I had to stoop sideways to get in!) remained.

As is very often the case because of thefts, this isolated church is locked, and I had to make arrangements in advance to secure the key. This is part of the preparations I make prior to setting off on my photo trips, and it has to be undertaken very carefully and methodically, failing which one gets very disappointed to find oneself in front of a locked door, without knowing where te ask for the key....

Gerhard Richter German 1932

AB Mediation , 1986

Oil on canvas

In 1961, the year the Berlin Wall went up, Richter left Dresden to settle in Düsseldorf, West Germany. There he met artists Polke and Fischer-Lueg with whom he founded Capitalist Realism. He brought to painting such images of the banality of the contemporary world as were found in numerous iconic sources, such as advertising flyers, magazines and family photographs. Throughout his long and prolific career, Richter has displayed a critical fascination for the ways in which images are constructed, an interest that led him to explore abstraction and figuration in like measure, giving him a unique position in the history of twentieth-century painting. “Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth”, he noted in 1962. This painting belongs to the group of “Free Abstracts” that the artist worked on in the mid-1980s. An apparent offshoot of the gestural abstraction Richter had admired during his years of academic training, this magnificent diptych is in fact the result of the artist’s analytical approach. Its violent explosion of colours is attenuated by the mechanical application of paint, while certain methodically brushed-on areas of the surface suggest the effects of a landscape viewed through an out-of-focus camera lens – a sign of the preponderance of photography in Richter’s work.

Purchase, Horsley and Annie Townsend Bequest and the Montreal Museum of Fine Arts’ Volunteer Association Fund, inv. 1987.8

From the Placard: Musée Des Beaux-Arts Montréal

www.mbam.qc.ca/

en.wikipedia.org/wiki/Gerhard_Richter

youtu.be/q7Zbpz1Rjjw

www.upi.com/Entertainment_News/Photos/Photos-from-the-Ger...

youtu.be/yF6EluMNR14

in a rainy munich, a cleaning lady in orange becomes part of the store's vibrant message of a clean future. amidst the drizzle, her silhouette is a burst of warmth against the coolness of the rain. she moves methodically, her presence as much a part of the storefront as the promise emblazoned above. the world outside continues its wet whisper, but inside, there's a bright insistence on order and optimism. even as the rain blurs the lines, her efforts carve out a space where clarity reigns.

Exif_JPEG_PICTURE

thegoldensieve.com

A good thing continues

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

Progressing!

Pieces are now face up. Five boxes of edge pieces and ten boxes of inners.

As you can see I don't have a strategy as such. I'm working on edges and inners randomly, as I would do naturally with any puzzle. I'm not a disciplined type of puzzler. Perhaps working this puzzle in a more methodical way would get it done faster but I'm more interested in enjoyment, not rules and speed. As most of you know, working with edge pieces is not my strong point so I guess it's of no surprise that I don't have the staying power to fit all of these edges prior to diving into the middles, no matter how sensible it sounds.

As you can see this puzzle consists of 42 separate puzzles without any connectors between the puzzles. To me, the 42 tarot cards do not necessarily need to be positioned in the exact order that PMW have chosen in their image. I thought it might be fun to "see where the cards fall", positioning the cards in order as I complete each card, there by creating my own tarot card reading. All I need to do is find out the meaning of each card and read them as a set of 42 :-0

I think, perhaps, I'm just a little over excited by being immersed in 5000 beautifully hand cut pieces.

Time so far: 7hrs 15mins