View allAll Photos Tagged my_E!
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Hn là ngày đầu của 2k11 ^^~
Chúc mng có 1 năm mới vui vẻ :) , hạnh phúc :) , học hành tấn tới nhớ =))
năm nay là 2011 r` :)
mình cũng phải thay đổi thôi :)
thật sự đấy :)
Mình ... trẻ con quá :d
Mình sẽ cố gắng :)
Cố gắng về tất cả mọi mặt :)
- cười nhiều hơn :)
- ăn nhiều hơn =) ( cho nó béo hú hú :"> )
- ngủ nhiều hơn =)
- chơi nhiều hơn =)
- học ... hơn =))
- ít nói hơn =)) ( mình nói nhiều quá :"> )
- bớt nóng hơn :d~ ( mình hay giận vô cớ tkật :)~ )
- người lớn hơn 1 tý :d~
- .... rất nhiều từ cố gắg hơn :">
:) đặc biệt là trong truỵên t.y :)
____________________________
Comment đi :) muốn xm bn* k ^^~
30 cm - 3 fav - 9 note tkì bn* nké :)~
[ Đã bn* :)~]
Paraty (RJ), 2.jan.2024 - Ensaio no quarto 9 da Pousada das Andorinhas
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Europe - Turquie - Istanbul : Mosquée Bleue / Mosquée Sultan Ahmed
Europe - Turkey - Istanbul : Blue Mosque / Sultan Ahmed Mosque
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© All Rights Reserved - Please don't copy and/or use without authorization. Flickrmail is there for this kind of situation (I read it quite often), so is my e-mail, available at the profile
This is not the sharpest shot, but it has some interesting bits. These blue dasher dragonflies were mating on a lily pad on the Burnett Fountain at Central Park Conservatory Garden. There are many black orbs on the body of the female that I'm guessing are eggs, but I could be totally wrong. This isn't something I have seen before. (210mm, f8.0, 1/40, ISO 200)
The softness was due to using my old E-M10 while my E-M5 MK II has been sent to Olympus to get dust off the sensor. IBIS is so much better on the E-M5 MK II.
More photos from Central Park are in my set
More photos of flying insects are in my set
This is one of the many subway scenes I've shot with my iPhone....
I thought it was an interesting photo, and I gave it fourstars in my Aperture rating system. But not five stars, so it never did get uploaded as a "public" Flickr photo.
But one of my loyal Flickr friends "faved" the photo, so I've changed its status to "public."
**********************
Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.
Stay tuned….
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Sao Paulo, Brazil, August 23th 2021 - Firefighters, forest brigades, volunteers and Civil Defense agents struggle to contain the flames that consume out of control a large part of the Juquery State Park, in Greater Sao Paulo, on Monday (23). About 80 to 90% of the park has already been consumed, according to brigade experts in the area, in the largest forest fire in the park - the last savannah reserve in the metropolitan region. According to the firemen, the fire was started by a balloon drop, a prohibited practice and considered a crime in Brazil, but very common during the winter season - precisely the driest and most susceptible to forest fires
Since acquiring my E-M5 some 18months ago this was the first time that I took a shot with the 'Art' filters setting. I really did not expect much but was surprised by the multitude of images - most of them useless - it produced. I doubt that I'd be revisiting this feature again.
In the end, the almost acceptable non-art image I managed to get was achieved by fusing three of the frames with Photomatix Pro.
Red squirrels at Carnie Woods.
The wifi on my E-M1 was unreliable, so I rarely used it, and rarely using it means that I'm not familiar with the focus control. Pity.
In my garden.
All’s well that ends well. Received a replacement for my E-M5 Mark iii which was sent for a Warranty repair, held up for 3 weeks by UK Customs because of Brexit, then never reached its destination. Once the expected arrival date passed OM Digital Solutions promptly issued a brand new replacement camera. Return journey from Portugal took only 3 days!
Anyway I’ve put the new one through it’s paces today and it’s really nice to have a new but familiar lightweight friend back again.
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Managed to salvage another shot from the other night - seeing as I was so unproductive this weekend.
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I visited Wells cathedral on September 27 as part of a short vacation trip. The weather was cloudy that morning, rendering the chapter house in the most beautiful soft light.
I thought a symmetrical wide-angle shot would do justice to the rhythm and immanent symmetry of the architecture.
After our visit, we went to the cathedral's cafe. There, in a corner near the exit, I spotted a small announcement of a photo contest. (See first comment for the announcement.)
With just two more days left before the deadline, I decided to submit this one. Guess what I found in my E-mail a couple of days later?
Our Wells Cathedral Photographic Competition has been a great success with many entries of an incredibly high standard. We were delighted to discover so many talented photographers, each with a unique perspective on the Cathedral and its environs.
Thank you very much for entering your own photo into our competition. The ‘winner’ spot was hotly contended and we ended up with 40 great pictures that will take part in our exhibition. I am very happy to say that your photo was shortlisted; as a result it will be form part of our forthcoming photography exhibition in the Cathedral’s south cloister running from Saturday 15 October to Friday 28 October [2016]. You are obviously very welcome to come along and see your work during that time; if you are able to visit us, just let the ladies on the entry desk know that you are one of our competition winners!
Many thanks again for your entry and congratulations!
Kind regards,
Lindsay
So if you happen to be in the neighborhood of Wells, UK, go and see the printed version of this and 39 other contenders.
According to the Cathedral's web site, those pictures can be seen on facebook too: www.facebook.com/WellsCathedral
UPDATE:
All the images are also now featured in the Photographic Competition album on their Facebook page.
UPDATE II:
Well they were, but when I checked again today (April 2021) that album is no longer available. Bummer.
Zoe Bear hasn't let fame go to her head. She remains sweet and loving--and a bit nuts, as Pomeranians can be. I'd have dressed her in something festive, but such costuming is way beneath her dignity.
Here's her set.
Happy furry friday.
Computer update:
I'm getting the hard drive installed Monday and will take probably half a day to re-establish my e-mail accounts, reinstall programs and configure them, and do all the grunt work involved in starting from scratch. I'm making good progress on my backlog and all the new work coming in, but even today I'm not able to go visiting and commenting. You all are so wonderful for continuing to drop by. Thank you. I hope to get back to normal (Flickr-wise anyway) soon.
© All rights reserved. No usage allowed in any form without the written consent of Mim Eisenberg.
© Jeanne Madic
Model: Kaitlyn Petrik
--> You can buy a print of this photo on my e-store: store.vanishingtwins.co.uk/146-k.html
This was a last minute shoot to get some promo photos done for a bbq event. I only had my e-p1 with me that day, so I thought this would a great chance to try out the E-P1 strobist style (which is why I bought this camera to begin with). I've been pixel-peeping with these photos since I took these shots, so I'm sharing them for anyone else that's interested in this camera!
All of these you see here are unedited from the camera. The only one in B&W was converted in post-processing because the highlight detail was clipped from overexposure. My thumb rolled across the thumb-wheel by accident and opened the aperture up too much by accident while activating the shutter. I utilize the back-button focus custom function on my E-P1, so it is easy to hit a whole bunch of other buttons in the process.
Lens: Kit Lens 14-42 3.5-5.6
White Balance: Flash
ISO: 100 and 200
Aperture: f5.6 and f6.3
Shutter: 1/125 and 1/160
Radio: All fired via PW Multimaxes
Strobist Info:
Uni400jr Camera Left Bare ~1/8
AlienBees AB800 Camera Right w/ AB Beauty Dish ~1/2
Vagabond II battery pack (power settings are estimates, I was running around doing BTS video footage and BTS photos and setting power in between)
Thought I'd have some post processing fun here. Otherwise, this is a photo from the 10 June 2019 Field Carrier Landing Practice at OLF Coupeville on Whidbey Island - album link: flic.kr/s/aHsmFCgCZk . Please use this image only with my expressed permission and my e-mail is at the bottom of every Flickr posting, thanks.
PHOTO CREDIT: Joe A. Kunzler Photo, AvgeekJoe Productions, growlernoise-AT-gmail-DOT-com
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25.Mar.2021 - Patient is intubated in the emergency room just three days after being admitted to the general hospital Vila Penteado, in São Paulo, Brazil, and which since March 23 has been exclusively treating Covid-19 cases. With 100% of the infirmary and ICU beds occupied, the Vila Penteado hospital is one of 25 state hospitals with full capacity. The average occupancy of hospital beds in SP is 92%, with 3,300 new admissions every day. Sao Paulo and Brazil face, after more than a year of pandemic, the worst moment in the fight against Covid-19, after more than 330,000 deaths across the country
A sausage stand catering at the "Santa Run" on November 6th. A colleague jokingly mentioned that pseudo sports event, and a whole bunch of us ended up taking part. It was fun - thanks Stephi!
Yashica Electro 35 GSN @ f/2.8 with Fomapan 400.
(digitalized using my E-PL7 and a Revuenon 135mm @ f/2.8)
Thank you everyone for your visits, faves and comments, they are always appreciated :)
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Square version of This one
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© All Rights Reserved - Please don't copy and/or use without authorization. Flickrmail is there for this kind of situation (I read it quite often), so is my e-mail, available at the profile
Sao Paulo, Brazil, August 23th 2021 - Firefighters, forest brigades, volunteers and Civil Defense agents struggle to contain the flames that consume out of control a large part of the Juquery State Park, in Greater Sao Paulo, on Monday (23). About 80 to 90% of the park has already been consumed, according to brigade experts in the area, in the largest forest fire in the park - the last savannah reserve in the metropolitan region. According to the firemen, the fire was started by a balloon drop, a prohibited practice and considered a crime in Brazil, but very common during the winter season - precisely the driest and most susceptible to forest fires
Today I'm early out with the "Photo of the day". The reason is pure excitement as I have received the first Nikon D800 of the lot I have in back order.
Through my e-store - nikonphotoexpert.com - I sell Nikon equipment and now the first D800 can be delivered to a customer. I couldn't resist and had to unpack the D800 just to feel it in my hands - only for a split moment - before I repacked it and mailed it to my customer who of course has sent his family away for the week-end so he can focus 100% on his new "baby" fulfilling his NAS.
I hope to get my own D800 during April, but I have no confirmed delivery date(s) for the next shipments of Nikon D800 to Denmark. It was hard to let this one go....... But customers first!
I happened to notice a male placing a spermatophore when I was observing my E. atrocincta earlier this evening, so I set up my camera to record what happened to it. Similar to the S. henshawi I posted a bit earlier, another male came by, ate the spermatophore and immediately replaced it with one of his own.
I still haven't managed to see/catch a female taking a spermatophore.. maybe one day! 😆
*This image, as many others in my Flickr page, is free to download, ONLY for personal use, NOT for commercial use. You must not use these images to generate income and/or personal profit, nor for any other type of personal, business, or non-profit financial gain.
PAYPAL IT FORWARD: If you like my work and you'd like to collaborate with it, you can make a small donation through PAYPAL to my e-mail: tempranillocosechatardia@yahoo.com.ar. Any amount will help!!! I'll appreciate it!!! If you can't donate, don't worry, and thank you too for stopping at my pics and for your nice comments :)
Thanks for your art support!!!
*Esta imagen, como muchas otras en mi galería de Flickr, se pueden descargar libremente. SÓLO para uso personal, NO para uso COMERCIAL. No les está permitido obtener ningún tipo de beneficio financiero utilizando estas imágenes, repito, son sólo para uso personal.
PAYPAL: Si te gusta mi trabajo y querés colaborar con él, podés hacerlo a través de PAYPAL, a mi e-mail: tempranillocosechatardia@yahoo.com.ar. Cualquier donación que hagas, por mínima que te parezca, será muy bien recibida y se convertirá también en un mimo para el alma y un incentivo enorme para continuar avanzando en el maravilloso mundo de la fotografía. Si no podés donar, no te preocupes, y gracias también por detenerte en mi galería y apreciar mi trabajo :)
Gracias por apoyar el arte en todas sus expresiones!!!
****Want to learn more about Light Painting? Find out how you can create images just like this one and many, many more by purchasing my E-Book here****: www.davidgilliver.com/photography
Light Painting / Long Exposure
Guernsey - Channel Islands
Created using a single long exposure at night.
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Thanks.
David
My friend, Aidan, described Westminster Abbey as English history written in stone, which as good as a description as I could think of. And English, as the Kings and Queens of that country, later of Great Britain are buried here.
Anyway, I had a fabulous time at the Abbey, and already planning a return for the details I missed.
-------------------------------------------
Of all the churches and cathedrals in London, the one I wanted to visit and photograph was Westminster Abbey. But, the Abbey didn't allow photography didn't go. And then a few weeks back, my friend, Aidan, started to post shots from inside, and as it turns out, photography, in most areas of the Abbey, is now allowed. So it was a case of when we would visit, not "if", and once we had a free weekend, I began to plan and book.
£25 to go in, each. £10 each for the new museum. And £15 each for a hidden highlights tour. It wasn't cheap, but then if you're going to do it, do it well!
All chores were done Friday, including shopping, so we were free to catch the quarter to eight train from Dover. On the way we called into the garage to pick up some stuff to eat on the train, so we were set.
Saturday was also the last day of British Summer Time (BST), as the clocks would go back early on Sunday morning, then five long winter months would begin.
So, better make most of the daylight.
We were early for the train, so we ate breakfast on the platform, then once the train pulled in, I picked my favourite seats and we settled down for the hour run into London. THe one thing I hadn't planned well was the weather, and some rain was expected during the morning.
The train wasn't busy, and most people wore masks, though enough didn't to make one wonder if the message about COVID really hadn't got through. But then with Johnson as PM, we shouldn't be surprised.
We get off at Statford, and the rain was falling heavily even before we left the Essex marshes behind and entered the long tunnel. But at Stratford, day had become night and the rain fell in what is called stair-rods. I hoped that if we walked slowly through the shopping centre it might have eased by the time we needed to cross over the bridge to the regional station, but the rain was falling just as hard.
And there was no way to avoid it, so we just pulled our collars up and walked as quickly as possible.
Which is why, by the time we arrived at the other side, we were wet little hobbitses.
A quick walk to the Jubilee Line platforms, catching the next train out, we took seats and sat there, gently steaming.
Twenty minutes later, we arrived in Westminster, no dryer, really, taking the four flights of escalators to the surface, where outside it had, atleast, stopped raining for now.
Demonstrations are now outlawed in Parliament Square, so it was quiet, once you got to the other side of the road, its a five minute walk past the Palace of Westminster (Houses of Parliament), and round to the entrance of the Abbey.
Amazingly, there was no queue, and once inside the doorway I show my e tickets, they were scanned and we were allowed in. There was a one way system round the Abbey, so I began the first circuit with the 50mm lens, thinking I would go round again with the wide angle, and a third time with the big lens to snap detail.
That was the plan.
Westminster Abbey is where the Kings and Queens of England and Britain have been crowned. Also, where until Henry V11 thought otherwise, they were buried too, so the chancel is jammed with tombs of many famous and infamous figures from history, from Edward the Confessor to William and Mary, most tombs are grand, some less so. As well as Kings and Queens, minor royals and members of the nobility also were either buried here, or had monument erected. As have military figures, and famousnames from the arts.
It really is quite remarkable.
That and the Abbey itself, in parts dating from just before the Norman COnquest, to a rebuilding just after to the 13th Century when Henry III pulled the old Abbey down and started to rebuild it, until he ran out of money.
But it was completed, and since then had filled up with monuments, so many, I lost count and gave up trying to record them all. Instead, marvelling at their range and beauty.
I walked down the nave, through the arch into the Quire, and it was as breathtaking as expected, then round the Chancel looking and photographing the tombs of the Kings and Queens, round Henry VII's chapel.
And then repeating it with the wide angle lens, taking shots of the various chapels and tombs, all the while keeping an eye on the time as we were to go to visit the new gallery musuem at 11, and then a guided tour of some normally off limit places at half past.
Neither of these allowed photography, which is a great shame as the views from the gallery were stunning down the length of the Nave and then the ancinent chain library and the sanctuary of Henry VII's chapel where we could reach out and touch the shrine of St Edward the Confessor.
The museum had dozens of funeral effigies of the Kings and Queens, some made I'm sure to look better than they did in real life, but others had a degree of realism about them. The one of Queen Mary seemed pregnant, while the one for Queen Elizabeth Ist had a tight corset, so she would have appeared in death as she had as a young woman.
There were carvings, ceremonial cloaks, replicas of the Crown Jewels, and so much more, but we had run out of time, as we had to get to the other side of the church for the hidden secrets tour.
Us and three other couples joined our guide as he showed us the latest escavations revealing the area where monks used to prepare for services. This is hidden behind screens now, and will soon become the site of a new visitor's centre. The trenches were filled with uncvered skeletons and bones, all human of course, and these will all either be rebuuried here or some other Christian place.
Next we went to the Dean's quarters where we saw where he prepared for services, and were allowed into, but not allowed to photograph the Jerico Room, before being allowed outside for a while, then walking around the cloisters, back into the chancel and into Henry's chapel to see the tombs and shrine. Envious looks rained down on us as we climbed the wooden steps into the usually closed area, and then only the people in the gallery above could see us.
-------------------------------------------
Westminster Abbey, formally titled the Collegiate Church of Saint Peter at Westminster, is a large, mainly Gothic abbey church in the City of Westminster, London, England, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and the traditional place of coronation and a burial site for English and, later, British monarchs.
The building itself was originally a Catholic Benedictine monastic church until the monastery was dissolved in 1539. Between 1540 and 1556, the abbey had the status of a cathedral and seat of the catholic bishop. After 1560 the building was no longer an abbey or a cathedral, after the Catholics had been driven out by King Henry VIII, having instead was granted the status of a Church of England "Royal Peculiar"—a church responsible directly to the sovereign—by Queen Elizabeth I.
According to a tradition first reported by Sulcard in about 1080, a church was founded at the site (then known as Thorn Ey (Thorn Island)) in the seventh century at the time of Mellitus, a Bishop of London. Construction of the present church began in 1245 on the orders of King Henry III.[4]
Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey.[4][5] Sixteen royal weddings have occurred at the Abbey since 1100.[6]
The Abbey is the burial site of more than 3300 persons, usually of prominence in British history: at least 16 monarchs, 8 Prime Ministers, poets laureate, actors, scientists, military leaders, and the Unknown Warrior. As such, Westminster Abbey is sometimes described as "Britain's Valhalla", after the iconic hall of the chosen heroes in Norse mythology.
Between 1042 and 1052, King Edward the Confessor began rebuilding St Peter's Abbey to provide himself with a royal burial church. It was the first church in England built in the Romanesque style. The building was completed around 1060 and was consecrated on 28 December 1065, only a week before Edward's death on 5 January 1066.[9] A week later, he was buried in the church; and, nine years later, his wife Edith was buried alongside him.[10] His successor, Harold II, was probably crowned in the abbey, although the first documented coronation is that of William the Conqueror later the same year.[11]
The only extant depiction of Edward's abbey, together with the adjacent Palace of Westminster, is in the Bayeux Tapestry. Some of the lower parts of the monastic dormitory, an extension of the South Transept, survive in the Norman Undercroft of the Great School, including a door said to come from the previous Saxon abbey. Increased endowments supported a community that increased from a dozen monks in Dunstan's original foundation, up to a maximum of about eighty monks.
The abbot and monks, in proximity to the royal Palace of Westminster, the seat of government from the later 13th century, became a powerful force in the centuries after the Norman Conquest. The Abbot of Westminster often was employed on royal service and in due course took his place in the House of Lords as of right. Released from the burdens of spiritual leadership, which passed to the reformed Cluniac movement after the mid-10th century, and occupied with the administration of great landed properties, some of which lay far from Westminster, "the Benedictines achieved a remarkable degree of identification with the secular life of their times, and particularly with upper-class life", Barbara Harvey concludes, to the extent that her depiction of daily life provides a wider view of the concerns of the English gentry in the High and Late Middle Ages.[13]
The proximity of the Palace of Westminster did not extend to providing monks or abbots with high royal connections; in social origin the Benedictines of Westminster were as modest as most of the order. The abbot remained Lord of the Manor of Westminster as a town of two to three thousand persons grew around it: as a consumer and employer on a grand scale the monastery helped fuel the town economy, and relations with the town remained unusually cordial, but no enfranchising charter was issued during the Middle Ages.[14]
The abbey became the coronation site of Norman kings. None were buried there until Henry III, intensely devoted to the cult of the Confessor, rebuilt the abbey in Anglo-French Gothic style as a shrine to venerate King Edward the Confessor and as a suitably regal setting for Henry's own tomb, under the highest Gothic nave in England. The Confessor's shrine subsequently played a great part in his canonization.
The following English, Scottish and British monarchs and their consorts are buried in the Abbey:
Sæberht of Essex (d. c. 616) [possibly]
Edward the Confessor (d. 1066) and Edith of Wessex (d. 1075)
Henry III of England (d. 1272) [his wife, Eleanor of Provence, is buried at Amesbury Priory]
Edward I of England (d. 1307) and Eleanor of Castile (d. 1290)
Edward III of England (d. 1377) and Philippa of Hainault (d. 1369)
Richard II of England (d. 1400) and Anne of Bohemia (d. 1394)
Henry V of England (d. 1422) and Catherine of Valois (d. 1437)
Edward V of England (d. c. 1483) and his brother, Richard of Shrewsbury, Duke of York (d. c. 1483) [possibly]
Also known as the Princes in the Tower. In 1674, the remains of two boys were exhumed from the Tower of London and at the orders of Charles II, they were interred in the wall of the Henry VII Lady Chapel.
Anne Neville (d. 1485), wife of Edward of Westminster, Prince of Wales [m. 1470–71; buried at Tewkesbury Abbey] and of Richard III [m. 1472–85; buried at Leicester Cathedral]
Henry VII of England (d. 1509) and Elizabeth of York (d. 1503)
Edward VI of England (d. 1553)
Anne of Cleves (d. 1557), former wife of Henry VIII [buried at St. George's Chapel, Windsor Castle]
Mary I of England (d. 1558)
Elizabeth I of England as shown on her tomb
Mary, Queen of Scots (d. 1542), mother of James VI & I of England and Scotland [brought from Peterborough Cathedral in 1612]
Elizabeth I of England (d. 1603)
In the 19th century, researchers looking for the tomb of James I partially opened the underground vault containing the remains of Elizabeth I and Mary I of England. The lead coffins were stacked, with Elizabeth's resting on top of her half-sister's.[9]
James VI & I of England and Scotland (d. 1625) and Anne of Denmark (d. 1619)
The position of the tomb of King James was lost for two and a half centuries. In the 19th century, following an excavation of many of the vaults beneath the floor, the lead coffin was found in the Henry VII vault.[9]
Charles II of England and Scotland (d. 1685)
Mary II of England and Scotland (d. 1694) and William III of England and II of Scotland (d. 1702)
Anne, Queen of Great Britain (d. 1714) and Prince George of Denmark, Duke of Cumberland (d. 1708)
George II of Great Britain (d. 1760) and Caroline of Ansbach (d. 1737)
en.wikipedia.org/wiki/Burials_and_memorials_in_Westminste...
Other than one or two very short local shoots close to home, I hadn’t been out to take photographs for more than a month. Just very busy with work and traveling a lot. I had just gotten home from traveling all week and I had planned on just relaxing the next day. However, just before I went to bed I checked my e-mail and saw a couple of reports of three Wood Storks and some Sandhill Cranes being spotted at Swan Lake National Wildlife Refuge in north-western Missouri. Swan Lake is a good 3 ½ hour drive from my home, which meant that I was going to have to wake up and be on the road no later than 3:00 a.m. if I wanted to be at the refuge in time to photograph in the early morning light. 3:00 a.m. was not my definition of “just relaxing.” However, I had never seen or photographed a Wood Stork in the wild. I set my alarm for 2:15 a.m.
Wood Storks are not common in Missouri. A subtropical and tropical species, Wood Storks are mostly found in South America, Central America and the Caribbean, with small populations in southeastern U.S. states, mostly in Florida, Georgia, the Carolinas and Texas. I have seen reports of Wood Storks being spotted in Missouri before, but as is usually the case, by the time I get there the birds have flown off to another location.
I managed to get on the road by 3:00 a.m., and after a stop for gas and a couple of restroom breaks along the way, I arrived at the entrance to Swan Lake National Wildlife refuge at 6:45 a.m. The sun was already fairly high on the horizon, which would normally mean that I would have very little time to photograph in the good morning light before the sun rose too high in the sky and created harsh, contrasty light. However, despite weather forecasts the night before calling for partly sunny skies with no precipitation, the area around Swan Lake was overcast - - a perfect blanket of clouds that would soften the sun’s harsh rays and allow me to keep shooting well into the late morning.
As I pulled into the entrance I again checked my e-mail. Another birder (Terry) had already arrived on the refuge and had spotted a single Wood Stork. Terry had very kindly reported the bird’s exact location, and after stopping to mount my telephoto lens onto my camera, I headed straight there.
As I arrived, Terry was driving away but stopped his car and rolled down his window. We had never met before, but I asked if he was the same person who had just reported the Wood Stork. He confirmed that he was. I looked around and didn’t see anything, and Terry told me that if I just pulled my car up another 30 feet past some brush, I would see the Wood Stork fishing in a shallow pool. Terry drove off and I slowly pulled my vehicle up past the brush . . . and there was the Wood Stork.
I very quietly got my tripod and camera out of the car and spent most of the next hour photographing the Wood Stork. This Wood Stork was about 3 ½ feet tall. Wood Storks mostly eat fish and insects, and they have a very unusual way of catching their food. They stick their open bills into the water, and then use one of their long legs to stir the water in front of them as they walk. By doing this, the Wood Stork essentially corrals the fish into its open mouth, where it grabs the fish, pulls it out of the water, and gulps it down . . . often times flipping it into the air before it does so, as seen in one of these photos.
As I watched the Wood Stork do this over and over again, it suddenly started to rain. What happened to the weather forecast that said it was supposed to be partly sunny with no precipitation?! I decided that since the rain was not bothering the Wood Stork, I was going to let it bother me either, so I kept on photographing.
Eventually, I gave up on the Wood Stork before it gave up on me. After taking several hundred photos, I decided to see if I could find the Sandhill Cranes that had also been reported the previous day. After driving around the refuge and visiting a couple of nearby conservation areas, I was unable to locate the Sandhill Cranes. Nonetheless, I was pretty happy that I finally got an opportunity to photograph a Wood Stork.
Taken on July 28, 2018, at Swan Lake National Wildlife Refuge located in Chariton County, Missouri.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
It was eerie. I set up the lights and they just worked perfectly, no tweaking required from where I'd set them up.
Strobist details: 2 285HV's, one of the left, one to the right, into a 16x56" gridded softbox. One 285 HV into a white 36" umbrella above. All optically triggered from the 144PC in my E-P3's hotshoe.
I set up some time with Tiana
Strobist details: 2 285HV's, one of the left, one to the right, into a 16x56" gridded softbox. One 285 HV into a white 36" umbrella above. All optically triggered from the 144PC in my E-P3's hotshoe.
****Want to learn more about Light Painting? Find out how you can create images just like this one and many, many more by purchasing my E-Book here: www.davidgilliver.com/photography
Light Painting / Long Exposure
Guernsey - Channel Islands
My friend, Aidan, described Westminster Abbey as English history written in stone, which as good as a description as I could think of. And English, as the Kings and Queens of that country, later of Great Britain are buried here.
Anyway, I had a fabulous time at the Abbey, and already planning a return for the details I missed.
-------------------------------------------
Of all the churches and cathedrals in London, the one I wanted to visit and photograph was Westminster Abbey. But, the Abbey didn't allow photography didn't go. And then a few weeks back, my friend, Aidan, started to post shots from inside, and as it turns out, photography, in most areas of the Abbey, is now allowed. So it was a case of when we would visit, not "if", and once we had a free weekend, I began to plan and book.
£25 to go in, each. £10 each for the new museum. And £15 each for a hidden highlights tour. It wasn't cheap, but then if you're going to do it, do it well!
All chores were done Friday, including shopping, so we were free to catch the quarter to eight train from Dover. On the way we called into the garage to pick up some stuff to eat on the train, so we were set.
Saturday was also the last day of British Summer Time (BST), as the clocks would go back early on Sunday morning, then five long winter months would begin.
So, better make most of the daylight.
We were early for the train, so we ate breakfast on the platform, then once the train pulled in, I picked my favourite seats and we settled down for the hour run into London. THe one thing I hadn't planned well was the weather, and some rain was expected during the morning.
The train wasn't busy, and most people wore masks, though enough didn't to make one wonder if the message about COVID really hadn't got through. But then with Johnson as PM, we shouldn't be surprised.
We get off at Statford, and the rain was falling heavily even before we left the Essex marshes behind and entered the long tunnel. But at Stratford, day had become night and the rain fell in what is called stair-rods. I hoped that if we walked slowly through the shopping centre it might have eased by the time we needed to cross over the bridge to the regional station, but the rain was falling just as hard.
And there was no way to avoid it, so we just pulled our collars up and walked as quickly as possible.
Which is why, by the time we arrived at the other side, we were wet little hobbitses.
A quick walk to the Jubilee Line platforms, catching the next train out, we took seats and sat there, gently steaming.
Twenty minutes later, we arrived in Westminster, no dryer, really, taking the four flights of escalators to the surface, where outside it had, atleast, stopped raining for now.
Demonstrations are now outlawed in Parliament Square, so it was quiet, once you got to the other side of the road, its a five minute walk past the Palace of Westminster (Houses of Parliament), and round to the entrance of the Abbey.
Amazingly, there was no queue, and once inside the doorway I show my e tickets, they were scanned and we were allowed in. There was a one way system round the Abbey, so I began the first circuit with the 50mm lens, thinking I would go round again with the wide angle, and a third time with the big lens to snap detail.
That was the plan.
Westminster Abbey is where the Kings and Queens of England and Britain have been crowned. Also, where until Henry V11 thought otherwise, they were buried too, so the chancel is jammed with tombs of many famous and infamous figures from history, from Edward the Confessor to William and Mary, most tombs are grand, some less so. As well as Kings and Queens, minor royals and members of the nobility also were either buried here, or had monument erected. As have military figures, and famousnames from the arts.
It really is quite remarkable.
That and the Abbey itself, in parts dating from just before the Norman COnquest, to a rebuilding just after to the 13th Century when Henry III pulled the old Abbey down and started to rebuild it, until he ran out of money.
But it was completed, and since then had filled up with monuments, so many, I lost count and gave up trying to record them all. Instead, marvelling at their range and beauty.
I walked down the nave, through the arch into the Quire, and it was as breathtaking as expected, then round the Chancel looking and photographing the tombs of the Kings and Queens, round Henry VII's chapel.
And then repeating it with the wide angle lens, taking shots of the various chapels and tombs, all the while keeping an eye on the time as we were to go to visit the new gallery musuem at 11, and then a guided tour of some normally off limit places at half past.
Neither of these allowed photography, which is a great shame as the views from the gallery were stunning down the length of the Nave and then the ancinent chain library and the sanctuary of Henry VII's chapel where we could reach out and touch the shrine of St Edward the Confessor.
The museum had dozens of funeral effigies of the Kings and Queens, some made I'm sure to look better than they did in real life, but others had a degree of realism about them. The one of Queen Mary seemed pregnant, while the one for Queen Elizabeth Ist had a tight corset, so she would have appeared in death as she had as a young woman.
There were carvings, ceremonial cloaks, replicas of the Crown Jewels, and so much more, but we had run out of time, as we had to get to the other side of the church for the hidden secrets tour.
Us and three other couples joined our guide as he showed us the latest escavations revealing the area where monks used to prepare for services. This is hidden behind screens now, and will soon become the site of a new visitor's centre. The trenches were filled with uncvered skeletons and bones, all human of course, and these will all either be rebuuried here or some other Christian place.
Next we went to the Dean's quarters where we saw where he prepared for services, and were allowed into, but not allowed to photograph the Jerico Room, before being allowed outside for a while, then walking around the cloisters, back into the chancel and into Henry's chapel to see the tombs and shrine. Envious looks rained down on us as we climbed the wooden steps into the usually closed area, and then only the people in the gallery above could see us.
-------------------------------------------
Westminster Abbey, formally titled the Collegiate Church of Saint Peter at Westminster, is a large, mainly Gothic abbey church in the City of Westminster, London, England, just to the west of the Palace of Westminster. It is one of the United Kingdom's most notable religious buildings and the traditional place of coronation and a burial site for English and, later, British monarchs.
The building itself was originally a Catholic Benedictine monastic church until the monastery was dissolved in 1539. Between 1540 and 1556, the abbey had the status of a cathedral and seat of the catholic bishop. After 1560 the building was no longer an abbey or a cathedral, after the Catholics had been driven out by King Henry VIII, having instead was granted the status of a Church of England "Royal Peculiar"—a church responsible directly to the sovereign—by Queen Elizabeth I.
According to a tradition first reported by Sulcard in about 1080, a church was founded at the site (then known as Thorn Ey (Thorn Island)) in the seventh century at the time of Mellitus, a Bishop of London. Construction of the present church began in 1245 on the orders of King Henry III.[4]
Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have occurred in Westminster Abbey.[4][5] Sixteen royal weddings have occurred at the Abbey since 1100.[6]
The Abbey is the burial site of more than 3300 persons, usually of prominence in British history: at least 16 monarchs, 8 Prime Ministers, poets laureate, actors, scientists, military leaders, and the Unknown Warrior. As such, Westminster Abbey is sometimes described as "Britain's Valhalla", after the iconic hall of the chosen heroes in Norse mythology.
Between 1042 and 1052, King Edward the Confessor began rebuilding St Peter's Abbey to provide himself with a royal burial church. It was the first church in England built in the Romanesque style. The building was completed around 1060 and was consecrated on 28 December 1065, only a week before Edward's death on 5 January 1066.[9] A week later, he was buried in the church; and, nine years later, his wife Edith was buried alongside him.[10] His successor, Harold II, was probably crowned in the abbey, although the first documented coronation is that of William the Conqueror later the same year.[11]
The only extant depiction of Edward's abbey, together with the adjacent Palace of Westminster, is in the Bayeux Tapestry. Some of the lower parts of the monastic dormitory, an extension of the South Transept, survive in the Norman Undercroft of the Great School, including a door said to come from the previous Saxon abbey. Increased endowments supported a community that increased from a dozen monks in Dunstan's original foundation, up to a maximum of about eighty monks.
The abbot and monks, in proximity to the royal Palace of Westminster, the seat of government from the later 13th century, became a powerful force in the centuries after the Norman Conquest. The Abbot of Westminster often was employed on royal service and in due course took his place in the House of Lords as of right. Released from the burdens of spiritual leadership, which passed to the reformed Cluniac movement after the mid-10th century, and occupied with the administration of great landed properties, some of which lay far from Westminster, "the Benedictines achieved a remarkable degree of identification with the secular life of their times, and particularly with upper-class life", Barbara Harvey concludes, to the extent that her depiction of daily life provides a wider view of the concerns of the English gentry in the High and Late Middle Ages.[13]
The proximity of the Palace of Westminster did not extend to providing monks or abbots with high royal connections; in social origin the Benedictines of Westminster were as modest as most of the order. The abbot remained Lord of the Manor of Westminster as a town of two to three thousand persons grew around it: as a consumer and employer on a grand scale the monastery helped fuel the town economy, and relations with the town remained unusually cordial, but no enfranchising charter was issued during the Middle Ages.[14]
The abbey became the coronation site of Norman kings. None were buried there until Henry III, intensely devoted to the cult of the Confessor, rebuilt the abbey in Anglo-French Gothic style as a shrine to venerate King Edward the Confessor and as a suitably regal setting for Henry's own tomb, under the highest Gothic nave in England. The Confessor's shrine subsequently played a great part in his canonization.
The following English, Scottish and British monarchs and their consorts are buried in the Abbey:
Sæberht of Essex (d. c. 616) [possibly]
Edward the Confessor (d. 1066) and Edith of Wessex (d. 1075)
Henry III of England (d. 1272) [his wife, Eleanor of Provence, is buried at Amesbury Priory]
Edward I of England (d. 1307) and Eleanor of Castile (d. 1290)
Edward III of England (d. 1377) and Philippa of Hainault (d. 1369)
Richard II of England (d. 1400) and Anne of Bohemia (d. 1394)
Henry V of England (d. 1422) and Catherine of Valois (d. 1437)
Edward V of England (d. c. 1483) and his brother, Richard of Shrewsbury, Duke of York (d. c. 1483) [possibly]
Also known as the Princes in the Tower. In 1674, the remains of two boys were exhumed from the Tower of London and at the orders of Charles II, they were interred in the wall of the Henry VII Lady Chapel.
Anne Neville (d. 1485), wife of Edward of Westminster, Prince of Wales [m. 1470–71; buried at Tewkesbury Abbey] and of Richard III [m. 1472–85; buried at Leicester Cathedral]
Henry VII of England (d. 1509) and Elizabeth of York (d. 1503)
Edward VI of England (d. 1553)
Anne of Cleves (d. 1557), former wife of Henry VIII [buried at St. George's Chapel, Windsor Castle]
Mary I of England (d. 1558)
Elizabeth I of England as shown on her tomb
Mary, Queen of Scots (d. 1542), mother of James VI & I of England and Scotland [brought from Peterborough Cathedral in 1612]
Elizabeth I of England (d. 1603)
In the 19th century, researchers looking for the tomb of James I partially opened the underground vault containing the remains of Elizabeth I and Mary I of England. The lead coffins were stacked, with Elizabeth's resting on top of her half-sister's.[9]
James VI & I of England and Scotland (d. 1625) and Anne of Denmark (d. 1619)
The position of the tomb of King James was lost for two and a half centuries. In the 19th century, following an excavation of many of the vaults beneath the floor, the lead coffin was found in the Henry VII vault.[9]
Charles II of England and Scotland (d. 1685)
Mary II of England and Scotland (d. 1694) and William III of England and II of Scotland (d. 1702)
Anne, Queen of Great Britain (d. 1714) and Prince George of Denmark, Duke of Cumberland (d. 1708)
George II of Great Britain (d. 1760) and Caroline of Ansbach (d. 1737)
en.wikipedia.org/wiki/Burials_and_memorials_in_Westminste...
I have not been around this last few days between problems with my computer
where someone hacked into my e-mail. I have been unable to get back into my account.
I also had some family commitments
Modelo:
Joana Ribeiro
Foto e edição:
RB
Para sessões, ou parcerias contactem-me para o email
For photoshoots and projects contac me via my e-mail
rubenbotelho@hotmail.com
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Piece of art-works collection "Associations" made by Yuri Firsanov (Russia). Work named "Entr'acte".
Material: caucasian walnut (natural wood).
Height: 50 cm.
Width: 19 cm.
Length: 26 cm.
Now work is owned by private Russian collector.
More info on www.firsanov.ru (in Russian only) or on my e-mail (both in English and Russian).
Short video you could find here (YouTube): www.youtube.com/mfirsanov
*This image, as many others in my Flickr page, is free to download, ONLY for personal use, NOT for commercial use. You must not use these images to generate income and/or personal profit, nor for any other type of personal, business, or non-profit financial gain.
PAYPAL IT FORWARD: If you like my work and you'd like to collaborate with it, you can make a small donation through PAYPAL to my e-mail: tempranillocosechatardia@yahoo.com.ar. Any amount will help!!! I'll appreciate it!!! If you can't donate, don't worry, and thank you too for stopping at my pics and for your nice comments :)
Thanks for your art support!!!
*Esta imagen, como muchas otras en mi galería de Flickr, se pueden descargar libremente. SÓLO para uso personal, NO para uso COMERCIAL. No les está permitido obtener ningún tipo de beneficio financiero utilizando estas imágenes, repito, son sólo para uso personal.
PAYPAL: Si te gusta mi trabajo y querés colaborar con él, podés hacerlo a través de PAYPAL, a mi e-mail: tempranillocosechatardia@yahoo.com.ar. Cualquier donación que hagas, por mínima que te parezca, será muy bien recibida y se convertirá también en un mimo para el alma y un incentivo enorme para continuar avanzando en el maravilloso mundo de la fotografía. Si no podés donar, no te preocupes, y gracias también por detenerte en mi galería y apreciar mi trabajo :)
Gracias por apoyar el arte en todas sus expresiones!!!
© All Rights Reserved - Please don't copy and/or use without authorization. Flickrmail is there for this kind of situation (I read it quite often), so is my e-mail, available at the profile
Sao Paulo, Brazil, September 7th 2021 - Supporters of President Jair Bolsonaro occupy Paulista Avenue, São Paulo's main thoroughfare, during this September 7, Brazil's Independence Day, in anti-democratic demands such as the deposition of Supreme Court justices, military intervention, closure of Congress and the creation of a military high court, and the "right of expression" after officials were arrested for advocating the death or imprisonment of court judges. The roughly 160,000 people who took to the streets in São Paulo were 6% of those expected by organizers and the president himself, who spoke for about 10 minutes challenging the Supreme Court justices, demanding that they "fit their government or leave office," and saying that he will not respect any decision by the court
Example images from my e-book guide Canon T5i / 700D Experience Auto Lighting Optimizer - Low.
Learn more about how to take advantage of the Canon T5i / 700D metering modes on my blog Picturing Change.
This is a look into a brochure that introduces a collection of 130 CDs, called "Musik in Deutschland 1950-2000", published by the "Deutscher Musikrat" two decades ago.
But who, may you well ask, is the "Deutscher Musikrat"? The name sounds uncannily Orwellian, as if it were a secretive government agency that dictates what kind of music should be made and heard in Germany. The reality is not quite that sinister. "Rat" doesn’t mean "rat". It is an NGO, they have a website and they have even answered my e-mail. But they do have the mysterious smell of a secret society. After 20 years I still don’t really know who they are and what they are up to.
I know only one thing: The CDs promoted here constitute a monument to German post-war music and I am proud to own the whole set. No other country has done that. It would take almost a week to listen to the 1750 pieces of music - 6 days and 17 hours non-stop. If these were vinyl records the set would comprise of more than 200 LPs. Every CD comes with a booklet of up to 32 pages with informative text, scores of scores, photos and almost all the lyrics. The booklets alone would be a valuable document for everybody interested in modernist culture. Reading them I learnt a lot not only about music, but also about poetry, literature, dance, theatre, film and other forms of art.
The curators of the collection were careful to present composers from both German states without bias and prejudice. Thanks to this you can hear many gems that would otherwise be forgotten and impossible to find, even in the age of the mouse click. Where else can you hear "Socialist Realism"? I knew examples of Socialist Realism in painting, sculpture and architecture but never heard Socialist Realism music before – but, hey, now I can listen to recitals of Stalinist propaganda as well as speeches of Lenin and Honnecker put into grandiose song arrangements.
Where else can you hear music from an electronic opera, written by the Chinese-born composer Boris Blacher in 1966? And where else can you enjoy a live recording of a hilarious Wolf Vostell performance of 1969?
This is all good news. Now for the snags.
It is always easy to complain about the selection on a music compilation. It goes without saying that not all 1750 pieces are good and there a hundreds that I don’t care much about, but let’s not dwell on this, because there are less forgivable problems:
Every booklet starts with an introduction that says that the curators had to do a "strict selection", but it does not disclose what their selection criteria were (secret society again!). May there be a clue in the title of the collection "Musik in Deutschland 1950-2000" perhaps? No! All criteria in that name are violated. Many of the featured musicians and composers are not German, some recordings were made in other countries and some works were created long before 1950. The most recent work is "Fälschung" by Orm Finnendahl - written in 2003 (but a great piece, so it’s fine with me)! Some tracks are not even music. At one point Oskar Pastior is reading his poems, one of the aesthetic nadirs of the set, if you ask me.
Could it be that the selection focuses on what was widely heard by the people of Germany after the 2nd World War? Wrong again! I am sure that 99% of Germans have never listened to any of the music in this collection. This is because it has a strong focus on what most people would call "classical music" (I personally would prefer to call it "music by modernist composers" or "art music" because much of it is not "classical" at all) which is enjoyed by only a small minority of music lovers. True, there is one box with jazz and one with pop music, but the jazz is mostly of the "artsy" kind (often not very different from the “classical” music of the same period) and the pop box is only an afterthought and not really part of the set (it is, for example, not mentioned in the brochure shown above). I have no problem with this, but I still don’t know what the selection criteria were.
The worst mistake in any music compilation would be to include a song more than once, particularly when strict selection criteria are claimed. But even this mistake has been made - twice: The "Fünf Neapolitanische Lieder" by Hans Werner Henze are presented twice, and so are 2 "Hölderin Fragments" by Wolfgang Rihm, although on different CDs and performed by different singers.
Even worse are the editing problems. The booklets are informative and well written, but look cheap. A terrible sans-serif typeface is used throughout and typos are not unheard of. Formatting is awful. The captions are printed onto the photos with disregard of the background and often impossible to decipher. It is obvious that the authors are experts, but no professional editor was involved. The beautiful line "it was evening all afternoon" by Wallace Stevens is clumsily translated as "Es war den Nachmittag über Abend" instead of the more accurate and elegant "Am ganzen Nachmittag war Abend", to give just one example of the many mistranslations.
The whole set is organised in a complex multi-layered system, which is explained at the back of each CD. It says that there are 19 boxes of CDs, structured in 6 categories and 26 sub-categories. That sounds simple. But the actual CDs are difficult to align with this system. At the same time there is another underlying structure: Every category (or sub-category?) is sub-divided into „Serie“ and „Portraits“. Don’t waste your precious time trying to understand the difference, because whatever the rationale behind this is, it brakes down with the box "Angewandte Musik", if not earlier. It is obvious that the concept of this project has changed several times during its short lifetime and there were multiple attempts to categorise the music - all failed. The names of the categories and the discs must have changed several times as well, and some CDs were announced but have never materialised (e.g. "Musizieren im Alltag") whereas others do exist but seem to never have been part of the plan (e.g. "Free Jazz" - appropriately, because free jazz abhors planning). The names of some CDs even change between the cover and the disc inside. A CD called "Solo & Klavier" contains a few songs with guitar (instead of piano).
It seems that the publishers were overwhelmed by their own complex system and the multiple layers of categories they tried to establish.
However, by far the worst problem with this collection is the marketing - how it was sold. When it all started at the beginning of the millennium the discs were sold one by one. I first bought one, to see if it is any good and then more and more. When I had a few dozen CDs they stopped selling them individually and you could only buy whole boxes, containing 5 to 10 discs each. At that time I had decided to collect the whole set, which meant that I had to start buying boxes with CDs that I already owned. That was annoying - but it got worse. In 2010 they stopped selling the boxes and you could only buy the whole set. I had already bought 14 of the 19 boxes at that stage.
So, with a heavy heart and after long hesitation, I bought the whole set in 2011 although at that time only a third of the CDs were still missing in my shelf. Shortly after that, the whole series was taken off the market and became unavailable in any form. I don’t regret the purchase, it’s a great thing to have, even in a time when CDs have become an obsolete format. Today some of the CDs are sold on the second hand market for more money than I paid for the entire set of 130 items, even if you include the money I wasted on the single discs and boxes.
Any reference to this comprehensive compilation has been deleted from the Musikrat’s website although this must have been one of the most impressive and interesting projects they have ever done. I cannot imagine how many hours of hard work went into this, but in the end it must have been a huge financial disaster for everybody involved. I’m sure they had a grandiose vision when it all started, with ideas aplenty, but the implementation lacked continuity, leadership and there was no demand. Although they finally managed to publish all 130 CDs it is, in hindsight, an excellent case study of an over-ambitious and failed endeavour. We can learn from this, not only about business and project management, but about human nature.
Some statistical analysis: The most extensively featured composer is Hans Werner Henze with 57 works, adding up to more than 5 hours playing time. Paul Dessau comes second with 50 pieces in the set, but they are mostly short (3½ minutes on average) so he comes only 7th when considering playing time (a bit less than 3 hours). Friedrich Schenker is second in terms of time (3½ hours of his music can be heard in the collection) and the Argentinian Mauricio Kagel comes third with 3 hours and 17 minutes. He and Wolfgang Rihm both have 36 pieces of music in the compilation.
Mr. Karlheinz Stockhausen, the most famous German post-war composer, is an also-run with only 10 works in the set. They add up to 2 hours, which is not much, if you compare him to less-known composers like Georg Katzer (2½ hours) and Friedrich Goldmann (3 hours). I can think of 2 reasons. One is probably the restrictive copyright protection of the Stockhausen œuvre (the same reason why Kraftwerk is conspicuously absent in the pop box). But I believe another one to be the determination of the curators to represent both German states equally, which led to an over-representation of the East-German music scene, simply because there was less of it. Just as Wartburg would be more dominant than Borgward in a book about the German post-war car industry that tries to represent both German states in a balanced way.
Having listened to the whole set several times, I am now able to draw wide-reaching, sweeping and judgemental conclusions about German post-war culture. Here are examples:
(1)
At first the differences between the cultures of capitalist West Germany and the East German one-party-state seem obvious. A superficial listening suggests that the East was being restricted by political diktat and a closed society, while the West was open for experimentation and inspiration from everywhere and everything. But after a while you realise that the reality was more complicated and on this compilation you find surprisingly daring works from the East as well as a fair share of conservative dullness from the West. Overall, I found it more interesting to note what the two states had in common. For example:
(2)
The old prejudice that German culture is heavy and humourless is, all in all, confirmed. It is difficult to find any light-hearted melody in this set. Admittedly, there is some humour, some of it by composers of non-Germanic provenance (Ligeti and Kagel), but this is clownish stuff that hasn’t stood the test of time and wasn't really funny in the first place.
(3)
More than in any other epoch, in post-war Germany composers felt the need to put their works into a political and sociocritical context – on both sides of the fence. Even creators of completely abstract instrumental compositions tried to express sophisticated views with their music, which is, most of the time, not obvious to the listener until he reads the booklet.
(4)
In the West as well as in the East two types of artists dominate: Leftist intellectuals and confessing Christians. And surprisingly it’s the Christians who are often more daring in their musical experiments. Even more surprisingly, Marxist views are as dominant among western composers as they are in the East. An opera about free trade, entrepreneurship and representative democracy would have been as taboo in 1960s Western Germany as it would have been in the East. I know why, but I stop now. I talk too much...
Woot! Today, my e*sy shop, TheWittyPrincess opened! ^__^ I'm kind of pleased with myself since it was something that I was postponing for about three months already. But now it finally happened! For now, this is the only item for sale but I'll slowly but surely will fill my shop with cute knitted items and accessories.
Virtual cake for everybody! :D
C.R.E.A.T.E...Think.Process.Visualize... NOW RELEASED
Create has been released now with 94 page PDF, an e-pub e-book. I give you both. I know a lot of people prefer PDF'S but some may enjoy the actual E-Boom format and about an hour of live editing videos.
What will this E-book consist of?
-1 hour editing video of me editing
-Finding yourself and who you are in this community
-Soul searching to find your style and what makes your heart happy
-Manual/ Exposure triangle
-Lighting and how to see it differently and in unique artistic ways/
-learn how to use your light dramatically or soft and dreamy
-Shooting with purpose and intent
-Shooting with more emotion
-Connecting with your subjects
-Tips to help capture your everyday
-Free lensing
-How and keep motivated and inspired
-Learn how I free lens
-Stepping outside your comfort zone to keep yourself fresh and inspired
-How to bring your visions to life
-When light meets dark
-Turn your snap shots into art
Grab it at $75 for just a few more days. Price is increasing!
Steam passenger ferry Tilly May sailing with three unidentified people aboard, Manning River NSW. Circa 1900.
Othe images of the s.s. Till May can be found in the ALBUM TILLY MAY
Details :
Name: S.S Tilly May
Type: Passenger Ferry /Launch
Length: 53.4 ft
Beam: 11.3 ft
Draft: 5.0 ft
Engine: 9 hp Steam S.1Cy.8½”-9”Plenty & Sons, Newbury
Gross: 20.45 tons
Underdeck: 19.78 tons
Net: 13.91 tons
Built: Berry’s Bay NSW.
Builder: William Alfred Dunn
Launched: 17th June 1882
Registered: Sydney 1882/047
Official Number: ON: 083675
Owners:
- 1882 - James Halstead (of Lavender Bay)
- 1883 - 1886 Frederick Goulburn +George Robinson ( both of Macleay River)
- 1886 - 1893 George Robinson (of Kempsey)
- 1893 - 1896 George Grace (of Kempsey)
- 1896 - 1897 George Willoughby Whatmore
- 1897 - The Australian Dairying Co. Ltd.
Construction:
- 2 masted lugger - (no masts by 1906)
- Carvel planked/Single screw.
- Engine room 13.7 ft long, not bounded by bulkheads.
- Open helm under awning.
- Open topgallant rail on bulwarks for full length.
- Straight Stem/Elliptical Counter Stern/Billet & Scrollboards.
History:
1882 Sydney NSW
- Launched 17th June at Berry’s Bay NSW
- Registered Sydney NSW No.47 of 1882.
1884 Macleay River NSW
17th September the passenger steamer Tilly May running between Kempsey and Arakoon, (near Pelican Island) collided with the ferry punt, resulting in a very ugly hole in her bow above the waterline.
1891 Offered for Sale
Offered for sale to the Government in October for a passenger ferry at Grafton but, after months of consideration, was found to be unsuitable.
1895 Hastings River NSW
On the 6th December the S.S. Tilly May arrived in Port Macquarie from the Macleay to take up towing duties on the Hastings, in competition with the S.S. Alert that was also licensed to carry 120 passengers.
1896 Returns to Sydney NSW
On the 21st April the Tilly May departed Port Macquarie at 3:40pm, bound for Sydney.
The steamer Tilly May has just added to our harbour fleet. She was well known in Sydney waters some years back, and latterly was employed in the Macleay River passenger trade. She has been chartered by Mr. John Clayton for towing and passenger purposes, and on her trial trip ran the measured mile in 6 minutes. She will run up the Parramatta River on Saturday and Sunday next to view the sculling. The Sydney Morning Herald 15th May 1896
Lane Cove Ferry Service
Worked in competition with the Kestrel and the Neutral Bay on the Lane Cove River, Sydney NSW.
1897
In February advertised Fishing Excursions to Flat Rock, Middle Harbour Sydney.
1897 Manning River NSW
Purchased by The Australian Dairy Company Co. Ltd., the S.S. Tilly May arrived on the Manning River in early November 1897.
1898
On the 3rd January the Tilly May commenced operating, picking up cream and milk, leaving the Wingham wharf at 3pm on Mondays, Wednesday and Fridays for the Purfleet Factory.
The Tilly May was beached at Goat Island, Manning River on the 8th March to undergo running repairs.
1899 Re-launched
In April the boiler from the Tilly May was sent to Sydney for repairs, returning to the Manning River on the S.S.Coraki and refitted. After undergoing extensive repairs and alterations by Mr. L. Steinmetz and his employees, the S.S. Tilly May was officially launched under the Australian Dairying Company’s name on 13th October by Captain John Gollan.
1900 Indian Famine Fund
7th December participated in an event held at Croki in aid of the Indian Famine Fund; offered gratis by owner.
1903 - Overhaul
In March of this year it was found necessary to give the Tilly May’s engine and boiler an overhaul. My E. H. Woodley, engineer of Taree, carried out the repairs.
While approaching the Harrington wharf in October, the engine of the Tilly May suddenly stopped working, carrying her onto the breakwater punts, resulting in the bulwarks at the stern being smashed in.
1906 Disaster Strikes
In March the Tilly May again ran into problems whilst proceeding from Taree to Wingham, the boiler leaked, and the machinery broke down.
The steamer Yankee Jack collected the cream for the disabled launch as far as Wingham, and on her return, towed the Tilly May to the Purfleet Factory.
Destroyed by fire
Between the hours of 2 - 3am on the 5th April the S.S. Tilly May was burnt to the waterline by a mysterious fire at the Purfleet wharf. With no insurance and very little value placed on the remains the hull and machinery of the Tilly May was advertised by tender in May.
The successful tender was from Mr. E. H. Woodley, at ₤6-10s.
Fate: Unknown/ Register closed
27th May 1953 Register noted registered owner ceased to function in 1939 and vessel was not an asset at that date, beneficial owner unknown, no trace of the vessel.
Note
The Australian Dairying Company Co.Ltd. purchased the ex-Sydney ferry Oceana to replace the Tilly May. On her maiden voyage from Sydney on the 7th October 1906, while entering the Manning River, she rolled over and was totally destroyed at the river mouth.
Image Source: National Library. Robert Morse Withycombe (1868-1936) collection.
Acknowledgements: The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
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