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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.
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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.
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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...
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
:)
****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
12th century priory meets LEDs.
Lihou Island.
These ruins are situated on the tiny island of Lihou right next to Guernsey. It is only accessible at the lowest of tides and so last night was a real opportunity to go across as the moon was also out to play and low tide was around midnight.
Light Painting / Single Long Exposure
Project 366:
www.flickr.com/photos/davidgilliver/sets/72157628669695615/
Please drop by and join me on Facebook:
www.facebook.com/#!/pages/David-Gilliver-Photography/1751...</a</a</a</a</a</a
A complete redesign of my E.424 to make it smaller, more realistic (my previous one was too high),motorized and compatible with H0 tracks. I still stick to the Athearn locomotives Hi-F system since it is the most simple way not to use too much modified Lego parts. DC wheels are from Piko, and are specifically used in Piko rubber band transmission locomotives. Motor is a small 6-12v N20 or N30 @1000rpm. Traction is only on the rear bogie.
I think it will need some weights on the powered bogie to increase traction. All non-Lego parts were either designed or remixed by me in Tinkercad, and then imported in Stud.io trough Parts Designer. Detail of internal mechanical parts is shown here.
Europe - France - Paris : Louvre
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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
© 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
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)
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!
K is only 5 years old and already she knows how to use her dad's camera. My daughter also knows how to use my E-M5. So what does that say? Is the camera that easy to use or are our kids more tech savy than us?
This was taken with the amazing Olympus 25mm f/1.8 lens. If you'd like to see images from this lens or if you'd like to join a new group for this lens, join here: www.flickr.com/groups/olympus25mm/
Olympus OM-D E-M5 + 25mm f/1.8
I drug myself out of my van this morning, on my way to work, to set up the tripod and get a few three exposure bracketed shots of the Des Moines marina, for a photmatix HDR. My God, the evenings after work, go by so fast. By the time I get the minimum of chores done around the house, log in to my e-mail and check out all the cool stuff I get from my activist friends, talk with Sassy on the phone as she's on her way home from work after she finally escapes, give all the four legged animals around the house a bit of attention, download any pictures I have captured during the day and attempt to process them in a satisfying manner, visit with Sassy when she gets home and while she cooks dinner, help set the table and have dinner with Sassy and all the four legged beggars, help clean up after dinner.......dang! It's almost eight o-clock. I'm dying to finish that novel I've been reading all week in between everything else, not enough time in the week! I apologize for not being able to keep up with all my wonderful flicker contacts. TGIF! I really hope I'll find some time this weekend to catch up.
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.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
I got Panasonic 7-14mm for my E-P1 about a month ago. It is a cute, wide and expensive lens, and now I am looking for a way to use it. But cannot find the time to go on a dedicated photo shoot. So this evening I decided to take some wide shots...
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La Philharmonie Luxembourg (ou « Salle de concerts grande-duchesse Joséphine-Charlotte ») est une salle de concerts située sur le Plateau de Kirchberg à Luxembourg-Ville. Inaugurée en 2005, elle accueille aujourd’hui plus de 400 représentations par an et fait partie des principales salles de concerts en Europe.
En 1997, le projet de Christian de Portzamparc fut retenu à l’issue du concours international d’architecture lancé par l’Administration des Bâtiments publics.
L’inspiration préliminaire de l’architecte Christian de Portzamparc était de marquer l’entrée dans le monde de la musique par un filtre naturel. Cette idée s’est concrétisée sous la forme des 823 colonnes de façade en acier blanc, agencées en trois ou quatre rangées. La rangée de colonnes intérieure renferme des installations techniques, la deuxième épouse le vitrage, et la troisième a une fonction statique.
Entre le filtre de colonnes et le noyau central, un vaste hall péristyle enveloppe entièrement le Grand Auditorium. Des rampes, escaliers et passerelles mènent à la salle, la contournent et la relient aux loges.
La salle de musique de chambre, la billetterie et l’accès au parking souterrain ne sont pas intégrés au bâtiment principal, mais accolés à l’extérieur au sein de deux coques couvertes d’aluminium adossées contre le filtre de colonnes.
La réalisation acoustique des trois salles est l’œuvre de l’acousticien d’origine chinoise Albert Yaying Xu en association avec le bureau français AVEL acoustique (J.-P. Lamoureux).(Source : WIKIPEDIA)
Crédits : Johann Pourcelot
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A complete redesign of my E.424 to make it smaller, more realistic (my previous one was too high),motorized and compatible with H0 tracks. I still stick to the Athearn locomotives Hi-F system since it is the most simple way not to use too much modified Lego parts. DC wheels are from Piko, and are specifically used in Piko rubber band transmission locomotives. Motor is a small 6-12v N20 or N30 @1000rpm. Traction is only on the rear bogie.
I think it will need some weights on the powered bogie to increase traction. All non-Lego parts were either designed or remixed by me in Tinkercad, and then imported in Stud.io trough Parts Designer. Early version of the E424 in two-tone brown colour is shown here.
****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
Petit Bot - Guernsey, Channel Islands
This is two pictures I took of my OM-1 and silvernose G.Zuiko 50mm 1:1.4 using my E-510 and composed in Photoshop.
Introduced in 1973, the OM-1 was the first product in the OM Series. It earned wide acclaim as the world's smallest and lightest 35mm single-lens reflex camera. at the time of its lanch in 1973. The OM-1 initially went on sale as the M-1. However, the product created such an impact that Leica asked Olympus to change the name.
© 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
This is like the previous setup, except that I moved the lights to cast far less light on her.
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
Another star trail shot from last night at the Reservoir. The conditions were just stunning...
Hoping for the same again tonight.
Lake Cassidy sunrise in fog with lily pads along shoreline
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2021 Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
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C.R.E.A.T.E...E-Book pre-sale
Do you want to learn to vision emotional images so you can create them. Learn to connect deep with your subjects to create stand out, emotive imagery? Learn to back light your images indoors and outdoors. Learn to create stunning imagery with what you have from the comfort of your own home, no studio. Learn to shoot with purpose? Learn how I use light in and around my home. How to free lens in detail do you understand it. See diagrams of my shooting areas so you understand in depth. See me shooting on video in action. Also see video of me editing my images. AND SO MUCH MORE.
purchase my E-book that is on pre-sale. ONLY $75
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I've a clean shot actually, I mean without the small boat on the left side, but I didn't like her expression, so I choose this one, her expression was quite "Okey" to me, I'm just too lazy to "Clear" those boat in sight. Actually the small boat on the left side is from another group member of the expedition, we have six group with three boats to share, two group on one boat...
At least with the boat in sight, you get to hear my story... :-)
I have framed one of the photos ( size 10cm X 15cm ) I took for Teaadora 's debut album and that was used as cover art. The print comes in a little white box and I am selling this.
Only 1 available.
( View the photo closer here: www.flickr.com/photos/jeannemadic/9673444967/ )
Write me a message if you are interested in purchasing it!
Thank you!
Meanwhile at the moment there's a -40% sale on all my prints on my e-store using promocode " WINTERSALE" at checkout
Hotel room downtown Seattle Washington State USA
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2019 Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
My E-Mail Address is jscorwin@mac.com
Some initial shots from one of my 2 recent lens aqusitions, the Olympus 60mm f2.8 macro lens for M4/3.
I thought I'd take it to the Royal Botanic Garden in Edinburgh, for a try out. Very happy so far! Very sharp and also very compact and easy to carry.
Focusing is on the whole very quick though my E-M10 did have some very occaisional difficulty focuing at close range.
Strobist details: a 285HV into a gridded stripbox on either side. Optically triggered by the 144PC in my E-M5 MkII's hotshoe.
This is one of a series of test shots taken with the Sony FE 70-200mm F4.0 G OSS lens. The primary purpose of uploading these is for letting anyone interested in this lens see some sample images, so many of the images are not especially great photos worthy of publishing. Most of these images are at the max resolution for anyone who wants to pixel peep.
Some of these pictures were shot with a 36MP Sony A7R camera, and the rest with a 24MP Sony A7-II. The A7R has a shutter vibration problem that is visible in some of the images. The A7-II has an electronic first curtain (EFC) shutter that is practically vibration-free.
The image quality from the Sony 70-200mm lens at f/4.0 is excellent, and compares with images from a Nikon AF-S 70-200mm F2.8 pro lens at f/2.8. That is a major achievement.
For anyone considering or using the Sony E-mount system, I would highly recommend this lens. It is not cheap - it is actually a bit more expensive than similar lenses from Nikon and Canon. But its quality compares well with my Nikon pro 70-200mm F2.8 lens, and I find this a very utilitarian lens in my E-mount system.
No need to feel obligated to comment - just enjoy whatever pictures you like.
Sao Paulo, June 10, 2022 - Using special lamps that favor the growth of plants, the agro startup Pink Farm produces vegetables a few meters from the marginal Tiete freeway, in the heart of Sao Paulo. Keeping a lower cost than organic, according to the company, and much less water and fertilizers, can grow plants near consumer markets anywhere in the world, reducing the pressure on polluting logistics and advancing on preserved areas
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Sao Paulo, 10.jun.2022 - Com o uso de lampadas especiais que favorecem o crescimento das plantas, a startup do agro Pink Farm produz hortalicas a poucos metros da marginal Tiete do Ceagesp, no coracao de Sao Paulo. Mantendo um custo menor que o de organicos, segundo a empresa, e muito menos e agua e fertilizantes, consegue cultivar plantas perto dos mercados con© 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
sumidores em qualquer lugar do mundo, diminuindo a pressao sobre logistica poluente e avanco sobre areas preservadas
USA - New York : Manhattan / yellow cab
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Any use of my photos is forbidden without authorization.
Please send an e-mail to request authorization.
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Fotografía preparada para la Fotomisión de "Menos es Más" titulada "Dados".
VI Fotomisión "Menos es Más" - Dados
El dado es uno especial con 20 caras que se suele utilizar para jugar al Rol o para hacer trampas en el parchís :)
La fotografía está realizada con una Olympus E-500 con el objetivo 14-45mm. La iluminación proviene de una linterna de uso domestico para poder obtener las parábolas en la imagen.
PD: tenía ganas de jugar con el recorte y los marcos.
Espero que te guste, ¡ los comentarios son bienvenidos!
**************************************************************
Picture taken for the 5th "Fotomisión" (PhotoWork) of the "Menos es Más" (Less is more) entitled "Dados" (Dices).
VI Fotomisión "Menos es Más" - Dados
The dice I used is a 20 faces special one used for Role playing and for cheating in ludo :)
Picture was taken with my E-500 + 14-45mm lenses. Lightning is coming from a home-use-torch in order to get the parabolas seen in the picture.
PS: felt like playing with the cropping and framing.
Hope you like it, comments are welcomed!
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Light Painting / Single Long Exposure
Project 366:
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