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I shot it at the festival of CHHATH.
Chhath Puja is a very joyous and colorful festival. Chhath Puja is the holiest Hindu festival of people in northern India. Mostly the Chhath Puja is being observed in Bihar and Jharkhand(INDIA) and the festival comprises rituals for four days. The Chhath Puja begins a week after Diwali. The word Chat denotes the number six in Hindi. The Chhath Puja begins on the sixth day of the Kartik, a holy month as per Hindu calendar. Some people spell Chath Puja as Chat Puja, Chatt Puja, Chhath festival, etc
Chhath Puja is dedicated to worship the Sun God. The Chhath Puja is known as ‘SuryaShashti’. People observe Chhath Puja to thank the Sun for bestowing the bounties of life on earth, as also for fulfilling particular wishes. People believe that by observing the Chhath Puja they can fulfill their desires. The Chhath Puja has been observed since long time in India. On Chhath Puja day, all the people dress up in their best and new clothes are a must. Folk songs are sung both at home and on the riverbank. Millions of people take dip in the holy water of river Ganges, and other rivers.
For more photos like this one.click MY SITE subirbasak.orgfree.com.....
P.S."Copyright © – Subir Basak.
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Cunit, Tarragona (Spain).
ENGLISH
The Aleppo Pine (Pinus halepensis) is a pine native to the Mediterranean region. The range extends from Morocco and Spain north to southern France, Italy and Croatia, and east to Greece and northern Libya, with an outlying population (from which it was first described) in Syria (including Aleppo), Jordan and Israel. It is generally found at low altitudes, mostly from sea level to 200 m, but can grow at an altitude of up to 1000 m in southern Spain, and up to 1700 m in the south, in Morocco and Algeria.
A cone (in formal botanical usage: strobilus, plural strobili) is an organ on plants in the division Pinophyta (conifers) that contains the reproductive structures. The familiar woody cone is the female cone, which produces seeds. The male cones, which produce pollen, are usually herbaceous and much less conspicuous even at full maturity. The name "cone" derives from the fact that the shape in some species resembles a geometric cone. The individual plates of a cone are known as scales.
The male cone (microstrobilus or pollen cone) is structurally similar across all conifers, differing only in small ways (mostly in scale arrangement) from species to species. Extending out from a central axis are microsporophylls (modified leaves). Under each microsporophyll is one or several microsporangia (pollen sacs). The photo (right) shows mature male pine cones shortly after pollen release.
The female cone (megastrobilus, seed cone, or ovulate cone) contains ovules within which, when fertilized by pollen, become seeds. The female cone structure varies more markedly between the different conifer families, and is often crucial for the identification of many species of conifers, in as much as seeing the foliage alone may be insufficient to differentiate between closely related species.
More info: en.wikipedia.org/wiki/Aleppo_Pine, en.wikipedia.org/wiki/Conifer_cone
---------------------------------
CASTELLANO
El pino carrasco o pincarrasco (Pinus halepensis) es un árbol de la familia Pinaceae, género Pinus, también conocido como pino de Alepo o pino blanco, de hoja perenne en forma de aguja. Puede alcanzar los 20 m de altura. Tronco macizo y tortuoso, de corteza gris rojizo y copa irregular. Estróbilos rojizos de forma oval de unos 10 cm de longitud. Muy resistente a la aridez.
Está presente en bosques secos, de tipo mediterráneo, de Europa y Asia occidental y África del norte. Ha sido llevado también para utilizar su madera a África y otros continentes, donde ha entrado en competencia con la vegetación local. También se le utiliza en la producción de resina.
Crece, por lo general, a bajas cotas entre el nivel del mar y los 200 m, aunque en el sur de España puede alcanzar los 1000 m.
En Botánica un cono o estróbilo es una estructura basada en un eje terminal, alrededor del cual se despliegan hojas reproductivas con una disposición generalmente helicoidal. En este sentido más amplio cono es sinónimo de estróbilo, término que suele preferirse en las publicaciones científicas.
Cono (conus) es el nombre que en latín se empleaba para designar lo que en español se llama piña. Muchos prefieren restringir el uso del término a este significado original o, al menos, al grupo biológico de las coníferas (división Pinophyta), aunque sea incluyendo también a las estructuras masculinas.
Los conos femeninos están formados por un eje alrededor del cual se ordenan de forma helicoidal escamas gruesas e inicialmente apretadas, llamadas brácteas tectrices (portadoras), sobre cada una de las cuales se encuentran una o varias brácteas seminíferas. Éstas se interpretan como megasporofilos (hojas portadoras de megasporas) y sobre ellas aparecen los primordios seminales, que después de la polinización y la subsecuente fecundación, deben transformarse en semillas.
Más info: es.wikipedia.org/wiki/Pinus_halepensis, es.wikipedia.org/wiki/Estr%c3%b3bilo
www.youtube.com/watch?v=yoh_j5kTlDU
Best Days by Matt White
Every time I look at you
You always look so beautiful
Driving on the road again
The chevys packed up
and its dusk
And I would take some photographs
So I can dream of you
Can't say I've felt such a twisting in my heart this
way
We pitch a tent and i wont sleep i just stay awake .
Fires burning , softly singing songs .
So close to you .
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life.
Can't take away those times
We stayed up and we talked all night
Chain smoking cigarettes and
Three bottles of red wine
Falling asleep together
Holding your body close to mine .
Oh and in the morning
Your eyes opened so innocent
The sun is blazing , we are sweaty
You look lovely
Nothing else matters anymore 'cause you're
In my arms again
Do you believe
In love at first sight
I think you do .
We're lying naked under the covers
Those are the best days of my
Those are the best days of my
Those are the best days of my life
Oh Ill never want to be without you
So just stay with me
I will love you endlessly .
Oh darling, darling
Those are the best days of my
Those are the best days of my .. life
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life
Those are the best days of my
Those are the best days of my
Those are the best days of my life
Abandoned mansion of Baron de Viron in Bellegem. The baroness still lives in the house next to it.
--------------------------------------
Update 14/06/2011:
Apparently, this photo is subject to some discussion at the urbanexplorersforum.nl forum.
I have no access, so I'm not sure what it's all about. I did receive a polite message from a person that probably is a forum member, with the suggestion to remove the address of this mansion from the page:
"Hoe u met uw info omgaat is uw goed recht. Echter, om het adres op en bloot op Flickr te plaatsen omtrent maison Viron is niet zo handig. Het is een bekende plaats waar een bepaalde groep fotografen heen gaan en het niet zo prettig vinden dat deze info vrij op het net staat. Er komen ook andere personalia op af zoals meubeldieven etc. Er zijn nogal wat interieurfoto's die ook online staan.
Het zou dus prettig zijn deze te verwijderen. "
Translated:
"How you deal with your info is your own right. However, to post the 'maison Viron' mansion's address on Flickr is not so convenient. It is a known place visited by a certain group of photographers, which don't like this information to be freely available on the net. It also attracts other people, such as furniture thieves, etc. There are quite a few interior photos that are online.
So it would be nice to remove it."
My reply simply stated that any information provided on this photo page is already freely available on the net. I do not add any information not yet publicly available.
I would also like to get a chance to read what that forum discussion is all about, and express my opinion. If there are any good arguments, I'm willing to comply to the request. But I doubt there will be. Can anyone help me to register on urbanexplorersforum.nl ? I was unable to find a register page.
--------------------------------------
Update 28/06/2011:
A bit late with posting this update :-)
The reply I got on my email (that same day), goes like this:
"Maar heb je wel toestemming gekregen van de eigenaren van de webpagina's die je weergeeft, volgens mij geven die daar geen toestemming voor. Sterker nog, dit weet ik wel zeker, ik ken er een aantal persoonlijk.
Op het forum zult u geen toegang krijgen omdat dit een urbexforum betreft. Ieder die al een poos die hobby uitoefent en al de nodige resultaten kan laten zien wordt aangenomen, de ander resoluut geweigerd om deze praktijken tegen te gaan.
En nogmaals, u mag met de info doen wat u wilt omtrent Viron. Maar dat het open en bloot op het internet al staat wil nog niet zeggen dat u er aan moet bijdragen dit uit te breiden. Ter uwer info, ik heb het bewuste draadje geopend op dat forum om elkaar scherp te houden wie er goed en wie er slecht met info omspringt.
Hier eindigt alle contact tussen u en mij....."
Translated:
"But did you get permission from the owners of the webpages that you provide a link to? According to me they don't give permission. In fact, I know for sure, I know some of them personally."
I can only repeat what I have said before: I provide what's already available on the internet.
If the 'owners' of the webpages I link to would ask if I'd remove the links, I will. If they can prove they are the owners, of course.
"You won't get access to the forum because it's an urbexforum. Anyone that exercises this hobby for a while and can show the necessary results is accepted, any others are resolutely denied in order to prevent such practices."
I don't get this. I am denied access to this forum because I'm not an 'urbex'. So far, I can follow. But how is not allowing me on the forum going to prevent me from posting the information that I have? If they would grant me access, they might convince me to remove that information.
"I repeat, you can do what you want with the info on Viron. That it is already freely available on the internet does not mean you should contribute on its availability. FYI, it was I who started the thread on that forum to keep each other sharp on who handles info in a good way or bad."
I guess I'll be one of the bad guys, then. If I don't get a chance to defend myself, or give 'them' a chance to convince me to follow their rules, so be it.
"Here ends all contact between you and me...."
Well, OK, then. That's very mature.
Even if I wasn't allowed on that forum, at least I had one contact to exchange ideas with. But if this person chooses to end a discussion that hasn't had a chance to really start, I'll respect that. I haven't answered that mail. And because all contact has ended, I doubt that person will come back to read my thoughts in here.
--------------------------------------
The baroness does not appreciate visitors, but many have entered to take pictures:
www.flickr.com/photos/x-itje/sets/72157601106012373/with/...
www.urbexannie.nl/locatiesbelgie/MaisondeViron.htm
web251.webgo24-server8.de/maison_de_viron/
www.residues.net/viron_uk.html
gallery.jurgroessen.nl/main.php?g2_itemId=6891
www.noplaceto.be/Viron/index.html
www.talkurbex.com/2009/08/a-walkthrough-maison-de-viron/
www.luxurbex.com/gallery-maison-de-viron.html
www.brunas.nl/pixelpost/index.php?showimage=467
www.flickr.com/photos/cvanfleteren/sets/72157601106051893/
Beschrijving
Walleweg nr. 13. Z.g. "Mortagnekasteel". Landhuis in cottagestijl van ca. 1925, opgetrokken in opdracht van en naar ontwerp van baron de Viron. Gelegen in groot park met twee dreven één vanuit Walleweg en een tweede vanuit Bellegemseplaats. Typerend materiaalgebruik, i.e. gediversifieerde geel-oranje baksteen afgewisseld met gecementeerde delen (geschilderd) en imitatievakwerk. Combinatie van volumes met centraal blok onder pannen schilddak. Dakkapellen met hellende daken of zadeldaken, boven inkom uitgewerkte dakkapel. Drieledige, korfbogige en overluifelde inkompartij met bordestrap. Erboven driezijdige houten erker. Rechthoekige en segmentvormige vensters in (simili)natuurstenen omlijsting met negblokken. In tuin romantische waterput en tuinpaviljoen. ( inventaris.vioe.be/dibe/relict/60577 )
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i took like 60 different shots for today. i love the way this turned out.
shannon is not here cause shes pet sitting. 7 dogs, 2 cats, 5 miniature horses and a llama. no i'm not kidding.
this week is gonna be all about reading the script for the show im designing at the begining of Sept. y'all gotta stay on me to get it done!
365 - 7.26.09
as I am often asked about, here is one of the few moments in my journey as a photographer, i treasure.
see the awarded image & description on flickr here
and CNP link here
the image ' rorschach's mindscape ' was awarded ' the most creative image of the year 2010 ', by the forum ' creative nature photography ', run by one of my most favourite nature photographer 'n visionary ganesh shankar and his team. see the link for awards here
see ganesh's outstanding work & essays on nature photography @ www.naturelyrics.com/
Thor is the red-haired and bearded god of thunder.
the son of Odin, and Giantess Jord (the Earth).
Thor owns a short-handled hammer, Mjöllnir, which, when thrown at a target, returns magically to its owner. His Mjöllnir also has the power to throw lightning bolts. To wield Mjöllnir, Thor wears the belt Megingjord, which boosts the wearer's strength and a pair of special iron gloves,to lift the hammer. Mjöllnir is also his main weapon when fighting giants.
Thor gave his name to the Old English day Þunresdæg, meaning the day of Þunor, known in Modern English as Thursday. Þunor is also the source of the modern word "thunder".
last images for thE vEnTs "messy" and TOTW "mythology"
BRAGS :
Ate some amazing food with good friends
Ordered some exercise Stuff
Ordered some badass props
I never used to drink coffee. After I moved to Guelph a few years ago I tried it. Then I tried our local Planet Bean Coffee...... and it was all over. I now buy freshly roasted coffee every week or so.... and grind it in my new burr grinder right before I brew it in my french press. I have somehow become a coffee snob. Never saw it coming.
A bonus of drinking Planet Bean coffee is that it is Fair Trade and Organic!
Camera: Nikon D700 [ISO 200]:[5s] Lens:135mm 2.8 AIS [f4]
Strobist: SB900 @ 17mm 1/8th power, into 28" wescott softbox camera right. Used a whiteboard to attempt to reflect some of the light back to left side of subject.
Triggered by PWII's.
After the flash went off, I used a small pen flashlight and made quick circles in the air during the remainder of the 5 second exposure. I kind of like this one because the "halo" is all messed up. it sure is hard to draw a straight line while reaching over your setup in the dark. single exposure, no photoshop editing.
wow, this looks awful small. okay, you must view large. seriously. it's plain embarrassing small.
also, i'm terribly sorry that i haven't had time to look through everyone's new uploads in a couple days :( i promise i will catch up on that this weekend, if not before.
this is old, super old, sorry you are probably tired of all these canal pictures.
anyway, i uploaded it since i had no new photos and i was tagged by audrey hutchinson (: so here goes, ten things about me...
1. i go through phases of music...i will pick two or three songs and literally ONLY listen to them for the next month. right now...it's two songs from the coraline soundtrack. don't make fun of me :'( haha.
2. i LOVE root beer dumdums (as in the lollipops)
3. i was obsessed with neopets for like 5 years...and i still go on every once in awhile. heh
4. i have a cat named ember, who is actually a vampire and i have ten million scars on my arms to prove it.
5. i haven't worn a pair of flaired jeans in practically a year, i live for skinny jeans. especially colored skinny jeans, i have a ridiculous amount of them.
6. i studied college-level ancient Greek for three weeks this summer (yessir, i'm a nerd. i went to CTY camp) and the best thing i learned from it was the ability to write secret notes to myself in transliterated greek (SO HELPFUL).
7. i loveeee snow and the sound it makes when it falls.
8. once i ate nothing but eggo waffles for two days straight.
9. i have three brothers, whom i frequently want to toss out the window.
10. i love band geeks.
I now have two books of my work available...
The Feeding of the Birds... The photography of Allan Ellerby Book Preview
Click Here
Also available is the more comprehensive...
xeno-canto.org/asia/species.php?species_nr2=9480.00
A male bird of paradise
The Raggiana Bird of Paradise, Paradisaea raggiana also known as Count Raggi's Bird of Paradise is a large bird in the bird of paradise family Paradisaeidae.
It is distributed widely in southern and north eastern New Guinea, where its name is kumul.
It is 34cm-long, maroon-brown with greyish-blue bill, yellow iris and greyish-brown feet. The male has a yellow crown, dark emerald-green throat and yellow collar between the throat and its blackish upper breast feathers. It is adorned with a pair of long black tail wires and large flank plumes. The female is a comparatively drab maroonish-brown-colored bird. The ornamental flank plumes vary from red to orange in color, depending on subspecies. The nominate subspecies, P. r. raggiana has the deepest red plumes, while subspecies P. r. augustavictoriae also known as the Empress of Germany's Bird of Paradise of northeast New Guinea has apricot-orange plumes.
en.wikipedia.org/wiki/Raggiana_Bird_of_Paradise
De paradijsvogel heeft vele kunstenaars geïnspireerd. Het is een zeer bijzondere vogel door zijn opvallend kleurrijk verenkleed. Hier lees je veel interessante feiten over deze prachtige verschijning in het oerwoud van Nieuw Guinea.
De paradijsvogel behoort zonder meer tot de mooiste vogels ter wereld. Van de 43 soorten komen er 38 voor in Nieuw Guinea. De paradijsvogel is de nationale vogel van Papua Nieuw-Guinea(PNG). Paradijsvogels hebben een uitzonderlijk lange staart. Ook groeien er lange gekleurde draden uit hun verenkleed. Sommige paradijsvogels hebben een eigenaardige verenkroon op hun hoofd.
uit:
dier-en-natuur.infonu.nl/vogels/5776-paradijsvogel-de-moo...
174.129.90.252/groups/paradisaeidae/pool/interesting/
belasaves.3vd.com.br/index.php/component/content/article/...
Estábamos en una zona de Osona que conocíamos poco. Los pueblos de los alrededores del pantano de Sau son pequeños y coquetos. Algunos se componen unicamente de una masía grande, una iglesia, su estafeta y el ayuntamiento. Una calle Mayor con casas bajas donde se agrupan la panadería y un bar, pequeño y cuidado, en donde disfrutar de un buen bocadillo de productos del lugar es lo mas apropiado.
Estábamos saboreando del aroma de las piedras centenarias de la iglesia de Vilanova de Sau, y disfrutando del silencio de su cementerio, pequeño y muy cuidado, cuando un estruendo nos trajo de nuevo a este mundo. No supimos discernir si el maremágnum de pitos, bocinas y griterío vario era una manifa de agricultores, o una repentina y no deseada aglomeración de coches con intenciones de aparcar junto a la iglesia, situación que me hubiera sacado de mis casillas, pudiendo ser el inicio de un altercado entre domingueros jubilados y yo mismo, algo siempre muy embarazoso, ya que por la experiencia tenida, esas embestidas siempre dan en fracaso y bochorno, saliendo del lugar con mala leche y sin hacer agua clara.
No fue el caso... la algarabía que se oía en la Calle Mayor era, no una mani de gente en desacuerdo con alguna autoridad, o jubileo, si no una bonita quedada como hoy se dice, de moteros con sus respectivas monturas, todo salido así como de una película de los años 40, tales eran las trazas de las motocicletas y sidecares, así como los cascos y gafas de los dueños de ellas. Ibamos a por piedras añejas y terminamos fotografiando Sanglas y Ducatis de época, algo que no teníamos previsto, pero que nos lleno de gozo.
www.dbnl.org/tekst/_rev002199301_01/_rev002199301_01_0130... #terbalkt #habakukIIdebalker #harryterbalkt #boekelo #twente #mastbos #literature #literatuur #wood #wald #bos
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© Brian Callahan 2009 All rights reserved.
The Fisher Building (1928) is an ornate skyscraper in the New Center area of Detroit, Michigan, United States constructed of limestone, granite, and marble. Financed by the Fisher family with proceeds from the sale of Fisher Body to General Motors, the structure was designed to house office and retail space. The building was designated a National Historic Landmark on June 29, 1989. The building also contains the 2,089 seat Fisher Theatre.
Standing on the corner of West Grand Boulevard and Second Avenue in Detroit, Michigan, the Art Deco skyscraper lies in the heart of the New Center area of Detroit. The office building rises 30-stories with a roof height of 428 feet (130 m), a top floor height of 339 feet (103 m), and the spire reaching 444 feet (135 m). The building has 21 elevators. Designed by Albert Kahn and Associates with Joseph Nathaniel French as chief architect, it has been called Detroit's largest art object. and is widely considered Kahn's greatest achievement. The year of its construction, the Fisher building was honored by the Architectural League of New York as the year's most beautiful commercial structure. The opulent three-story barrel vaulted lobby is constructed with forty different kinds of marble, decorated by Hungarian artist Géza Maróti, and is highly regarded by architects. The sculpture on the exterior of the building was supplied by several sculptors including Maroti, Corrado Parducci, Anthony De Lorenzo and Ulysses Ricci.
8-28-10:
CollegeMonthlyOct.1974-JoeCardiello-Illo
www.facebook.com/photo.php?pid=918258&id=1652840888&a...
Special thanks to Kenneth R Anderson
Joe Ciardiello
1990s
Directory tear sheet, 8.375" x 11"
I saw Joe's work for the first time Sept. 1974 when he did a caricature for Doug G. and Noë G's fledgling mag. Joe hadn't fully developed his own style yet, and his illustration struck me as a so-so Alan Cober or Jack Unruh knock-off. Boy, was I wrong, or boy, has he developed. This sample comes from about 20 years later, with a very NYC subject for Joe. His style is now instantly recognizable, and he does regular spots for The New York Times Sunday Book Review. He's terrific.
But within weeks, College Monthly folded, Joe's November issue art never ran, and he (and we) didn't get paid. Perhaps this belated appreciation will serve as minor recompense.
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Add a caption
Joe Ciardiello 1990s Directory tear sheet, 8.375" x 11" I saw Joe's work for the first time Sept. 1974 when he did a caricature for Doug G. and Noë G's fledgling mag. Joe hadn't fully developed his own style yet, and his illustration struck me as a so-so Alan Cober or Jack Unruh knock-off. Boy, was I wrong, or boy, has he developed. This sample comes from about 20 years later, with a very NYC subject for Joe. His style is now instantly recognizable, and he does regular spots for The New York Times Sunday Book Review. He's terrific. But within weeks, College Monthly folded, Joe's November issue art never ran, and he (and we) didn't get paid. Perhaps this belated appreciation will serve as minor recompense. === www.joeciardiello.com ===
In this photo: Doug Garr (photos), Noe Gold (photos | remove tag), Joe Ciardiello
Added July 25 · Comment · LikeUnlike
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Joe Ciardiello Thanks Kenneth. Better late than never.
6 hours ago · LikeUnlike · 1 personLoading... ·
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Patrick Jb Flynn Whom among us isn’t influenced by our predecessors? It’s a little thing called history, a subject that most Americans fail miserably. I always saw Joe’s art as an amalgam of the best illustrators of that time, Milton Glazer, fused with Cober, Unruh, and the inimitable James Spanfeller.
4 hours ago · LikeUnlike ·
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Kenneth R Anderson @JC - I'm honored by your attention to my fb gallery.
@PJF - indeed. What I relate to now isn't even a style thing, per se. JC seems to draw naturally from his heart, a soulful quality I always admired in James McMullen's work.
3 hours ago · LikeUnlike · 1 personPatrick Jb Flynn likes this. ·
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Noe Gold
@PJF, Spanfeller also graced the pages of this magazine due no doubt to the involvement of his AC accolytes. Kudos to you Ken for enshrining this.
www.flickr.com/photos/doctor_noe/4360653626/in/set-721576...
This is a parody ...published by College Monthly October 1974.
© 2010 noemedia.
© 1974. All rights reserved under international conventions. No material may be reproduced without written permission of the publisher.
Cover photo by Basil Pao
With retouching by Rainbow Graphics, body by Doug, hand by Noë of New York. T-shirt by Harry Gross; photo by UPI, lighting by Chris Callis, and body English by Tom King.
And check out this blog entry at ...
doctornoemedia.blogspot.com/2010/02/catcher-in-bourbon-pa...
Wat is straô?
Straô is een jaarlijks terugkerend evenement op een aantal zaterdagen in het voorjaar, waarbij de voeten van de paarden in de zee worden 'gewassen'. De dorpen aan de westkant van Schouwen-Duiveland hebben allemaal hun eigen straô-viering.
Straô-rieen is een historisch feest en gaat ver terug in de tijd. In vroegere tijden stonden de werkpaarden de gehele winter op stal. Zodra de winter tegen het einde liep, ging men met de paarden de zee in om de voeten te wassen. Hoewel de werkpaarden van vandaag nog uitsluitend als hobby worden gehouden en zeker niet meer een hele winter op stal staan, wordt de gewoonte nog steeds in stand gehouden.
what is Straô
Straô is an annual event on a number of Saturdays in the spring, where the feet of the horses in the sea 'washed'. The villages on the west side of Schouwen-Duiveland have their own straô celebration.
Straô is a historic celebration and goes far back in time. In ancient times were the workhorses throughout the winter in the barn. Once the winter by the end went, they went with the horses to the sea in order to wash there feet. Although the workhorses of today be held solely as a hobby and certainly not a whole winter on stable, the habit still maintained.
Thanks for your visit and comments, I appreciate that very much!
Don't use this image without my explicit permission. © all rights reserved.
Regards, Bram (BraCom)
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Some of my images are availble in prints over on my ETSY store
- feel free to contact me if you are interested in a certain image :) THANK YOU <3
bighugelabs.com/scout.php?mode=history&id=3234012812
[...] Nonviolence is the answer to the crucial political and moral questions of our time; the need for mankind to overcome oppression and violence without resorting to oppression and violence. Mankind must evolve for all human conflict a method which rejects revenge, aggression, and retaliation. The foundation of such a method is love [...]
-- Quote by Martin Luther King Jr. (1929 - 1968), December 11, 1964
Nikon D70, Tokina 28-70 f/2.8, 44mm - f/8 - 1/3200s - Flash Metz CT-3 in manual
Rome, Italy (August, 2008)
The 16th Avenue Tiled Steps project has been a neighborhood effort to create a beautiful mosaic running up the risers of the 163 steps located at 16th and Moraga in San Francisco.
Artists Aileen Barr and Colette Crutcher led the creation of the 163 mosaic panels that were applied to the step risers, over 300 neighbors joined us in making them, and over 220 neighbors sponsored handmade animal, bird and fish name tiles imbedded within the mosaic. The City permitting process was completed on August 18, 2004. KZ Tile, a major San Francisco tile setting company, generously agreed to set the mosaic panels into the risers and tile the step treads with rough, nonslip tile.
The restored artilley sheds house Judd's installation of 100 Mill Aluminum boxes. Both the pieces and the restored sheds are site specific - they were planned in conjunction with one another. The size of the buildings determined the size and scale of the artwork, as well as their placement. The boxes has a direct relation to how large the windows that Judd added were. Initially the buiding had a leaking problem and were proportionally inadequate. So Judd took example from a storage building in the nearby town of Valentine and added a vaulted roof of corrugated metal. The roof rescaled the whole building, doubling its height. The boxes contained within are all unique; no two are quite the same. ~~ source
Inside the old, abandoned High School in Toyah, Texas.
Story continued from this image...
Alright, so having discovered the existence of another opening on the other side of the building, I quickly folded up my tripod and made for the basement exit. I hustled around to the east end of the old school building, and whadya know...there's a big steel door standing wide open, it's 4 x 8 plywood having been removed and lying down on the concrete steps down to this basement entrance. I made my way down the step and shined my streamlight inside...nothing very impressive here either; just a hallway with a couple doorways off either side. I stepped in, and examined to room to my right.
This room was completely empty except for a non-professionally made wooden table, about 3x6 feet, of about the size and height someone might lay down on. The rest of the room was basically fairly clean of debris...it began to look as though this building had remained sealed for several decades, and had only been breached very recently. There was no tagging to be seen anywhere, which was quite refreshing compared to most places like this that I visit. Whoever forced their way in at least had respect for the place...perhaps an urban explorer type, rather than drunk teenagers looking for a place to party.
One other thing I forgot to mention about this side...the ceiling here is normal height, not 5 feet like on the other half. Not sure how they worked that, but it was a relief to not have to walk around all bent over.
The second door on the right side of this hallway was actually just a second exit door for the room with the table, which was the largest room I'd seen here yet. So I wandered across the hallway to the lone door on that side, which was right next to the outside door through which I entered.
This room turned out to be the bath & shower room you see in the photo above. The blue paint was both rich and in surprisingly good condition, other than a few minor peels here and there. I looked at that shower head arrangement and thought about how cramped together 3 young men would be trying to simultaneously shower there. I didn't like that mental image so I switched it to three young women...there, that's better...
Anyway, I decided to snap this photo of it, and as I stepped back into the hallway to fire off the red strobe, I managed to get my $500 Marchon Airlock glasses hooked on my stretch knit cap, and because they were so cold, the arms snapped right off. Flyin' blind now!
OK, so the other thing in this hallway, at the very end on the left, is the stairway up to...what? I didn't know yet, but it was time to find out. I was as giddy as a schoolgirl in a 3-head shower as I made my way up the creaky, unstable wooden steps, covered with dust and rubble from years of deterioration, all highlighted quite coldly in the flat, bluish light from my LED flashlight.
Hmm...what's that sound coming from above?
To be continued...
Le zèbre est-il blanc à rayures noires ou noir à rayures blanches, comme le demande une légende africaine ? Les zèbres sont avant tout reconnaissables aux bandes noires sur fond blanc de leur pelage. Si le zèbre de Burchell possède de vingt-cinq à trente raies, le zèbre de Grévy en compte environ quatre-vingts et le zèbre des montagnes quarante-trois.
The sky last night was one of the best I've seen for ages. Each little cloud pinked up beautifully and the sun was really red behind a light hue of clouds. BTW I've not altered the colours - the sky really was like that.
Went out exploring too - never been to Nethertown before. It has one of the most remote (and most scenic, it has to be said) train stations I've ever seen. It literally sits on the coast. I must try the train journey from Barrow to Carlisle sometime - it's supposed to be a amazing.
Took this photo a few hundred metres further south from the train station. It was actually quite tricky to get to. Layers of pebbles and further out on the tidal stretch, there are all sorts of weed covered rocks and silted up crustaceans. A right pain to walk on in wellies.
Anyway, it was such a lovely evening I was totally mesmerised by the sky.
Arriba: Puente grúa sobre las columnas del pórtico lindero a la futura estación Echeverría correspondiente a la prolongación de la línea B, una de las tantas obras de subte desfinanciada por el macrismo. Al frente del mismo (a la der), el viejo teatro 25 de Mayo remodelado y reinaugurado.
LAS PROMESAS DE MACRI Y LAS OBRAS
Dos megaobras mantienen este año un ritmo sostenido: Arroyo Maldonado y Teatro Colón. Pero la ampliación del subte camina a paso de hombre y son varios los proyectos que quedaron en compás de espera. El Gobierno porteño asegura que no se paralizó ninguna obra, aunque reconoce la existencia de demoras y dificultades. Hasta qué punto Macri cumplió sus promesas. Opinan los candidatos.
Foto: Propia (cualquier copia o reproducción requiere del previo permiso y/o consulta al autor).
Si querés la foto, primero consultame por correo a nicofoxfiles@hotmail.com
Texto: Por Enrique Colombano y Laura Di Marco para Noticias Urbanas.
Mauricio Macri ganó las elecciones porteñas prometiendo una avalancha de inversiones públicas, eficiencia y velocidad a una ciudad harta de la ineficiencia, la lentitud y la desinversión crónica. Se vendió a sí mismo, más que como un político, como un empresario eficaz, un ingeniero carente de las viejas mañas de la corporación política. Se vendió como alguien que venía de "afuera". Lo nuevo frente a lo viejo; los hechos frente a las palabras, sobre todo frente a las palabras de los "progres", que lo habían precedido en la gestión.
En pleno frenesí de su campaña llegó a prometer que construiría 10 kilómetros de subte por año, en una ciudad tan colapsada por el tránsito que cualquier paro de subtes la convierte en un tsunami en cuestión de minutos. Sin embargo, a un año y medio de gestión PRO, ¿cuántas de todas aquellas promesas esperanzadoras pudo concretar? ¿Cuál es realmente la obra pública de Macri y la inversión en infraestructura que está llevando adelante? ¿Cuánta plata dijo que iba a destinar a su gesta urbana, y cuánta destinó realmente? En una palabra, ¿cuánto de aquella eficiencia prometida ante las cámaras pudo llevar verdaderamente a la práctica? Como es lógico en estos casos, las percepciones varían, y sólo los números suelen darnos pistas más certeras.
Mientras el oficialismo jura que los 3.300 millones de pesos previstos para la obra pública de 2009 es el mayor porcentaje invertido en el rubro de los últimos años, y que PRO ha hecho más en un año y medio de gestión que los "progres" en muchas administraciones, la oposición responde, lapidaria, que Macri no ha hecho, directamente, obra pública, si por ella se entiende una inversión destinada a infraestructura de alto impacto. Por ejemplo, más subtes. Los legisladores del arco opositor le achacan al macrismo concentrarse en hacer cosas visibles –tales como el bacheo o la refacción de veredas–, pero no las que son más necesarias a largo plazo. Sospechan de transferencias de fondos estatales a las constructoras privadas y de conexiones non sanctas entre el oficialismo y las empresas vinculadas al grupo Macri. Le facturan que sólo inauguraron una escuela, en la Villa 21, y que, encima, es un predio que había sido previamente recuperado por los vecinos de la zona. Lanzan que del hospital prometido en Villa Lugano sólo hay una salita de primeros auxilios. Le cuestionan que este año los chicos porteños volverán a pasar frío en las escuelas por una impericia de gestión. Desde el Acuerdo Cívico y Social, el segundo candidato a legislador de Lilita, Juan pablo Arenaza, lo explica: "La Legislatura votó el año pasado una norma que le permitía a Macri destinar dinero a la mejora de la infraestructura en las escuelas, y de ese porcentaje sólo ejecutó un 40 por ciento; no queremos subtes, pero al menos que ponga gas en los colegios".
Finalmente, lanzan, de los 10 kilómetros de subte prometidos no pudo hacer ni uno solo. Macri –es sabido– acusa al Gobierno nacional y, de paso, a la escasa colaboración de Daniel Scioli en el fracaso de llevar adelante políticas con mirada metropolitana. Más aún, Gabriela Michetti, que lidera las encuestas porteñas, justificó su renuncia a la vicejefatura para pasar a la "pelea nacional" con el único objetivo de cambiar esas "injustas" reglas del juego, según los macristas.
Cristian Ritondo (PRO), presidente de la Comisión de Obras Públicas de la Legislatura, explica la situación con números en mano: "Nosotros esperábamos contar con 2.500 millones de dólares de financiamiento: 1.500 millones los iba a aportar el Banco Interamericano de Desarrollo (BID), 500 millones la Ciudad y 500 millones la Nación, porque se había hablado con el ex jefe de Gabinete, Alberto Fernández, sobre la posibilidad de trabajar juntos para el Bicentenario". La historia que sigue es conocida: el Gobierno nacional jamás consideró avalar el pedido de toma de deuda, la economía mundial entró en crisis y, por último, Fernández se fue mal del Gobierno. La realidad es que hoy las obras del subte "sobreviven" a paso de hormiga con el presupuesto asignado (116 millones de pesos), además de un 5 por ciento de lo que recauda Autopistas Urbanas S.A. (AUSA), que se destina a Subterráneos de Buenos Aires (Sbase) y que son apenas 12 millones de pesos más. Esto alcanza para mantener en funcionamiento las obras civiles, pero no para tender la red.
Este mes se debería haber inaugurado la estación de Corrientes y Pueyrredón de la línea H. No ocurrió. El Gobierno porteño sólo alcanzó a poner en funcionamiento las estaciones Puán y Carabobo de la línea A, que, encima, ya estaban terminadas desde fines de 2007.
Desde la oposición, el segundo candidato de Diálogo por la Ciudad, el ibarrista Mario Gygli, sale a cruzar a PRO: "Yo puedo demostrar, con números, que Macri miente cuando se victimiza. Él puede avanzar perfectamente con las obras de los subtes con presupuesto propio, sin pedirle plata a nadie, como lo hicimos nosotros en plena crisis de 2001, cuando construimos 11 kilómetros".
Desde el Frente para la Victoria, Francisco Tito Nenna va en la línea de Gygli cuando destaca que Buenos Aires tiene uno de los presupuestos más vigorosos del país. Y avanza: "Lo que hay es una transferencia de los recursos del Estado a empresas de construcción privadas, amigas del macrismo, que son las que se dedican a arreglar veredas y baches".
Para las obras de ampliación de la red de subtes, el macrismo había asignado inicialmente 447,5 millones de pesos, pero más adelante tuvo que recortar a 116 millones. Ya sea porque los demás fueron peores, porque lo actual no es tan malo como dice la oposición o porque la estrategia de la "acupuntura urbana" –y visible– da resultado, lo cierto es que, según las encuestas, los porteños, aunque no están del todo conformes, no le soltaron la mano a Macri. Más aún, los politólogos suelen decir que la estrategia de victimización "paga" en el caso de Macri: la gente, en general, le cree cuando culpa al Gobierno nacional. Una cosa es verdad: además del aval para el financiamiento de subtes, la Nación "cajoneó" el Fondo de Infraestructura Social (Foiso), una toma de deuda por 1.600 millones que Macri pensaba destinar a la obra social, como refacción de escuelas y hospitales.
REALIDADES Y PROMESAS
De todas las megaobras prometidas, lo cierto es que sólo dos marchan a ritmo este año: las refacciones del Teatro Colón, que terminarían en 2010 según promete el Gobierno porteño, y la del canal aliviador del Arroyo Maldonado, que permitirá evitar inundaciones en vastas zonas de la Ciudad.
Después, sí, se incluyeron obras de envergadura intermedia. Veamos: intervenciones en la Red Pluvial II –son 25 y el Gobierno porteño promete terminar la mitad este año– o las obras de la 9 de Julio Sur, a cargo de AUSA. Y finalmente, tenemos bacheo, lo más visible, la ampliación de calles, construcción de placitas, adoquinados, desadoquinados, peatonalización, muchos obreros vestidos de amarillo con la leyenda "Haciendo Buenos Aires", más bacheo, antenimiento. La famosa "acupuntura urbana". La megaobra del Teatro Colón es un tema aparte; le destinarán 106,5 millones, pero desde el Frente para la Victoria sugieren que en las demoras hay algo turbio. Nenna dirá concretamente: "Hay que estar atento porque pueden llevarnos a un proceso de privatización".
Cuando en noviembre del año pasado el ministro de Desarrollo Urbano, Daniel Chaín, fue a la Legislatura, a las reuniones previas a la aprobación del Presupuesto 2009, reconoció que este año el Gobierno porteño iba a tener que suspender obras previstas por 472 millones de pesos.
Desde el macrismo, el vocero del Ministerio de Desarrollo Urbano, Sergio Levit, es enfático cuando niega que se hayan parado obras y, en cambio, destaca los avances en la obra del Maldonado: "Es la obra más importante que se hace en Latinoamérica y la que tiene la más mayor tecnología". En verdad, lo que la administración PRO tiene para decir es que hacen lo que pueden con el dinero que tienen. Y hay muchas obras que se dejaron de lado, entre ellas la anunciada construcción de nuevos neuropsiquiátricos, el aliviador de la Cuenca Medrano-White y la megalicitación Oasis Urbanos, una construcción de espacios verdes en lugares estratégicos de la Ciudad, que fue reemplazada por un programa de licitaciones progresivas.
Desde la oposición dicen, en cambio, que Macri tiene serios problemas para encarar licitaciones de largo aliento. "No tiene cuadros capaces de llevar adelante y concluir un proceso licitatorio", dicen, palabras más o menos, desde Proyecto Sur, el FPV, el socialismo, el ibarrismo y el lilismo porteño. Precisamente, desde Proyecto Sur, el médico del hospital Argerich, Jorge Selzer, segundo candidato a legislador porteño detrás de Fabio Basteiro, lanza un último dardo al ingeniero PRO: "Debería planificarse el crecimiento
urbano y poner topes en la Ciudad, de lo contrario la polución y el consumo de energía van a ser insostenibles". El año pasado la Legislatura sancionó, luego de varios años de demora, el Plan Urbano Ambiental (PUA). La norma, ordenada
por la Constitución de la Ciudad, es la ley marco que garantiza los derechos urbanos de los porteños. De allí se desprende cómo se debe planear la Ciudad a partir de ejes como el transporte, los espacios públicos, la vivienda, la producción o el empleo. El PUA sugiere la discusión de una política interconectada y, también, la reformulación urgente del Código Urbanístico, que dice qué se puede construir y en dónde. Hoy el Código que se usa es del 77 y no responde al modelo de ciudad que propone el nuevo plan urbano. También redactar nuevos códigos de Habilitaciones y Espacio Púbico. Finalmente, ampliar la mirada a escala metropolitana, en lugar de centrarse sólo en la Ciudad, es otro de los desafíos.
A estas alturas, Macri ya debe haberse dado cuenta de que para achicar la distancia que media entre la campaña y el poder real deberá apelar sí o sí a la política. Porque con la ingeniería sola no le va alcanzar.
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Please view on black.
I'm sorry for my English-speaking friends... Here is a poem writes by my sister on the timelessness of seascapes. Enjoy !
Il reprit accidentellement le chemin de la dune
Piétinant chardons, fleurs et herbes brunes
Laissant le sable, attrapé dans sa main
Glisser le long de ses grands doigts fins
Il sent la chaleur peser sur son corps
Et la douleur que produit cet effort
Il grimpe la pente aride et ensablée
Désirant au plus fort atteindre le sommet
De là, il sait qu’il verra la mer
Enfin il retrouvera un repère
Il attend impatiemment cette rencontre
Lorsque la mer et le ciel en un s’estompent
Ses pas se font lourds sur ce sol mou
Ses pieds s’enfoncent dans le sable doux
Doux mais pourtant traître et piégeur
Car il désespère de ne pas arriver à la bonne heure
Il veut parvenir au sommet pour pouvoir admirer
Le soleil plongeant et coulant dans la mer bleutée
Il veut pouvoir voir comment le vent léger
Balaie et fait danser les hautes herbes des dunes ensablées
Il imagine le bruit sourd des vagues blanches
Les rochers et ses mares sur lesquelles il se penche
Espérant voir de cette jungle et faune maritime
Un poisson ou un crabe délogés de son lieu intime
Il présume que la pointe du rocher aperçue dernièrement
Est à présent dévoilée et se dresse fièrement
Et que la dune recule invariablement et sans volonté
Face au vent violent et à la mer déchaînée
Il se voit s’allonger dans les grains de sable blond
Respirant l’air chaud et pur à pleins poumons
Profitant de ce qui règne ici soit la quiétude
Et que soit balayée sa perpétuelle inquiétude
Il sait qu’il sera étourdi, ébloui et impressionné
Comme à chaque fois que l’aventure est renouvelée
L’histoire d’une rencontre avec une harmonie visible
L’histoire d’une rencontre avec un soi illisible
Seguir con gli occhi
un airone sopra il fiume e poi
ritrovarsi a volare
e sdraiarsi felice
sopra l'erba ad ascoltare
un sottile dispiacere
E di notte passare con lo sguardo
la collina per scoprire
dove il sole non fa rumore
e guidare come un pazzo a fari spenti
nella notte per vedere
se poi e' tanto difficile morire
E stringere le mani per fermare
qualcosa che
e' dentro me
ma nella mente tua non c'e'
Capire tu non puoi
tu chiamale se vuoi
emozioni
Uscir nella brughiera di mattina
dove non si vede a un passo
per ritrovar se stesso
Parlar del piu' e del meno
con un pescatore per ore ed ore
per non sentire che
dentro qualche cosa muore
nascere un giorno una rosa rossa
E prendere a pugni un uomo
solo perche' e' stato un po' scortese
sapendo che quel che brucia non son le offese
E chiudere gli occhi per fermare qualcosa che
e' dentro me
Ma nella mente tua non c'e'
Capire tu non puoi
tu chiamale se vuoi
emozioni
tu chiamale se vuoi
emozioni.
I went out scouting for shooting locations with Sandy today for our food bank photos (we are going to have a seriously dark and twisted shot going up in the next month or so). While we were out Sandy taught me a new photography technique. It's called "Through the Viewfinder" (or TTV). You take a high quality dSLR with a macro lens and shoot through the viewfinder of an old camera. It gives a very cool effect. Kind of a soft, noisy, vintage sort of feel.
This is my first attempt at this kind of photography. I think it has potential though. Now I just need to get a good MACRO lens...
Thoughts?
If you've got some time, here is Sandy's stream:
www.flickr.com/photos/sandyphimester/
It's excellent! Sandy's been kind enough to teach me lighting and all sorts of other stuff.
54/365 - Carolina Drama - The Raconteurs
Today was another really tough day of hard work.
It started badly with the viewing of our work on the "Tea or Coffee" weekly theme with our studio teacher, and the work we did was not what he was thinking about.
We were too late at noon to grab the equipment we needed for the work of the afternoon so we had to eat something as quickly as possible and get back to the studio to finally take away a Mamiya RB67, a studio flash and a 120 Superia 400 ISO film.
We had less then 3 hours to go to town and shoot the film in order to make portraits on location of people working.
I was with Loic, Hugo and Florent with only 1 medium format camera for all of us... 4 different places to go to, including time to meet the guys, set up, find the good light, the good settings, to shoot, and to pack all things again... And be on time at school for the economic course, the "finish to kill" last course of the day until 7.15PM...
Luckily we met Simon who's already done his job and he lend to Loic and I his own RB67.
Loic had a appointment at Corezone shop but first we went to Hurley shop to shoot my film.
I've been there several times to take some testing portrait for shool, and the guys over there are really too nice and cool ! A huge thanks to them !
So this was a testing shot we did with the 7D to test the light before shooting with the Mamiya. Can't wait to see the analog results, this was a test for our studio course and my teacher will judge me on this work.
Also Loic did some cool shot with the Corezone shop's crew who are awesome !
Today I've chosen to quote lyrics from a Jack White's band The Raconteurs because it's a huge song and it's also on the original soundtrack of an awesome surf movie with Rob Machado.
I'm a huge fan of The Raconteurs and Jack White's music in fact.
Rob Machado is the guy on the picture behind Loic, it's an awesome surfer sponsored by Hurley that you should watch surfing !
Link to the trailer of the movie "The Drifter" with Carolina Drama - The Raconteurs music on the OST.
Light :
- 1 flash Elinchrom D-Lite4 with Portalite softbox at min power on the left of the sofa, fired with PC synch cable
Canon EOS 7D - Sigma 24-70mm f/2.8 DG macro EX
Sébastien Huruguen
In Southern California, we have deserts, we have mountains, and we have deserts in our mountains. At an elevation of 4,000 feet, this is one beautiful example of a desert in the mountains, with its own kind of fall colors.
The contrasts between the reds, grays, tans, browns, and greens were quite striking during the day, but I would not have been able to capture them, since they were too extreme. I think the perfect time would have been at first light or just before sunset, but I didn't expect such beautiful scenes, so we didn't arrive in time for a morning shoot and we were still busy with testing in the afternoon, so there wasn't time before sunset.
This was shot at about 30 minutes after sundown and the colors are pretty true, but the sky was still blown and when I compensated for that, the rest of the scene was too dark. I wish I would have brought my tripod, so I could have made an HDR, but if I did, it probably would have looked fake, since it already kind of does in this single shot.
Much Better Viewed Large On Black, Click Here
After visiting the Grand Canyon in May, we spent an afternoon visiting Williams, Arizona and walking down the old town's Route 66 admiring the vintage buildings, cafes and shops. We still didn't see it all and want to return for another visit soon. Above is a photo of what I think is a beautiful 1950 Ford outside Pete's Gas Station Museum on Route 66 in Williams. I enhanced this photo with PhotoShop filter Fractalius.
INFORMATION ON PETE'S GAS STATION MUSEUM:
Pete's Route 66 Gas Station Museum is a homage to old time gas stations, part museum and part gift shop, specializing in a collection of gas station memorabilia, including old gas pumps, vintage oil cans, vintage signs and equipment. It's owned, operated and is being restored by Pete's son. It's been a station for a very long time but the current building was built in 1949. It operated as a gas station till 1989 when it ceased operation and the tanks were removed from the ground. It sat idle for several years but is now whipped back into presentable shape. Half of the garage is a museum and the other half is a gift shop. The late 1940’s classic Ford sedan out front is Pete's.
INFORMATION ON THE 1950 FORD:
Although all Fords looked nearly identical during the 1949-1951 model years the cars themselves were dramatically changed underneath. The reason was that the '49 was a dog of a machine that rode poorly, rattled and shook, and was fraught with defects. During its 17-month production run it caused nothing but trouble for the company, but well over a million of them were sold to a public starved for new cars.
By the 1950 model year's fall of '49 introduction, Ford engineers had solved most of the major problems with the cars. The loosy-goosey '49's frame and body were stiffened and thickened in many areas, body sealer was pumped into weld joints, door weatherstrip was redesigned and the front end was re-engineered. The old one, Ford's first fully independent front suspension, was impossible to align so the '50 model was given the addition of a redesigned torsional stabilizer and a bunch of other tweaks. The rear springs were relocated as well in a response to customer complaints about bouncy ride.
The gas filler neck was removed from the body and put behind a little flap door and the bumpers were strengthened to allow the cars to be jacked up. Many earlier '49 Fords were attempted to be jacked up at the side of the road, only to find the bumpers and brackets bending hopelessly out of place and the wheel still on the ground.
Many other refinements were put into the 1950 models in an attempt to keep customers from going over to Chevrolet and, for the most part, the result was quite acceptable. The base engine was the same flathead inline 6 from earlier years. It was a very good engine that put out 95 horsepower. The venerable flathead V8 was optional. It put out 100 horsepower and didn't suffer the piston-slap and timing gear problems of earlier engines.
Sedans and business coupes were upholstered in striped gray fabric or broadcloth, but customers could opt to get the same thing in tan. Vinyl was used on the sides and tops of seats and the door panels were done in the same material as the seats. Headliners too were done in broadcloth and the stamped-steel instrument panels were done in either gray or tan. These were the days of rubber floor mats, by the way, and only the very top-end models offered carpet. "Magic-Air" heaters were optional too.
The 1950 model lineup included 2-door and four-door sedans, business coupes, convertibles and station wagons. The top of the line was the Crestliner, a gussied-up and heavily trimmed model that very few people bought because Ford didn't advertise it in any noticeable way, and it was about $200 more expensive than the other models. That was a lot of money in 1950.
1950 Fords were basic cars. Transmission offerings were limited to the 3-speed manual (three on the tree!) with an optional overdrive that was touted as "automatic," in the sense that it would cut in at speeds above 27 mph and return to normal below about 20 mph. Tires were 6.00 X 16, which was typical of the day. Whitewalls were a big deal back then, but tire life was pitiful by today's standards. Ten-thousand miles was a long, long life for a tire.
1950 Ford Collectability: 1950 Fords are actually quite popular with collectors. Convertibles and wagons (wagons?) are the most sought-after, with fully restored examples routinely selling in the $30,000+ range. Crestliners are virtually non-existent and very valuable.
1949 Fords, by contrast, are not popular with knowledgeable collectors for all the reasons above. Besides, most of them were junked long, long ago and a good-condition '49 is a rare thing to find.
these guys are raising money for their destination imagination team to go to global finals in knoxville tennessee. and what better way than having a car wash!
also, i'll be there this year competing in the university level with my team from UTDallas! we'll all be there May 25-29! if you live in the tennessee area, you should come :D
This link is just in Dutch unfortunately. Here is a brief translation I just cooked up:
In early times only the Steenweg ‘Rock road’, could be found here. An old road paved with cobblestones which connected the ‘Grootbrug’, or ‘Large Bridge’ and the present day Steenweg, part of an important route from Bavay in the North of present day France to Utrecht in the Netherlands. A canal was dug in the 13th century along the Steenweg which connected the river Dijle and the Koolvliet. On the Eastern bank of this canal a Vismarkt (fishmarket) was built.
In 1532 this canal was put underground and the Vismarkt moved to where it nowadays. The last part of the canal on the Ijzeren Leen was filled up in 1675.
The name Ijzeren Leen dates from the 17th century, and stems from the iron railings (ijzeren leuningen), which were put along the canal in the century before. They were probably manufactured between 1531 and 1534 and restored between 1783 and 1927.
(source: Bouwen door de eeuwen heen in Vlaanderen)
Nowadays the Ijzeren Leen called the Champs Elysees of Mechelen. It contains the ‘Schepenhuis’, which is the former town hall. This houses a small museum with 16th and 17th century art.
- large -
Where: Sweden, Östergötland, Motala. google maps.
When: 20100602
How and why: The green reflections of a spring forest in evening light, the rush of the water over the stones. Used my 100mm to isolate a detail of this scene, but the whole thing was lovely too.
Editing: Minor adjustments.
Exposure: 8s
Aperture: f/22.0
Focal Length: 100 mm
ISO Speed: 100
Quien no tiene para contar alguna historia de la puta mili....bueno yo no porque por aquél tiempo aun no se había incorporado la mujer en el ejercito, no existía tal posibilidad, así que soy una mera espectadora más de todos aquellas batallas que me han contado otros que si vivieron el panorama del servicio militar reglamentario. Cuántas anécdotas quizás os haga recordar a muchos de vosotros , situaciones agradables y otras desagradables y que os hago ahora buscar en el baúl de vuestros recuerdos…
Navegando por internet, encontré un artículo sobre este tema, una de esas historias de la mili y en la que muy posiblemente alguno pueda sentirse identificado por haber vivido una situación similar o parecida.
A mi , la verdad, me causó gracia el leerlo, así que he decidido acompañar ese artículo en la presentación de esta singular foto donde parecen estos gansos estar en formación...esperando pasar revista, o esperando que toquen diana, o esperando que suene la marcha militar….
Así que ¡¡ ARR , firmes !!...empieza ya :
Para algunos estas historias de la puta mili, lejos de aquél lugar y de aquél tiempo vuelven a reproducirsele en su vida , de tal modo que el Cuartel ha cambiado de nombre y se le llama ahora Hogar Familiar……., y sin querer agraviar a ninguna mujer por supuesto, pero quien no ha oído decir a él eso de : ¡¡“ Mi señora es un sargento” !! y a ella gritar Pepee pero donde vas con esos zapatos sucios!!!...Pepe, pero si no te has cortado el pelo!!!!!....Pepeeeeee y esa barba!!!!!!....Pepeeee pero metete la camisa por dentro del pantalón!!! y nada, al final empieza la discusión y terminas arrestado en casa…y a dormir en el catre que tenías por aquellos entonces en el calabozo - en la actualidad algo más cómodo, porque en casa es el sofá-… porque claro en la cama ya ni se te ocurra meterte…20 días de arresto sin catarlo!!,.( ya sabéis “el qué” cuando se dice eso)….
Son “historias de la puta mili “ que parecen que nunca tienen fin.
María.-
This was a shoot from my first air show put on by the Navy Blue Angels. A fantastic show. These planes (for the show) are flying at speeds ranging from 150-450 mph, so high shutter speed is important to get sharp images and is not really difficult to achieve on sunny days like this one. The Blue Angels have a predetermined spot at which they perform some of their maneuvers like this one in which they pass by one another at a very close distance (remarkable) so here, shutter speed, aperture, steady camera and knowing that sweet spot where they pass is important to get sharp images. Here, I didn't know where that center point was so I panned with the number six plane and shot at 5 frames a second hoping to get the image I got, but because of my panning the number five plane became blurred (traveling the opposite direction of the pan). The show was wonderful and I learned a lot.
This image was shot with a 70-200VR lens at 5.6 and a shutter speed of 1/2500 sec.
This is one of artist Dale Chihuly's glass art displays at the Desert Botanical Garden in Phoenix, Arizona. The exhibition at the Garden is named "Chihuly: The Nature of Glass" and Chihuly's work is displayed from November 22, 2008 to May 31, 2009. The Nature of Glass exhibit features new and unique works of glass artfully located throughout the Garden. Dale Chihuly is known for his innovative glass sculptures, and his work is immediately recognizable for its grand scale and vibrant colors. This is Chihuly's first exhibition in an outdoor desert environment.
“The artist permits and encourages photography of the artwork in this exhibition for educational and non-commercial use only.”
INFORMATION ON ARTIST DALE CHIHULY:
Dale Patrick Chihuly (b. September 20, 1941 in Tacoma, Washington, United States) is an American glass sculptor. Chihuly graduated from high school in Tacoma. Supported by his mother, after his brother George's death in a flight-training accident in Florida and his father's death of a heart attack, he enrolled at the College of the Puget Sound (now University of Puget Sound) in 1959.
In 1967, he received a Master of Science in sculpture from the University of Wisconsin-Madison, Chihuly lives and works in his 25,000 square foot (2300 m²) studio, nicknamed "The Boathouse" for its former use, on Lake Union. Since losing the vision in one of his eyes in a car accident in 1976, Chihuly (who wears an eyepatch) no longer has the depth perception necessary to handle the molten glass himself. Instead, he conceptualizes each project with paint and canvas and then employs a team of artists to do the work.
About his work: His fascination with abstract nature forms comes from his mother's garden in Tacoma, Washington. One of his sculptures would be prominently displayed on the sitcom Frasier, which is set in nearby Seattle. His love for the ocean and its creatures is also reflected in his art.
Over the past forty years, Chihuly's glass sculptures have explored color, design, and assemblage. Although his work varies in size and color, he is best known for his multipart blown masterpieces. Also interested in Irish culture, he has produced a sizeable volume of "Irish cylinders," which are more modest in conception than his blown glass works.
Some of Chihuly's works cover whole ceilings of casinos and hotels, while others are hand-sized abstract flowers. Chihuly uses intense colors to bring his work to life. He is also known for using neon and argon.
Chihuly uses nature as a setting for his pieces, and tries to create his pieces as though they are part of nature. He sometimes entwines his pieces around tree branches and trunks. He also suspends them in space and floats them in water. Although it is not widely known, some components of Chihuly's installations (for example, the stacked aqua-colored chunks that decorate the Tacoma "Bridge of Glass") are made of an acrylic-type material rather than glass.
Source: Wikipedia
INFORMATION ABOUT THE DESERT BOTANICAL GARDEN:
Nestled amid the red buttes of Papago Park, the Desert Botanical Garden hosts one of the world’s finest collections of desert plants. One of only 44 botanical gardens accredited by the American Association of Museums, this one-of-a-kind museum showcases 50 acres of beautiful outdoor exhibits. Home to 139 rare, threatened and endangered plant species from around the world, the Garden offers interesting and inspiring experiences to more than 300,000 visitors each year.
A charter member of the Museum Association of Arizona and National Center for Plant Conservation, the Garden is fully accredited with the American Association of Museums and American Association of Botanical Gardens and Arboreta. It continues to build on its 63-year legacy of environmental stewardship, and has become nationally and internationally renowned for its plant collections, research and educational programs.
Source: www.dbg.org/index.php/about
This is a photo of the old abandoned Ludlow Cafe on Route 66 in Ludlow, California. The Ludlow Cafe served its last ice cream malt years ago.
The original photo was taken by Jonas Hansson, a very good Swedish friend of mine, on his trip with his father Hans in 2006 (via their vintage Volvo PV convertible) across the USA on Route 66. With Jonas' permission, I've been selecting some of my favorite photos of their road trip along the "Mother Road" and doing some post processing... enhancing, cropping, tone mapping, special effects, etc.
The original photo was not so great. I used Photoshop to crop and enhance the photo, and then my Photoshop filter "Fractalius" to turn it into a digital painting/drawing. This is one that looks much better when viewed large.
Below is a link to Hans and Jonas' blog about their historic trip:
hanssonroute66.blogspot.com/2006/07/information-in-englis...
LUDLOW, CALIFORNIA, THE TOWN THAT REFUSES TO DIE:
Today, Ludlow is a town that refuses to die. Ludlow is really three towns in one. It is a ghost town of two eras; the mining era and old Route 66. When Interstate 40 was built the Route 66 Ludlow died. Residents picked up and moved north another block to meet the Interstate. It is the Interstate that keeps Ludlow alive today.
Located along the railroad tracks of the 35th parallel, Ludlow became a water stop for the Atlantic and Pacific Railroad in 1882 (now the Santa Fe RR). The discovery of ore in the nearby hills assured the town of growth in the late 1880's. The decline of mining and rail traffic in the 1940's spelled Ludlow's decline. Ludlow is a ghost town of two eras; it was also a stop on old Route 66. When Interstate 40 was built Ludlow died a second time. Businesses moved once more to meet the demand of travelers on the new Interstate leaving another collection of highway memories baking in the intense Mojave heat.
During the heyday of Route 66 Ludlow was a welcome stop for the tired and thirsty traveler, a place to rest and get away from the heat of the Mojave Desert. This second more modern ghost town tells a tale of the glory days of Route 66 when travelers would stop for a bite to eat or get repairs on their cars. If they were heading west they knew that the next day they would be on the golden shores of the Pacific Ocean.
Castle Roche is one of the most striking Anglo- Norman castles in Ireland and can be viewed for miles around. Located on a rocky hilltop, it commands wonderful views of the surrounding countryside. Lady Rohesia de Verdun built the castle in 1236 ad. Legend has it that Lady Rohesia promised her hand in marriage to the architect if he completed the castle to her satisfaction. When he went to claim her hand, she had him thrown from one of the windows, which to this day is known as the 'murder window'. The site of the castle marked the boundary between the Gaelic province of Ulster and the Anglo-Norman 'Pale' and overlooked an ancient route into what is now south Armagh. The castle itself comprised a great hall, which may have been up to three storeys high. Access was gained through a gatehouse with two towers. A ditch encloses this side of the castle and there may have been a drawbridge in front of the gatehouse. A meeting of all the English forces in Ireland took place here in 1561 ad.
Sentieri d'autunno 2011 - Fra i tre laghi - Umbria
turismo.comune.perugia.it/resources/Itinerari/PDF/sentier...
Viaggi e miraggi - De Gregori
www.musictory.it/musica/Francesco+De+Gregori/Viaggi+%26+M...
"Dietro a un miraggio c'è sempre un miraggio da considerare,
come del resto alla fine di un viaggio
c'è sempre un viaggio da ricominciare..
..Perciò partiamo, partiamo che il tempo è tutto da bere..
..Beviamo tutto, sentiamo il gusto del fondo del bicchiere
e partiamo, partiamo, non vedi che siamo partiti già? .."
© TUTTI I DIRITTI RISERVATI ©
Tutto il materiale nella mia galleria NON PUO' essere riprodotto, copiato, modificato, pubblicato, trasmesso e inserito da nessuna parte senza la mia autorizzazione scritta.
© ALL RIGHT RESERVED©
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
light | dark | expired agfacolor 200-n
The 2010 Traveling Panoramic Camera Adventure
A panorama camera was shared among 16 photographers throughout the USA and the UK and the resulting images and experiences are being shared on the long square project flickr group.
Specs for the camera are:
28mm fixed two element lens
1/125 shutter f/11
13 x 36 mm panorama mask
My fellow adventurers are:
Andy Schmitt NJ
Brian Krummel PA
Peter Schafer WV
Meredith Shinko Ensell OH
Angie Harris OH
David Lindley OH
Bill Bressler MI
Karen Taylor TX
Warren Harold TX
Randy Ray Cathey TX
Robert Williams NM
Steve Welch NM
Ariel Boston NM
Phil Bebbington UK
Shari Baker UK
Ver grande sobre fondo negro I View large on black
Mas fotos en éste monográfico:
Hoy es para mí un día triste, muy triste, jodida e inmensamente triste.
Hace unas pocas horas he recibido como un mazazo la indeseable noticia del fallecimiento de mi buen y querido amigo, el Doctor Luis Alberto Melograno Lecuna.
Pocas horas antes de abandonarnos, nos dejaba éste mensaje en su página de facebook donde, tan sólo desde hace unos meses, una legión de seguidores vivía pendiente de su evolución y de sus vivencias a través de una especie de club de fans, un grupo de seguidores del Doctor Melograno Lecuna, creado especialmente con ese fin. Decía en ese último mensaje:
“(...) Nuestra vida es muy corta y el tiempo pasa volando...Si alguien sabe que el sentido de la vida es algo distinto y mejor que el de desarrollar nuestros talentos para hacer cosas trascendentes para nuestra especie, por favor que me pase el dato(...)”
Dr. Luis A. Melograno Lecuna.
He querido titular esta trilogía de fotos con una cita de su querido y admirado maestro Jorge Luís Borges, que estoy seguro que él aprobaría con orgullo, y que además es un claro reflejo de lo que ha sido su vida, su intensa y bien aprovechada vida, a pesar de su cortedad, pues ha sido un hombre renacentista, polifacético, inquieto por cualquier actividad humana que se moviese a su alrededor. Un hombre de una vasta cultura e innumerables vivencias, viajero impenitente y gran conversador. Todo un lujo de ser humano. Un hombre próximo, cariñoso, siempre dispuesto a embarcarse en cualquier proyecto, para con su esfuerzo personal, satisfacer las demandas de las personas de su entorno, a pesar de que su entorno era muy, muy grande.
Tuve oportunidad de conocerte, amigo, virtualmente como a tí te gustaba decir, a través de la página flickr, ese gran punto de encuentro para todos los fotógrafos del orbe, cuando uno de los primeros estadíos de tu enfermedad te tuvo postrado, y tú aprovechaste la ocasión para, utilizando este espacio como una válvula de escape, darnos a conocer una ingente cantidad de tú material fotográfico. Desde un primer momento supe que había tenido la enorme fortuna de haberme topado con un ser especial, con un ser excepcional, con una de esas personas con las que merece la pena compartir escenario en esta puñetera vida. Tu optimismo, tu alegría de vivir, tus conocimientos y tu generosidad y amplitud de miras no me dejó indiferente ,y supe desde ese mismo instante, que tendría un amigo para siempre al otro lado del Atlántico.
Recuerdo con enorme cariño y emoción, uno de los primeros mensajes que me enviaste:
Hola, Chema!
Cuando por primera vez aparecí en Firenze, mientras me acercaba en la Galería de la Academia de Bellas Artes a la espectacular escultura del David, escoltada a ambos lados de gran pasillo de paredes ocre pálido por los famosos "prisioneros" de Buonarroti, me surgió instintivamente un comentario sobre ese artista colosal que a los 28 años pudo gestar semejante obra.
Fue así que llegué hasta la base de la escultura, y extendí mi mano hasta tocarle el dedo gordo del pie izquierdo (sin que nadie me viera para que no me llamara a la atención), mientras murmuraba una frase que a mi enteder (desde la profunda admiración y el afecto), resumía lo que en mi despertaba el genial Michelangelo.
Simplemente dije: "Éste es un hijo de la gran puta"
Con el mismo respeto y admiración y hablando de fotografía, querido Chema, debo decir... que eres un hijo de la gran puta...
No elijo una sola foto tuya como favorita, porque todas lo son, y no tiene sentido derivar a mi listaddo de fotos todo tu photostream. Simplemente voy a él, y lo disfruto. Sólo puse, por una cuestión de agradecimiento, la primer HDR que publicaste y me dedicaste.
Por lo visto, no existen las casualidades, sino las causalidades...
Y en ese sentido, Flickr ha sido (lo sigue siendo) una fuente de energía y estética y amigos virtuales y ganas de vivir...
Un abrazo,
Betto
Aún me aborda una triste sonrisa cuando releo tus palabras escritas, que en aquellos momentos me sorprendieron con un inmerecido orgullo. Nunca podrás saber cuánto te las agradecí en aquel momento. O quizás sí. También me obsequiaste con un emotivo testimonial que aparece en mi perfil de flickr, y que desde entonces ha sido para mí un pequeño tesoro que conservo y conservaré con agradecimiento y cariño hacia tu persona.
A raiz de ello comencé a seguirte a través de tus múltiples blogs y páginas, a conocer tu obra, a leer tus escritos, con los cuales pude ligeramente aproximarme a atisbar la dimensión de tu obra y de tu persona. Betto, desde luego que en el momento de entregar la cuchara no lo has hecho con las manos vacías, ni mucho menos. Si hay que rendir cuentas ante alguien o algo del aprovechamiento de una vida, es un hecho bien cierto, que tu llevas el zurrón lleno de experiencias y vivencias intensamente aprovechadas y sentidas, intensamente trabajadas en beneficio siempre de la gente que hemos tenido la gran suerte de convivir y compartir contigo el camino a recorrer en algún momento de tu existencia.
Cuando tuve más confianza contigo, tuve la osadía y atrevimiento de solicitar de tí una presentación escrita para el catalogo de mi exposición fotográfica Una historia de 36.520 días. No sólo tuviste la amabilidad y generosidad de contagiarte de mi entusiasmo con el proyecto, escribiéndome una de las presentaciones más emotivas y más bellas que cualquier fotografo haya podido tener, sino que, en un alarde de imaginación, ingenio y creatividad, elaboraste una pequeña cita para cada una de las fotografías, para juntando todas ellas, componer un precioso poema exaltando el edificio de la casa consistorial vallisoletana, que era el tema sobre el que versaba la exposición. No escatimaste ni un minuto de tu tiempo para, desde el mismo momento en que te presenté la propuesta, aceptáses el reto, y desde el día siguiente ya te pusieses manos a la obra, solícito y entrañable, como te mostrabas siempre que alguien se acercaba a tí o requería de tí. Recuerdo entrañablemente a mi paisano y amigo Angel María de Pablos, recitando tu poesía el día de la inauguración de la exposición, mientras los presentes seguíamos con la vista todas y cada una de las fotos, acompasando nuestras miradas con la lectura del texto.
Quiso la fortuna que, casi coincidiendo con la inauguración de la exposición, tuviéses que acudir a un reclamo que te hicieron desde España para participar en unas jornadas sobre educación, en las que volviste a presentar tu proyecto de educación integracionista, y gracias a lo cual pudiese tener la ocasión y el inmenso honor de conocerte en persona, de compartir un tiempo contigo. Tuve la oportunidad de poder disfrutar de tres cortas pero intensas horas contigo en Madrid, robándoselas a tu apretada agenda y, compartiendo mesa y mantel, departir sobre lo divino y lo humano, en una intensa conversación donde no recibí de tí otra cosa si no buenos consejos, fruto de tus conocimientos, tu gran bagage cultural, tu arrolladora personalidad, y sobre todo tu gran experiencia vital y vitalista. De vuelta a Valladolid, regresaba ilusionado por el hecho de haberte podido conocer. Todo un lujo, que he querido plasmar y recordar con estas tres fotos que realicé con motivo de dicho encuentro.
A partir de ahí todos los acontecimientos se han desarrollado mucho más rápido de lo que todos hubiésemos deseado. He seguido tu enfermedad de una forma silenciosa, leyendo todas tus experiencias vitales frente a la enfermedad que te ha ido acorralando. Experiencias que tú generosamente nos has brindado y compartido a través del blog que, enmarcado por tu ironía y con cierto tono burlesco, fruto de tu fino sentido del humor, -recuerdo cómo nos reímos cuando me contáste como tuviste sospechas de la existencia de tu enfermedad,- titulaste socarronamente ¡A pelear se ha dicho!, hasta que hoy finalmente, hace escasas horas, has perdido tu última batalla, ahora ya tu guerra. Pero lo has hecho, no con una rendición -hubiera sido impensable en tí-, ha sido muy a pesar de tu inmensa voluntad, y de tu desbordado amor por la vida.
Betto, has vivido deprisa, pero también has muerto deprisa. Nos dejas una enorme sensación de frustración y vacio, un pequeño hueco en el alma, una cicatriz que será dificil de cerrar, pero también un recuerdo imborrable, y esa impronta que solo la buena gente deja en herencia a las personas que les han rodeado y compartido vivencias con ellas. Lloro tu muerte, pero me cabe la inmensa satisfacción y el bello recuerdo de haberme podido contar entre tus amigos. Mi abrazo emocionado, igual al que nos dimos cuando nos despedimos el día en que se hicieron estas fotografías, va para tu esposa Fátima, y para tus hijos y nietos, de los que tanto me hablaste, a los que profesabas un inmenso cariño, y de los que te sentías tan orgulloso.
Allá donde estés, donde coño quiera que vayamos, si es que vamos a algún lugar cuando la parca nos cursa visita, te llegará este recuerdo en forma de humilde homenaje y admiración hacia tu persona. A mí, al menos me habrá servido de desahogo, para deshacer ese nudo en la garganta que se ha apoderado de mí desde el momento que he recibido la dolorosa noticia.
¡Hasta siempre, Betto!, porque siempre estarás en mi corazón y en mis recuerdos.
"Home baked pie" in classical soft focus and blurred vignette background treatment, this is my interpretation of the past; I made it a bit blurry as I may not know how the place may really looked like but in my vision, this is my own rendition.
Feel the melancholy of the past... Image taken at the Heritage Stewart farm house Circa 1894.
The house was beautifully restored by the city council... feel the nostalgia and find out how people lived in the 1800's....
You may say that we are lucky to be born in this modern era, where everything is ready and served and water source is readily available within our reach :o)
Photography © 2010, ™Lisa M., All Rights Reserved
Chorão-das-praias é o nome comum da espécie Carpobrotus edulis, uma planta suculenta, rastejante, nativa da região do Cabo, na África do Sul. Em regiões com clima semelhante, como o Mediterrâneo e partes da Austrália e Califórnia, escapou ao controle humano e tornou-se uma espécie invasora.
Carpobrotus edulis is a creeping, mat-forming succulent species and member of the Stone Plant family Aizoaceae, one of about 30 species in the genus Carpobrotus. It is also known as Ice Plant, Highway Ice Plant, Pigface or Hottentot Fig and in South Africa as the Sour Fig, on account of its edible fruit. It was previously classified in genus Mesembryanthemum and is sometimes referred to by this name. The species is native to South Africa but is naturalised in many other regions throughout the world.