View allAll Photos Tagged php
On our trip from Howick to Embleton Bay on Monday this was the place i wanted to see most. Due to the insane waves there was no chance of getting a classic Tower shot on death rocks so out came the Sony P93 and i set about getting some IR shots using the path as a lead in. I was blown away by the size of the tower as ive only ever seen it in photos and maybe due to Super Wide lenses it looks quite small. I left the 2 people in purposely to give a sense of scale. This place is amazing and i just cant wait to get back there :)
Please View Large On Black
This is the weirdest pice of rock I've seen. Taken on the way up the mountain where I shot my last upload. this rock is in the middle of the trail. The weird thing about it is all the small holes that makes it look like the surface of a golf ball. All the way up the mountain the rocks were like this. Not only this type of sand coloured rock, but "normal" grey rock as well. (PLease excuse my horrible geological skills).
Anyway, I liked the way the sun coming in from the left giving character to the mountain in the back while at the same time lighting the foreground. A great sky over the background mountains which the pola really made "pop" was the icing on the cake.
Canon 5D
Canon 17-40 @ 17mm
f/16
1/2sec
ISO100
Lee .9 soft ND grad.
Heliopan polarizer
Cheers
Håkon
PS: Thanks for all your comments and favs! Trying to reach over as many other photo streams as I can!
From Wikipedia, the free encyclopedia
Marina Bay is a bay near Central Area in the southern part of Singapore, and lies to the east of the Downtown Core. An artificial bay, it was formed when land reclamation created the Marina Centre and Marina South areas, which form a body of sheltered waters of what was once open sea. In the reclamation process, Telok Ayer Basin was removed from the map, while the Singapore River's mouth now flows into the bay instead of directly into the sea. A barrage was completed in 2008 to make Marina Bay a reservoir for drinking water.
In contemporary local common usage, however, the term Marina Bay has largely been attached to the developments in the vicinity of Marina Mall in the Marina South reclaimed area, particularly to the eateries found there. Although technically erroneous, this association may have been stemmed from the association of the venue's limited accessibility to the Marina Bay MRT Station, which has served as the main means of public transport to Marina South.
It was announced in 2007 that Marina Bay will play host to a Formula One Race. The inaugural Singapore Grand Prix took place on September 28, 2008 on a street circuit through Marina Bay[1]. It was the first ever Formula One Grand Prix to be staged at night, with the track fully floodlit.
6:38 pm CET ->
Focal length: 15 mm
Aperture: f/5.6
Exposure: 1/100 sec
ISO Speed: 100
FLUIDR I flickriver I Flickr Hive Mind I Getty Images I 500px
Hilo de la Fotohistoria en Pullip .es: SHIN VISITS NOIREL (1 of 1) /
SHIN VISITA A NOIREL (1 de 1)
(Read in order, this is: SHOT/FOTO 36 of 55) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55.
FOTOHISTORY: In English / En Español
Noirel: Hahahaha, XD What are you doing?? ^_^u
/
Noirel: Jajajajaja, XD Pero que haces?? ^_^u
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
The first egg was laid on Tuesday February 2nd, the second on Thursday or Friday. The eggs are the size of jelly beans.
Each time I look, the nest is even cozier than before. The gray feathers surrounding the eggs keep growing in number.
The mother has been diligently protecting the eggs through a series of rain storms.
© All rights reserved
© Brian Callahan 2009 All rights reserved.
The Trump International Hotel and Tower, also known as Trump Tower Chicago and locally as the Trump Tower, is a skyscraper condo-hotel in downtown Chicago, Illinois. The building, named after real estate developer Donald Trump, was designed by architect Adrian Smith of Skidmore, Owings and Merrill. Bovis Lend Lease built the 96-story structure, which reached a height of 1,362 feet (415 m) including its spire, its roof topping out at 1,170 feet (360 m). It is adjacent to the main branch of the Chicago River, with a view of the entry to Lake Michigan beyond a series of bridges over the river. The building received publicity when the winner of the first season of The Apprentice television show, Bill Rancic, chose to manage the construction of the tower.
Trump announced in 2001 that the skyscraper would become the tallest building in the world, but after the September 11, 2001 attacks, the building plans were scaled back, and its design has undergone several revisions. When topped out in 2009 it became the second-tallest building in the United States after Chicago's Willis (Formerly known as "Sears") Tower It is expected to be surpassed by the Freedom Tower in New York City in the middle of 2013, and by the currently on-hold Chicago Spire if completed. Trump Tower surpassed Chicago's John Hancock Center as the building with the world's highest residence above ground-level and will hold this title until the Burj Dubai claims it.
The design of the building includes, from the ground up, retail space, a parking garage, a hotel, and condominiums. The 339-room hotel opened for business with limited accommodations and services on January 30, 2008. April 28, 2008 marked the grand opening with full accommodation and services. A restaurant on the 16th floor, called Sixteen, opened in early 2008 to favorable reviews for its cuisine, decor, location, architecture, and view.
The building topped out in late 2008 and construction was completed in 2009.
A friend of mine restores classic cars for a hobby/side-job and asked me to come over and shoot one of his cars. This is actually the '65 Mustang that he built for his mother. This classic started out as a coupe, but he changed it to a convertible. He also customized the front end and back end. The engine is also not original. He replaced it with a 302 from a late 80's Mustang. The car is really beautiful. He does nice work.
This was my first attempt at shooting a car and it definitely presented some challenges. I used my two speedlights to light it and ended up compositing several shots in Photoshop to get the right lighting and look I wanted. I was shooting the speedlights at full power and sometimes 1/2 power since I had the aperture tighted up to f10. Could have really used some Alien Bees or something here. Anyway, I think I did a pretty good job and the end result is pretty cool. I showed this final shot to my friend and he was really happy with it, which is what really matters here.
Check out my Facebook Page
Follow me on Twitter
Equipment: Canon 40D, EF-S 17-55mm f2.8 IS USM
Strobist: main image and base image for background: 580EX II, camera left, bounced in 45" umbrella, LP120, camera right, bare aimed at side of vehicle.
layer: LP120, camera right, bare, aimed at front fender and wheel.
layer: 580EX II, camera right, handheld over the back end of the car, through umbrella to light up the convertible top cover a bit more.
Please View On Black!
I had this song stuck in my head during this shoot.
"Bruised" - Jack's Mannequin
"I've got my things, I'm good to go
You met me at the terminal
Just one more plane ride and it's done
"We stood like statues at the gate
Vacation's come and gone too late
There's so much sun where I'm from
I had to give it away, had to give you away
"And we spent four days on an
Island at your family's old hotel
Sometimes perfection can be
It can be perfect hell, perfect...
"Hours pass, and she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
And don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised
"I lace my Chucks, I walk the aisle
I take my pills, the babies cry
All I hear is what's playing through
The in-flight radio
Now every word of every song
I ever heard that made me wanna stay
Is what's playing through
The in-flight radio, and I
And I am, finally waking up
"Hours pass, and she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
Don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised, yeah
"So read your books, but stay out late
Some nights, some nights, and don't think
That you can't stop by the bar
You haven't shown your face here since the bad news
Well I'm here till close, with fingers crossed
Each night cause your place isn't far
"And hours pass, and hours pass, yeah, yeah...
"Yeah, yeah, she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
And don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised, bruised, bruised"
-
Nikon D90
18-105mm VR
SB-900 w/ shoot through umbrella, camera left
I don't know one damned butterfly from another
my ignorance of the stars is formidable,
also of dogs & ferns
except that around my house one destroys the other
When I reckon up my real ignorance, pal,
I mumble "many returns"—
next time it will be nature & Thoreau
this time is Baudelaire if one had the skill
and even those problems O
At the mysterious urging of the body or Poe
reeled I with chance, insubordinate & a killer
O formal & elaborate I choose you
but I love too the spare, the hit-or-miss,
the mad, I sometimes can't always tell them apart
As we fall apart, will you let me hear?
That would be good, that would be halfway to bliss
You said will you answer back? I cross my heart
& hope to die but not this year.
(Dream Song 265. john berryman. from "His toy, his dream, his rest")
Opened in 1829, the ESP was the first modern prison in the world; it pioneered the idea that if prisoners were given quiet time to reflect rather than being tortured, they would feel penitent (this is the root of the word "penitentiary") and could rejoin society as productive members. Thus, for many decades the prisoners here were kept in their own cells and were prohibited from interacting with their fellow inmates. They exercised in individual, walled outdoor areas that were attached to their cells. It was only much later that "solitary confinement" came to acquire a negative connotation, as a special punishment for infractions committed while already in prison.
Among the ESP's more illustrious inmates in its 142 years of operation were Al Capone (who spent a year here), and the bank robber Willie Sutton. But perhaps its most unusual inmate was a dog, Pep (a black Labrador retriever). Said canine reportedly killed a cat belonging to Pennsylvania governor Gifford Pinchot; the governor retaliated by sentencing the dog to life in prison. I even saw a picture of the dog's admittance papers (he was admitted in 1924). But then the Governor got a lot of bad press over this, so he changed his story and said that the dog was his, and that he had donated it to the prison for the betterment of the inmates. Yeah, right.
In the mid-19th century, the ESP was quite the tourist attraction. Its distinguished visitors in that era included Alexis de Tocqueville and a young Charles Dickens. Before embarking on his first trip to the U.S. in 1842, Dickens said that the two places in this nation that he most wanted to see were Niagara Falls, and the Eastern State Penitentiary.
consigliato View On Black
Vigolo Marchese é la più importante frazione di Castell'Arquato, conta di una basilica romanica sormontata da una torre militare riadattata a campanile, risalente al 1008, voluta dal Marchese Umberto d'Orta, e un battistero a pianta circolare, di epoca antecedente la chiesa, simile alle costruzioni bizantine..
.
Entrambi furono fatti costruire nel 1008 dal marchese toscano Uberto d’Orta, ma la basilica fu ricostruita in seguito a un terremoto dopo il 1117, e il suo orientamento mutato verso est nel 1579. il pronotaro apostolico Antonio Lusardi introdusse altre modifiche strutturali. È testimoniata l’esistenza di un attiguo monastero..
Il battistero a pianta circolare è senz’altro più antico. Sorse probabilmente come tempietto pagano in età romana, diventa poi cappella dedicata a Santo Stefano e infine Battistero..
La chiesa è in pietra e laterizio, all’interno presenta pianta basilicale a tre navate. L’interno è intonacato e ha perso l’essenzialità e le prerogative originarie. L’abside semicircolare e rialzata dal livello della chiesa ricorda lo schema della Collegiata di Castell’Arquato anche per come le si accosta il campanile a pianta quadrata, diviso in tre livelli.
For Christmas '08, my wife got me a nice shaving kit which included a Gillette Mach 3 razor. (featured here) I used it for a year, and was about to buy another pack of M3s when I realized how freaking expensive they were. I decided to give a Double Edge razor a shot. My per razor cost went from $2.25 to ¢10 (¢25 if I splurge and get the really nice ones.) The dirty little secret that Gillette doesn't want you to know: disposable cartridges with multiple blades do not necessarily give you a better shave. They're simply a matter of convenience, but that convenience comes at a price. If you'd rather not do the DE razor, go with something like a trac II, Atra, or Sensor... anything else is just more expensive, not better. Eventually, using the DE is just second nature.
I used that for a few months and decided to give a straight raozr a shot. Some say it's the closest shave you'll ever have, but I'm not quite there yet. I haven't got the nerve to go against the grain. One thing though... it feels kind of bad ass to shave with a straight. It takes me probably an extra 5-10 minutes to shave this way than it would with a regular razor, but it's worth it. No more wasting of plastic cartridges... and my use of DE razors is greatly reduced.
For this shot, I used a cross processing technique. Here's the tutorial I used. It's specific to GIMP. Mr. Sharp referred me to one for photoshop... I couldn't quite get it to work, which I think is the result of not having 'effect layers' in gimp. I probably could have adapted it to work in GIMP, but the other one seems to work on a similar premise, and required no translation on my part.
I also did the orton effect, in conjunction with the "smart sharpen" (see previous) The smart sharpen is quite a few steps, but worth it.
Question for those that might know: this cross processing technique is very similar to what I've seen for lomo effect. The end result is somewhat similar too. Makes sense because the distinctive use that lomos became famous for was because the film was developed with a cross process technique. So, my question is, what distinguishes digital lomo edits from other types of cross processing?
www.nvr.org.uk/history/5485.php
The Loco
This engine is a beast. If it were a lorry it would be an earth mover, built for shifting massive loads over short distances, with big cylinders and very small wheels. It is rated at 800h.p., a tractive effort of 28,000lb, a weight of 66tons and wheels of only 3' 6" diameter. This compares with the STD class 5 at 26,120 lbs tractive effort, and a weight of 76 tons.
Polish engineering is not known for it's high quality, and the engine is no exception. For example, the cylinder bore on engines should line up with the axle centre - not here, the cylinder centreline is clearly inches above the axle centreline. General construction is simple, for example the smoke box door is made from flat plate welded together, where most engines have a rounded door made from pressings / castings. Many of the steam valves are made from steel / iron, which can corrode, where other loco's would use brass or bronze which doesn't corrode. Oddly, for a simple machine, it has the complexity of superheaters; more superheaters than an LMS Jubilee. On a machine that is for shunting and not designed for speed this is unusual, as superheaters are thought to be effective only when an engine is working for long periods and has time to warm through.
It has been said that we are asking too much of this engine, with its small wheels at 25MPH. An A4 Pacific has 6'8" wheels, and at 75MPH (Network Rail's max speed limit for steam) this equates to 315RPM. 5485, with 3' 6" wheels, at 25MPH is only running at 200 RPM. Indeed, the engine's stated maximum speed is 40km/h, and it has proven itself capable of easily keeping to time.
For the crew it is an easy engine to fire, with a large boiler that has plenty of steam generating capacity, and a medium size firebox where the first time fireman won't have trouble getting coal to the far end of the fire. There is also a drop grate in the firebox and a hopper ashpan, making the disposal of fire and ash simpler. The injectors have been proven to be reliable, after fettling work. For the driver, the controls are well placed and all reachable from the cab window. However, the regulator is difficult, steam can be admitted on a little or lots basis, there's not much in between. If you see the engine starting a train and it slips frequently, you know the driver is battling with the regulator. The engine has the luxury of very bright electric lights, in the cab and above the wheels as well as front and back. Some crew like working in the dark with this loco as you have the rare luxury of being able to see where you are going. Due to the long wheel base, two of the axles have a large amount of side-play. This lets the engine go around curves, but it means that there is a lot of side - side waddle, especially on straight track, and there is a lot of that at Nene Valley!
History
This engine is fairly modern as steam engines go, being built by Fablok of Chrzanow, Poland in 1959, as one of a large class of 406 loco's, built from 1950 - 1963. 90 of the class were exported to China. Visit hobby.ien.com.pl/kolej/Freight Tank Locomotives/TKp.htm for further info. It worked for 36 years in the Coalfields in Bytom, southern Poland and was withdrawn in 1995, when the mine closed.
The engine was bought by it's current owner in 1996, in working order with a current boiler ticket. It came complete with it's entire service history, all in Polish, from when it was built, on the 14th of Maja 1959! Many of these documents still have their wax seal from the works. The documents show that the engine had a heavy overhaul in 1990, with a new firebox, a new front tubeplate and new portions of the boiler barrel fitted at Olesnica, Poland. The resulting good condition of the boiler is why it was preserved.
The loco was moved to Belgium by rail through Holland and Germany, in a convoy of loco's devoid of their rods, at a cost of £2,500 for each loco; 900 miles at 25mph. One of the loco owners videoed the convoy and saw sparks from the axlebox of loco. A hurried conversation with the driver (in German) followed! The damaged loco went on to be preserved in Northampton.
5485 Came to England in 1997 and was stripped and overhauled at Llangollen. All the steel pipework was replaced with copper, the smokebox was replaced and a new cab and cladding, was fitted. The boiler is now in very good condition; when in steam it is as dry as a bone. Whilst at Nene Valley, the loco has spent much time out of traffic for repairs to badly worn bearings and bushes on the coupling rods and connecting rods, and a failed main steam pipe. The loco is now back in traffic, but further repairs may soon be required. The valves and pistons have always been blowing-by; the leakage of steam can be heard as a whoosh from the chimney when starting away. On occasion, the blow-by is so bad that the loco will move backwards when starting off in forward gear!
(Incidentally, put 'Slask' into your spell checker and it will suggest 'slack' - Bill Gates is well informed!)
Recent Mechanical Group Reports
Recent reports by the Mechanical Group on 5485 can be found by clicking here
ISTANBUL PHOTO CONTEST 2008 WINNERS
The fountain on the Place de la Concorde. Behind: the Hôtel de Crillon; to the left: the embassy of the United States of America.
Since childhood, my life has been about full filling my own dreams. Sometimes, it's difficult to accomplish and sometimes it's really simple.
I was in 9th grade back in 1999 in my school where I read about this short story "The Diamond Necklace" where they mentioned about Champs-Élysées.
I always wanted to see how it looked like! I came to France once in 2004 but I didn't have the opportunity to explore it in length and breadth. During my research visit this year, I got some time to spend in Paris and it was like full filling my child hood dreams! Taking photographs here was one my dream.
This one is an HDR from 5 exposures. I used my own script for tone-mapping. This one was shot with Shutter Priority. The EXIF from 100 ISO image is availble.
Enjoy seeing it Large On Black screen
If you have 2 minutes spare , do have a look at some other Night Shots that I made
When at ease, take out some time to take a Slide Tour of HDRs that I made. It will be worth your time and efforts.
© 2008 Ayush Bhandari
ONLY View On Black ! !! !!!
Federico García Lorca (5 czerwca 1898 – 19 sierpnia 1936 )
/Wystawa prac absolwentów i nauczycieli wiśnickiego Plastyka, Muzeum Okręgowe w Nowym Sączu,
Oddział Zamek w Wiśniczu, 31 maja - październik 2008/
LA LUNA ASOMA
Cuando sale la luna
se pierden las campanas
y aparecen las sendas
impenetrables.
Cuando sale la luna,
el mar cubre la tierra
y el corazón se siente
isla en el infinito.
Nadie come naranjas
bajo la luna llena.
Es preciso comer
fruta verde y helada.
Cuando sale la luna
de cien rostros iguales,
la moneda de plata
solloza en el bolsillo.
F.G.L.
Księżyc wschodzi
Kiedy księżyc wschodzi
głuchną wszystkie dzwony
i kreślą się tajne
niezbadane ścieżki
Kiedy księżyc wschodzi
ziemię morze zmywa
a serce jest wtedy
wysepką w otchłaniach.
Nikt nie je pomarańcz
przy świetle księżyca.
Wtedy owoce jeść
zielone i zimne.
Kiedy księżyc wschodzi
o stu bladych licach
pieniążki ze srebra
szlochają w sakiewce.
Anne
To view this picture large: click the "L" key on your keyboard
Check me out on FACEBOOK
Check me out on FLICKRIVER
You really need to View On Black
This marks the 52nd shot of my 52 weeks of self portraits. It was the toughest one to do (although there were some about 3/4 the way through that seemed impossible to do as well). I have to say I'm sick of seeing myself and sick of doing self portraits. I honestly don't know how all the 365 'ers manage to do it. 52 is nothing in comparison. Still, I'm going to take a break from selfies for a while. [insert applause track here] I'm not sure for how long. Just long enough to be motivated. This may occur sooner than later since the pressure to take a weekly shot is off. I say pressure because after you've taken about 15 weekly portraits, you start to run out of original ideas. Not that original ideas won't surface, it's just that they take time to develop. I noticed that even after I had taken this photo, the creativity started seeping back in. Anyway, I chose this tunnel for the final shot. I'd had it in mind for over a month because I felt it symbolized both beginning and end in that you can see the light, yet I also have the choice to turn around and go the opposite way, not towards the end, but to the entry. There's light there too. I think there are certain times when you want to see the light at the end but often, the journey needs to continue. So you either wander around in the tunnel or proceed back to the entry. Me? I'm headed back to the entry. It also seemed fitting since this is New Year's Eve -- another end and beginning. With that, I wish everyone a very happy and safe New Year. Cheers!
[side note: the tunnel was quite busy with people passing by. I waited for quite a bit before I setup my equipment. Once others saw the tripod and camera bag, and that this might be a cool place to photograph, it was like a feeding frenzy -- people started snapping photos all over the tunnel (not of me, but of the tunnel). One guy even set his tripod up about 10 feet behind me. I had to check to make sure there wasn't one of those 'Kodak Picture Spot' signs nearby.]
Invictus
Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever Gods may be
For my unconquerable soul.
In the fell clutch of circumstance,
I have not winced nor cried aloud.
Under the bludgeonings of chance,
My head is bloodied but unbowed.
Beyond this place of wrath and tears
Looms but the horror of the shade.
And yet the menace of the years
Finds and shall find me unafraid.
It matters not how straight the gate,
Nor how charged with punishments the scroll.
I am the master of my fate,
I am the captain of my soul.
-- William Ernest Henley
At the age of 12 Henley became a victim of tuberculosis of the bone. In spite of this, in 1867 he successfully passed the Oxford local examination as a senior student. His diseased foot had to be amputated directly below the knee; physicians announced the only way to save his life was to amputate the other. Henley persevered and survived with one foot intact. He was discharged in 1875, and was able to lead an active life for nearly 30 years despite his disability. With an artificial foot, he lived until the age of 54. "Invictus" was written from a hospital bed.
La Mola Kuna es hecha por las mujeres Kuna (Tule o Dule), que habitan las Islas de San Blas en Panamá (también conocida como Kuna Yala). La palabra mola significa vestido o blusa en Tule Gaya, el idioma de los Kunas y es una pieza de arte intrincadamente diseñada y cosida que las mujeres Kuna utilizan para embellecer sus vestidos.
The artistry of a mola reflects a synthesis of traditional Kuna culture with the influences of the modern world. Mola art developed when Kuna women had access to store bought yard goods. Mola designs are often inspired by modern graphics such as political posters, labels, pictures from books and TV cartoons, as well as traditional themes from Kuna legends and culture.
Geometric molas are the most traditional, having developed from ancient body painting designs.
Hilo de la Fotohistoria en Pullip .es: Naruto VS Sasuke
(Read in order, this is: SHOT/FOTO 01 of 23) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23.
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
- Hilo de Naruto en Grupo en el Foro: miPullip
- See more photos at: Renske‘s Flickr
© Luxgnos Photography / Brian Callahan 2012 All rights reserved.
Please Press "L" Or Click To View On Black
This is a vertorama made of 2 sets of images taken with a wide angle lens. Much distortion correction was required. I was trying to get a less distorted view that still showed the entire arc and the buildings behind. It ended up in square format.
I love the "Labor Legacy Landmark". In my humble(?) opinion, it is the finest piece of public art in Michigan.
The Labor Legacy Landmark
With its shining arch rising 63 feet above the ground, the Labor Legacy Landmark, "Transcending," draws attention to itself as one of the newest additions to the Detroit skyline. The piece, commissioned by the Michigan Labor Legacy Project and funded solely through donations from union members without the aid of public or corporate money, is designed to celebrate the history and contributions of labor. The only such monument in the United States, the Labor Legacy Landmark is the work of local sculptors David Barr and Sergio De Giusti.
Barr, a teacher of sculpture and an internationally acclaimed artist, created the "Four Corners Project," in which he placed four carved marble tetrahedrons at equidistant sites around the globe, in effect creating the largest sculpture ever made. The Italian-born De Giusti is best known for his representative relief works, on display at public institutions throughout the state and around the world. One of De Giusti's works,a nine-foot bronze freestanding relief, is prominently displayed at the main plaza of the Blue Cross Blue Shield Building.
Barr, whose work is primarily abstract and symbolic, sought out the collaboration with De Giusti in order to add a more intimate dimension to the project. Both men envisioned something other than the funereal, European tradition of famous leaders commemorated by solemn statues. Instead, they set out to create a space - an environment where viewers can enjoy art as they come to understand and appreciate the struggles of labor.
From afar, (the piece can be seen from Canada) the work's great stainless steel arch is its most visible aspect. The notched, rounded arch resembles the ubiquitous symbol of labor - the gear and serves as a testament to labor's spirit of exuberance and defiance.
"Transcending's" circular form also stands in contrast to the city's grid-like design as a symbol of inclusion. The bottom of the gear appears to merge into the earth. Barr says, "The world drives industry and labor, and industry and labor drive the world."
The arch rests on a circular, raised dais, and is partially encircled by seven granite boulders all split symmetrically in two. According to De Giusti "Stones have a great presence and have always been used to commemorate events. They are markers of a people and a generation." Brought from Vermont, the stones suggest a strong linkage to the past and their permanence creates a link towards our future.
The boulders' polished surfaces are adorned with De Giusti's bronze reliefs which depict the sacrifices and achievements of labor. His method of presenting objects pushing through and receding into the flat surface of the relief, suggests the embedding of fossils in stone. In direct sunlight, the bronze shines like a geode from within the split rock.
The piece also includes a twisting marble path. A tile at the beginning of the path is engraved with the words, "Labor's achievements are America's strength," and subsequent tiles enumerate those achievements - "Free public education," "Human rights," "Equality for women." Other tiles feature historical labor-related quotes such as "Without struggle there is no progress" (attributed to Frederick Douglas), and Martin Luther King's words, "The arc of history bends toward justice."
De Giusti's reliefs line the path at it spirals inward. At the spiral's center are two boulders - one displaying chains and the other displaying hands - directly below the apex of Barr's arch. A look straight upwards reveals that the arch is divided by a narrow gap at the top. This separation symbolizes how far labor has come and how far it still has to go. At night the arch is made whole by lights projecting from the two disconnected ends.
When the piece was still in the proposal stage, then-Mayor Dennis Archer told the Detroit Free Press, "What the labor movement is doing is reminding everybody who builds buildings that public art also has a place in the betterment of a city." In "Transcending" Barr and De Giusti have created not only an important piece of art but also a significant historical and educational setting designed to connect viewers to the past and inspire them to affect their future. - Nick Sousanis
Montblanc, Tarragona (Spain).
Spinning at 33 rpm in the show window of a store.
Dando vueltas a 33 rpm en el escaparate de un tienda.
ENGLISH
The phonograph, or gramophone, was the most common device for playing recorded sound from the 1870s through the 1980s.
The famous phonograph was the fourth device for recording and replaying sound. The term phonograph ("sound writer") is derived from the Greek words φωνή (meaning "sound" or "voice" and transliterated as phoné) and γραφή (meaning "writing" and transliterated as graphé). Similar related terms gramophone and graphophone have similar root meanings. The coinage, particularly the use of the -graph root, may have been influenced by the then-existing words phonographic and phonography, which referred to a system of phonetic shorthand; in 1852 The New York Times carried an advertisement for "Professor Webster's phonographic class", and in 1859 the New York State Teachers' Association tabled a motion to "employ a phonographic recorder" to record its meetings.
F. B. Fenby was the original author of the word. An inventor in Worcester, Massachusetts, he was granted a patent in 1863 for an unsuccessful device called the "Electro-Magnetic Phonograph". His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. Although no model or workable device was ever made, it is often seen as a link to the concept of punched paper for player piano rolls (1880s), as well as Herman Hollerith's punch card tabulator (used in the 1890 United States census), a distant precursor of the modern computer.
Arguably, any device used to record sound or reproduce recorded sound could be called a type of "phonograph", but in common practice it has come to mean historic technologies of sound recording.
In the late 19th and early 20th century, the alternative term talking machine was sometimes used. This term was more in line with Thomas Edison's early view that his invention was better suited for spoken recordings such as dictation than for musical recordings.
More info: en.wikipedia.org/wiki/Phonograph
------------------------------------
CASTELLANO
Un tocadiscos es un sistema de reproducción del sonido hijo del fonógrafo ya que usa el mismo tipo de tecnologia, sustituyendo el cilindro por un Disco de vinilo. El tocadiscos también ha sido conocido como platina de discos, giradiscos, tornamesa, fonochasis o pickup. Ninguna de estas cuatro últimas nomenclaturas tiene demasiada aceptación.
El fonógrafo, fue el dispositivo más común para reproducir sonido grabado desde la década de 1870 hasta la década de 1980.
La primera invención conocida de un dispositivo capaz de grabar sonido fue el "autofonógrafo", inventado por el francés Édouard-Léon Scott de Martinville y patentado el 25 de marzo de 1857. Podía transcribir sonido a un medio visible, pero no tenía un modo de ser reproducido después. El aparato consistía de un cuerno o un barril que recogía las ondas hacia una membrana a la que estaba atado una cerda. Cuando llegaba el sonido, ésta vibraba y se movía y el sonido podía grabarse en un medio visible. Inicialmente, el fonoautógrafo grababa en un cristal ahumado. Una versión posterior usaba un papel también ahumado en un tambor o cilindro. Otra versión dibujaba una línea representando el sonido en un rollo de papel. El fonoautógrafo era una curiosidad de laboratorio para el estudio de la acústica. Era usado para determinar la frecuencia de un tono musical y para estudiar el sonido y el habla. No se entendió hasta después del desarrollo del fonógrafo que la onda grabada por el fonoautógrafo era de hecho una grabación del sonido que sólo necesitaba un medio de reproducción adecuado para sonar.
El fonógrafo fue el que, hasta 1876, se creyó el primer aparato capaz de grabar sonido, aunque sí fue el primero que pudo reproducirlo después. Thomas Alva Edison anunció la invención de su primer fonógrafo, el 21 de noviembre de 1877, mostró el dispositivo por primera vez el 29 de noviembre de ese mismo año y lo patentó el 19 de febrero de 1878.
El fonógrafo utiliza un sistema de grabación mecánica analógica en el cual las ondas sonoras son transformadas en vibraciones mecánicas mediante un transductor acústico-mecánico. Estas vibraciones mueven un estilete que labra un surco helicoidal sobre un cilindro de fonógrafo. Para reproducir el sonido se invierte el proceso.
Al principio se utilizaron cilindros de cartón recubiertos de estaño, más tarde de cartón parafinado y, finalmente, de cera sólida. El cilindro de cera, de mayor calidad y durabilidad, se comercializó desde 1889, un año después de que apareciera el gramófono.
El 2 de diciembre de 1889 un representante de la casa Edison, Theo Wangeman, grabó una interpretación del celebérrimo compositor Johannes Brahms. Se trataba de un segmento de las Danzas Húngaras en una versión para piano solo. Esta grabación aún se conserva, pero su calidad es pésima.
Más info: es.wikipedia.org/wiki/Tocadiscos, es.wikipedia.org/wiki/Fon%c3%b3grafo
Remember my previous post about stairs and little hill? This is to the left of it but still closed to the public with barricades on top and bottom of the stairs. I'll go back to find out what they had in mind for this. The view on Lower Manhattan, Statue of Liberty and Governor's Island is just beautiful!! Love the textures and tones here that almost matches the texture of the Majestic Brooklyn Bridge in the background!!
3 shots HDR
Of course when I was there for sunrise shot, Kenny and I didn't really care about the barricades on the top and just move them a little and parked our gears in front of those flimsy things, LOL!! The rangers making their tours saw us, and couple other photographers, didn't mind knowing well we'll be there for few minutes only!!
Have a great week, it is gloomy and raining here!! :((
Thanks for stopping by and commenting!!
www.facebook.com/#!/photo.php?fbid=2254820205671&set=...
FRATELLI COMUNI
il video
www.youtube.com/watch?v=IQXO6Cjnabs
150 – Centocinquantesimo
Raccolta fotografica dedicata al centocinquantesimo anniversario dell’Unità d’Italia.
Un’opera da collezionare.
CON IL PATROCINIO DELL’ANCI (Associazione Nazionale Comuni Italiani),
DI “SAPIENZA” - UNIVERSITÀ DEGLI STUDI DI ROMA, DEL CONSIGLIO REGIONALE DEL LAZIO E DEL
COMUNE DI ISOLA DEL LIRI
DAL 7 DICEMBRE IN LIBRERIA
A conclusione delle celebrazioni dei 150 anni dell’Unità d’Italia, la casa editrice Gargoyle in
collaborazione con Editrice Pisani manda in stampa Fratelli Comuni, una raccolta fotografica per
“raccontare” in modo originale e partecipe come l’Italia abbia vissuto questa importante ricorrenza.
L’idea, nata la notte del 17 marzo 2011, complice l’incantevole cornice della Cascata Grande di
Isola del Liri – illuminata, in occasione dei festeggiamenti, con i colori della nostra bandiera - era
quella di scoprire come altri comuni italiani avessero vissuto quel giorno, se quell’anniversario
avesse davvero risvegliato un sentimento di unità, un sussulto di fratellanza autentico e vivo in
grado di esprimersi non con il linguaggio vacuo e altisonante della retorica, ma con quello semplice
dei cittadini, che, nel silenzio e nell’anonimato, hanno combattuto e combattono ogni giorno per
custodire la dignità e la bellezza del nostro Paese.
Quella stessa dignità e bellezza capaci di commuovere gli italiani quando Roberto Benigni legge
Dante, ricordando a tutti noi ciò che siamo stati, le nostre radici, o ancora, quando sussurra con
dolcezza l’inno di Mameli, rammentando con passione e entusiasmo la generazione di chi, con
cuore puro e innamorato, non esitò a sacrificarsi per la propria patria. Uno spirito di appartenenza
e di sacrificio tornato a rivivere proprio in questi giorni di crisi, nei gesti dei volontari e dei cittadini
che con generosità cercano di far fronte al disastro provocato dalle recenti alluvioni, abbattutesi su
Genova e altri comuni liguri. Atti che mostrano bene come gli italiani siano un popolo, solidale e
unito, capace di slanci di grande generosità; “una d’arme, di lingua, d’altare, di memorie, di
sangue, di cor”, scriveva Alessandro Manzoni dell’Italia nell’ode Marzo 1821.
Attraverso la ricostruzione delle tappe più significative che hanno caratterizzato questo giorno di
festa (allestimenti, manifestazioni, eventi simbolo il cui filo conduttore è il Tricolore) Fratelli Comuni
mette assieme, in un unico volume, le immagini più belle e rappresentative di un momento
importante della nostra storia, e, quello che ci consegna, è un concerto armonico di sorrisi, sguardi
ed emozioni, un mosaico variopinto di atmosfere, protagonisti e istanti destinati a rimanere nel
tempo. Fratelli Comuni, però, è anche un’occasione per riflettere, un tentativo di ricordare e far
ricordare le ricchezza e la straordinaria varietà della nostra Italia, perché i 150 anni di Unità non
vengano considerati solo alla luce degli avvenimenti storici, politici ed economici che ne hanno
contraddistinto la storia, ma siano testimonianza delle tante ed esaltanti avventure culturali e
intellettuali che ci hanno resi noti nel mondo, in ambito umanistico come in quello scientifico. Tale
patrimonio ci rende fieri di essere italiani.
Il volume si compone di tre sezioni: la prima è una raccolta di scatti fotografici volti a
documentare come comuni e province d’Italia, da Nord a Sud, dai più piccoli ai più grandi,
abbiano commemorato e celebrato questo evento. E, sfogliando il volume, colpisce come le
immagini, a volte, registrino già un passaggio del tempo e appartengano al passato, come quelle
del comune di Monterosso, nelle Cinque Terre, quasi cancellato dall’alluvione.
La seconda, con la prefazione dello storico Virgilio Ilari, Presidente della Società Italiana di Storia
Militare, è dedicata alle Forze Armate e vuole essere un omaggio speciale a tutti coloro che ogni
giorno, con spirito di sacrificio, difendono i valori della pace e della democrazia. Un compito, il loro,
ancor più prezioso se considerato alla luce degli attuali scenari nazionali e internazionali.
La terza, infine, è una sezione speciale; una galleria di ritratti di personaggi illustri che nel
tempo hanno contribuito a fare grande e prestigioso il nostro Paese. Sette le categorie (musica,
moda, spettacolo, sport, politica, industria e premi Nobel); ognuna di queste è introdotta da
esponenti del mondo accademico, artistico e dello sport.
Ma i veri autori e protagonisti di Fratelli Comuni sono i cittadini stessi, le tante realtà
comunali e le province italiane che, con l’invio di materiale fotografico, hanno incoraggiato,
supportato e reso possibile la realizzazione di questa grande opera, dove le tradizioni del
passato si fondono armoniosamente con l’innovazione tecnologica del presente.
Le presentazioni del volume saranno patrocinate dalla Presidenza del Consiglio dei
Ministri e dal Ministero per i Beni e le Attività Culturali.
Il volume Fratelli Comuni ospita gli autorevoli interventi di:
Osvaldo Napoli - Presidente ANCI Facente Funzioni
Gianni Alemanno - Sindaco di Roma
Giuliano Pisapia - Sindaco di Milano
Michele Emiliano - Sindaco di Bari
Luigi Frati - Rettore dell’Università Sapienza di Roma
Luciano Duro - Sindaco di Isola del Liri (FR)
Alessandro Campi - Docente di Storia del Pensiero Politico presso l’Università di Perugia
Andrea Coli - Docente di Storia Economica dell’Industria presso l’Università Commerciale Luigi Bocconi di Milano
Virgilio Ilari - Presidente Società Italiana di Storia Militare
Ronnie Jones - Musicista
Linda Loppa - Direttrice Polimoda International Institute Fashion Design & Marketing
Daniele Masala - Campione Olimpico. Docente presso l’Università di Cassino
Luca Rea – Regista
Scheda informativa
Editore: Gargoyle in collaborazione con Editrice Pisani.
Da piccola realtà di nicchia, Gargoyle mira a diventare una grande casa editrice, proponendo un ampio
spettro di letteratura popolare che spazia dal giallo all’avventura, dal fantasy alla fantascienza – generi
che da sempre hanno contribuito e contribuiscono ad alimentare l’immaginario collettivo. La raccolta
fotografica dedicata al 150° anniversario dell’Unità d’Italia è la seconda pubblicazione della collana
“Gargoyle Accadimenti”, incentrata su eventi d’attualità particolarmente incisivi e di cui SuperSic, il libro
tributo a Marco Simoncelli, è stata la prima uscita.
Dettagli volume: Fratelli Comuni - centocinquantesimo Italia (1861-2011), Collana “Accadimenti”, pp.608,
formato album rilegato 22x30, euro 90.
Copie numerate.
José Honorato Lozano
Albun de M L
1850 - 51
Carruage de alquiler
1851
20.2 x 29.7 cm (8 x 11 ½ in)
A lot of 12 watercolors
Estimate: PHP 5,500,000 - 7,000,000
Lot 143 of the Salcedo Auctions auction on 17-18 September 2016. Please see <a href="http://www.salcedoauctions.com"
The painter José Honorato Lozano (1821-1885) is known today as the visual chronicler and ethnographic painter par excellence of life in the Philippines in the second and third quarters of the 19th Century. He is also renowned as the father of the art form known as Letras y Figuras - literally ‘Letters and Figures.’ Mostly watercolors on Manila paper, these artworks depict views of quotidian Philippine life in the 19th century, wherein the artist ingeniously and meticulously painted what on close scrutiny appear as human figures and their environs (houses, flora, fauna, work tools, produce, etc.), but when seen from a distance spell out names or words (e.g. Edward A. Westley, Views of Manila).
In his book José Honorato Lozano, Filipinas 1847, art historian Ambassador Jose María A. Cariño states “The origins of Lozano’s Letras y Figuras can be traced to the Middle Ages in Europe when calligraphers embellished the first letter of each chapter (Capitulares) of the Bible or Psalm or Prayer Book. . . Lozano may have seen copies of these and considered adapting this style and Filipinizing it through over-decorating and illuminating not just the first letter but every letter in the word. Thus, letras y figuras was born”.
It was only in the last twenty years - after several albums painted by Lozano were sold at auctions in London, Madrid, Singapore and Hong Kong - that Filipinos realized the important role of José Honorato Lozano in Philippine art history. His meticulous depiction of Tipos Filipinos (Philippine Types), costumes, customs, traditions, flora, fauna, buildings, houses, fruits, shells, tribes, uniforms (military, school, religious orders, militia), weapons, reptiles, sheet music, views, modes of land transportation, marine vessels, etc. are a treasure trove of visual information about the Philippines in the 19th century.
One of the most famous albums limned by Lozano is the Ayala Karuth Album. Since the watercolors contained therein were unsigned, for many years the works were mistakenly attributed to Carl Johann Karuth, a German employee of Jacobo Zóbel Hinsch (Botica Zóbel), as Karuth’s name was engraved in the leather cover of the album.
The Philippine art market went wild when the Nyssens Flebus Album containing twenty-five watercolors measuring approximately 13 ½ by 9 ¾ inches was auctioned at Christie’s London on in July 1995, with the hammer price reaching GBP 265,000. Emile Nyssens who commissioned the album was a Belgian tobacco trader.
Two other famous albums by Lozano were commissioned by Spanish military officials, namely: 1) The Gervasio Gironella Album; and 2) The José de la Gándara Album. Gervasio Gironella was the Superintendente y Intendente del Ejercito y de la Hacienda (Superintendent of the Armed Forces and Quarter Master General of the Treasury), making him the second most important official in the Philippines during the Spanish period. On the other hand, José de la Gándara y Navarro was Governor General of the Philippines from 1866 to 1867. He also served as Governor General in Cuba. Due to his achievements during his stint in the Philippines including beautification projects and the construction of new roads and the widening of narrow streets in Manila, Gándara Street was named after him. The Gándara Album contains twenty-seven spectacular watercolors.
THE ML ALBUM
The ML Album is the first album by José Honorato Lozano to be auctioned in the artist’s country of birth. All the recently discovered albums by the artist were either bought privately or sold at auctions in Singapore and Hong Kong, and in Europe.
More importantly, the ML Album’s provenance can be traced to one of the Grandees of Spain. ML was an important businessman based in Andalucia who traded in sugar and textiles. Due to his business successes and charitable works, ML was conferred the title of marquis by Queen Isabella II in the 1860’s. The family was also involved in railways, financing and in the olive oil and soap industries. One of the descendants made a fortune in the liquor industry. Today, the descendants of the family are gentlemen farmers dabbling in the fruit and real estate businesses. ML never set foot in the Philippines and therefore did not commission the album. It was a gift from a Philippine sugar producer and business partner. The marquis died during a business trip in France in 1873.
The heir who inherited the album informed Salcedo Auctions that the paintings were never bound into an album and were never framed or displayed as the family had so many Spanish artworks that there was no space in the marquis’ palace to hang them. Throughout its existence, the twelve watercolors of the album were stashed away and all but forgotten in an antique chest containing other gifts and exotic artworks that were gifted to the marquis. As the watercolors were never displayed, today the colors are vibrant and there are no signs of water damage or foxing. This is one of the best preserved albums by Lozano.
For Philippine collectors, one of the important features of this album is the existence of an ‘ML’ letras y figuras as the first page of the album, featuring fishermen holding a fish net forming the letter ‘M’ and two Igorrotes conversing beside a cooking pot forming the letter ‘L’. The Puente Colgante de Manila serves as a backdrop, and on top an angel carries the flag of Spain. The old Spanish word ‘Albun’ identifies this as the frontispiece of a set of pictures – an ‘album’ as it is now known owing to the influence of the English language.
Another interesting feature of the album is that, with the exception of one sheet, all the works are either signed or signed and dated. The signature of the last watercolor appears to have been torn off accidentally, and was not restored. Four of the works feature Tipos Filipinos in their colorful attire while another four are typical views of the Philippines. Two of the most outstanding paintings in the set are the Carruaje de Alquiler (Carriage for Hire) and the Entierro de un Parbulo (Funeral for a School Child), where a band in colorful attire is featured playing lively music while the child is dressed like a bishop or a saint and paraded on the way to the cemetery. This particular scene is borne out of the idea that when a child passes, he goes straight to heaven, thus a cause for celebration rather than sadness.
The return of the ML Album to the Philippines is a cause for joy, especially since there are very few surviving mid 19th century Philippine art works in the country and even less works by this artist whom Rafael Díaz Arenas praised in his book Memorias Históricas y Estadísticas de Filipinas (published in Manila in 1850): “There is a landscape painter using distemper, who is also a watercolorist without rival in the country… I speak of Lozano.” The recent discovery of three oil on canvas paintings by Lozano, namely Vista de la Casa de Campo de Malacañan and two studies of Philippine fruits, flowers and vegetables also confirm Rafael Diaz Arena’s words that “Lozano was a virtuoso in oil and watercolor.”
The provenance of the album and the identity of ML will be provided to the buyer.
Burgos (Spain).
ENGLISH
The Burgos Cathedral (Spanish: Catedral de Burgos) is a Gothic-style cathedral in Burgos, Spain. It is dedicated to the Virgin Mary and is famous for its vast size and unique architecture. Its construction began in 1221, following French Gothic parameters.
It had very important modifications in the 15th and 16th centuries (spires of the principal façade, Chapel of the Constable, cimborio of the transept: these elements of advanced Gothic give the cathedral its distinguished profile). The last works of importance (the sacristy or the Chapel of Saint Thecla) occurred during the 18th century, the century in which the Gothic statuary of the doors of the principal façade was also transformed.
At the beginning of the 20th century, some semidetached construction to the cathedral was eliminated, such as the Archepiscopal Palace and the upper floor of the cloister. The style of the cathedral is Gothic, although it has some Renaissance and Baroque works.
The cathedral was declared a "World Heritage Site" by UNESCO on October 31 of 1984. It is the only Spanish cathedral that has this distinction independiently, without being joined to the historic center of a city (as in Salamanca, Santiago de Compostela, Ávila, Córdoba, Toledo or Cuenca) or in union with others buildings, as in Seville.
More info: en.wikipedia.org/wiki/Burgos_Cathedral
---------------------------------
CASTELLANO
La Catedral de Santa María de Burgos (Castilla y León, España) es un templo católico dedicado a la Virgen María. Su construcción comenzó en 1221, siguiendo patrones góticos franceses. Tuvo importantísimas modificaciones en los siglos XV y XVI: las agujas de la fachada principal, la Capilla del Condestable y el cimborrio del crucero, elementos del gótico avanzado que dotan al templo de su perfil inconfundible. Las últimas obras de importancia (la Sacristía o la Capilla de Santa Tecla) pertenecen ya al siglo XVIII, siglo en el que también se retiraron las portadas góticas de la fachada principal. El estilo de la catedral es el gótico, aunque posee, en su interior, varios elementos renacentistas y barrocos. La construcción y las remodelaciones se realizaron con piedra caliza extraída de las canteras del cercano pueblo burgalés Hontoria de la Cantera.
La catedral burgalesa fue declarada Monumento Nacional el 8 de abril de 1885 y Patrimonio de la Humanidad por la Unesco el 31 de octubre de 1984. Es la única catedral española que tiene esta distinción de la Unesco de forma independiente, sin estar unida al centro histórico de una ciudad (como en Salamanca, Santiago de Compostela, Ávila, Córdoba, Toledo o Cuenca) o en compañía de otros edificios, como en Sevilla.
Más info: es.wikipedia.org/wiki/Catedral_de_Burgos
Hilo de la Fotohistoria en Pullip .es: THE DATE (1 of 1) /
LA CITA (1 de 1)
(Read in order, this is: SHOT/FOTO 31 of 36) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36.
FOTOHISTORY: In English / En Español
Shin: … O_O
/
Shin: … O_O
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
" Lady Bunny "
www.vipp.com/press/press_releases/index.php?nid=84
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. The auction will feature Vipp pedal bins re-imagined by 35 leading creative personalities.
Public viewing and bidding from October 15 - 28 at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am-7pm). Gala auction to be held October 28.
Danish design company Vipp is celebrating its 70th anniversary this October by hosting Can It!!! - a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR). The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion.
PUBLIC VIEWING AND BIDDING, OCTOBER 15 – 28
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
PARTICIPATING DESIGNERS
Ami James, Avi Adler, Calvin Klein, Camilla Stærk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves Béhar/Fuseproject.
For more information call DIFFA @ 212-727-3100
imaginepeace.com/archives/8557
VIPP 70TH ANNIVERSARY AUCTION
Vipp is celebrating its 70th anniversary by hosting a charity auction in New York City in collaboration with design retailer Design Within Reach (DWR).
The auction will benefit DIFFA: Design Industries Foundation Fighting AIDS. Thirty-five leading figures in the worlds of architecture, art, design, fashion and entertainment have put their signature touch on the iconic Vipp bin for the occasion, including Yoko Ono, Calvin Klein, Ralph Lauren & David Stark.
From October 15 – 28, the 35 customized Vipp bins will be on display for public viewing and bidding at DWR: Tools for Living located at 142 Wooster Street, New York City, during regular store hours (11am–7pm). Those who place bids on one or more of the customized Vipp bins, will be invited to a special gala auction on Wednesday, October 28, hosted by Veronica Webb, Vipp, DWR and DIFFA.
Sign up to receive newsletter www.vipp.comletter
For further information, please write to tsp@vipp.com or call DIFFA @ 212-727-3100
Participating designers:
Ami James, Avi Adler, Calvin Klein, Camilla StÊrk, Cole and Garrett, David Rockwell, David Stark, Evette Rios, Helena Christensen, Izhar Patkin, James Charles, Jes Gordon, John Baldessari, Jonas Hecksher/E-types, Lady Bunny, Lady Pink, Magnus Berger, Michael Aram, Mike Perry, Nigel Barker, Olaf Breuning, Oscar de la Renta, Ralph Lauren, Kiril Kirov/Razortooth, Richard Colman, Rikke Korff/The Furies, Robert Geller, Robert Verdi, Shelly Sabel, Sune Rose Wagner/The Raveonettes, Swathi Ghanta/Kidrobot, The Selby, Veronica Webb, Yoko Ono, Yves BÈhar/Fuseproject.
DESIGN WITHIN REACH
110 Greene St
(between Spring St & Prince St)
New York, NY 10012
(212) 475-0001
Hours:
Monday-Saturday
11am-7pm
Sunday
12pm-6pm
EXPLORED
You with the sad eyes
Don't be discouraged
Oh I realize
It's hard to take courage
In a world full of people
You can lose sight of it all
And the darkness there inside you
Makes you feel so small
But I see your true colours
Shining through
I see your true colours
That's why I love you
So don't be afraid to let them show
Your true colours
True colours are beautiful,
Like a rainbow.
Lyrics: Billy Steinberg and Tom Kelly
For more details -> View it Larger On Black
Pissed!
The collapse of Icelandic banks with the help of the economical crises ruined our currency change recently. The Icelandic króna collapsed and most of Icelanders are loosing a lot. Some "Matador/Monopoly" men (former owners of the banks) have been playing with Icelanders's money and now we have to pay and some of us will lose everything... but ofcourse we will prevail, we are Icelanders, we will still have our arms and legs, this is not the end, just a new beginning for some of us and therefor the only way is up after a short period of time.
This is our biggest bill, the 5000 króna bill, now it's "worthless" and the old lady (the woman on the bill), is pissed because how she's been treated. "She" will probably be flushed down the toilet with a *** on her in near future and then we will have Euro or some other currency so we don't have to blame our "good old" króna anymore, the right thing to do? Who knows... I'm just going to play Scrabble... not Matador/Monopoly.
The picture is copyrighted. Contact me for any usage - amason(at)simnet(dot)is.
Window detail from the first floor great salon.
Architect: József Vágó www.art-nouveau.hu/art.php?menuid=2&id=107
Cooperating artists were the greatest Hungarian painters and sculptors of the period:
József Rippl-Rónai
www.hung-art.hu/frames-e.html?/english/r/rippl-ro/index.html
commons.wikimedia.org/w/index.php?title=Special%3ASearch&...
Béla Iványi-Grünwald
en.wikipedia.org/wiki/B%C3%A9la_Iv%C3%A1nyi-Gr%C3%BCnwald
hu.wikipedia.org/wiki/Iv%C3%A1nyi-Gr%C3%BCnwald_B%C3%A9la
Vilmos Fémes-Beck
commons.wikimedia.org/wiki/F%C3%A9mes_Beck_Vilmos
hu.wikipedia.org/wiki/F%C3%A9mes_Beck_Vilmos
Zsolnay:
Stained glass windows by Károly Kernstok (Budapest, 1873 - 1940)
rippl-ronai.hu/s-658&kernstok+karoly.html&LANG=EN
www.google.hu/search?q=kernstok+k%C3%A1roly&hl=hu&...
About the building, architect and owner:
www.sziabudapest.com/text/2011april_en.php
www.sziabudapest.com/text/vago_jozsef_en.php
Magyarul:
hg.hu/cikk/epiteszet/12623-a-szecesszio-elfelejtett-meste...
artportal.hu/kislexikon/vago_jozsef
Magyarul:
Parc Natural del Garraf - Jafra, Barcelona (Spain).
Panorama of 2 photos.
ENGLISH
Garraf is a place little documented, and for that reason it is surrounded by mystery and legend.
Jafra, a deserted and ruinous town, is named already in 1139, and in 1332 a castle is mentioned. Apparently in 14th century all the inhabitants died due to the Black Death epidemic, although shortly after it became to populate, and in 1432 it became to open the parish. In 17th century the barons of Jafra named a mayor (1683) and recovered the church, dedicated to Santa Maria (1688). In 1819 Jafra lost its last mayor and it joined to the town of Olivella (the parishes already were tie). The culture of the vine made increase the population during 17th century. In 1820 there were 83 inhabitants, and in 1850 the church was recovered again. The plague of phylloxera of end of 19th century caused the desertion of lands, and in 1960 they were left only 19 inhabitants, scattered by farms of the environs.
At the moment only it is left still on the church (in restoration), the walls of rectory and the house of the barons, and those of the house of the servants. About the cemetery only left some walls and two great cypresses, and by the environs it has scattered ruins of which they could be other small houses.
When I arrived at the entrance of the church I was a little rare, with a discomfort sensation, of not feeling very at ease in this place, so I did not entertain myself in making many photos. I do not know why, but I had desire to go away there. And it was later, already in house, when documenting about the place I found the explanation of those strange sensations.
Jafra is considered damn town, and it is object of investigation by different parapsychology studious groups. It comments that at night lights have been seen roam by the zone, and in the house of the servants, called “the enchanted house” have been poltergeist phenomena, like blows, sudden changes of temperature, voices and until some appearance. Here they have been possible to record psychophonies. Also it comments that years ago a boy fell into a well near the cemetery and died drowned, and since it have been heard moans and it has been believed to see a figure roam near the cypresses of the cemetery.
I do not believe in these things, but the strange sensations that I experimented there are well certain...
----------------------
CASTELLANO
El Garraf es un lugar poco documentado, y por ello está rodeado de misterio y de leyenda.
Jafra, un poblado abandonado y ruinoso, ya es nombrado en el año 1139, y en 1332 se menciona un castillo. Por lo visto en el siglo XIV murieron todos los habitantes debido a la epidemia de peste, aunque poco después se volvió a poblar, y en 1432 se volvió a abrir la parroquia. En el siglo XVII los barones de Jafra nombraron un alcalde (1683) y restauraron la iglesia, dedicada a Santa María (1688). En 1819 Jafra perdió su último alcalde y se incorporó al pueblo de Olivella (las parroquias ya estaban vinculadas). El cultivo de la viña hizo aumentar la población durante el siglo XVII. En 1820 había 83 habitantes, y en 1850 se restauró nuevamente la iglesia. La plaga de filoxera de finales del siglo XIX provocó el abandono de las tierras, y en 1960 quedaban tan solo 19 habitantes, diseminados por las masías de los alrededores.
Actualmente sólo queda en pie la iglesia (en restauración), los muros de la rectoría y de la casa de los barones, y los de la casa de los criados. Del cementerio apenas quedan unos muros y dos grandes cipreses, y por los alrededores hay diseminadas ruinas de lo que podrían ser otras casas pequeñas.
Cuando llegué a la entrada de la iglesia me encontré un poco raro, con una sensación de incomodidad, de no sentirme muy a gusto en el lugar, así que no me entretuve en hacer muchas fotos. No sé por qué, pero tenía ganas de marchar de allí. Y fue después, ya en casa, cuando documentándome acerca del lugar encontré la explicación a esas extrañas sensaciones.
Por lo visto Jafra es considerado un pueblo maldito, y es objeto de investigación por parte de diferentes grupos estudiosos de parapsicología. Se comenta que de noche se han visto luces merodear por la zona, y en la casa de los criados, llamada "la casa encantada" ha habido fenómenos poltergeist, como golpes, cambios súbitos de temperatura, voces y hasta alguna aparición. En ella se han podido grabar psicofonías. También se comenta que hace años cayó un niño a un pozo cerca del cementerio y murió ahogado, y desde entonces se han oído lamentos y se ha creído ver una figura merodear cerca de los cipreses del cementerio.
Yo no creo en estas cosas, pero las extrañas sensaciones que experimenté allí son bien ciertas...
Please : View On Black
Another "in house" photo . Maybe abstract , maybe it's suited for another texture , i don't know . What i have learned . Shoot RAW at minimum ISO ( 200 in my case ) , straighten , crop and tone the image then convert it in jpeg . Then edit it with GIMP . You still get noisy images because of the 8 bit j-peg processing . Damn , in this photo's case that's good .
Come on my dear developers with the new Gimp and 16 bit image processing . You have the power to free us from PS . Pretty please :) .
You have to see peekaboo close up
Spilostethus pandurus is a species of ground bugs belonging to the family Lygaeidae, subfamily Lygaeinae.
It is found in the Euro-mediterranean-Turaniaan Region, with a more southern spread in respect of Spilostethus saxatilis.
From Wikipedia, the free encyclopedia
For other uses, see Peekaboo (disambiguation).
Two children playing Peekaboo (1895 painting by Georgios Jakobides).
Sneekaboo (also spelled Peek-a-boo) is a game played with babies. In the game, the older player hides their face, pops back into the baby's view, and says Peekaboo! sometimes followed by I see you!
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
☻ VIEW / SIEHE:► Large on black ► Place Map
AWARD: ► no
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
☻ Ort: City☻Kröpcke☻U-Bahn • in Hannover • Region Hannover • Niedersachsen • Deutschland
............................................................................................................................................
☻ Place.: City☻Kröpcke☻Station • Hanover • Hanover District • Lower Saxony • Germany
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
☻ KOMMENTAR ► Klick "Links" ( oben ▲) =Wikiepedia- Info:
Mal etwas ganz Anderes. Was hier so futuristisch daher kommt, ist die U-Bahn-Station unserer Heimatstadt Hannover. Die in vielen Stationen auch von Kunst geprägt ist. Es lohnt sich einmal H I E R zu klicken.
...................................................................................................................................................................
☻ COMMENT: ► Click "Link" ( above ▲) = Wikiepedia- Info
Once something quite different. What here so futuristic come, is the Metro station our home city of Hanover. In many stations also influenced by art. It's worth it to click once H E R E .
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
"The objects, in a house, they are an extension of us. Inanimate, but strangely intimate. They mark the time and they enclose emotions."
(Hayat, Faíza)
This isn't my grandfather's house... but it has a signboard with the name of the house 'Casa do Avô', or in english 'grandfather's house'.
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (1 of 5): Minao Theatre /
CITA EN EL CINE (1 de 5): Cines Minao
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
FOTOSTORY: In English / En Español
Akari: Hahaha, thank you (^________^)
/
Akari: Jajaja, muchas gracias. (^________^)
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
Forty six & 2 è una canzone che non smetterei mai di ascoltare, ho cercato di tradurla in foto..
Joining my
Joining my child
As I'm digging through
My old numb shadow
My shadow's
Shedding skin and
I've been picking
Scabs again
I'm down
Digging through
My old muscles
Looking for a clue
I've been crawling on my belly
Clearing out what could've been
I've been wallowing in my own confused
And insecure delusions
For a piece to cross me over
Or a word to guide me in
I wanna feel the changes coming down
I wanna know what I've been hiding
In my shadow
My shadow
Change is coming through my shadow
My shadow
Shedding skin
I've been picking
My scabs again
Joining my
Joining my child
As my shadow moves
Closer to me now
I've been crawling on my belly
Clearing out what could've been
I've been wallowing in my own chaotic
And insecure delusions
I wanna feel the change consume me
Feel the outside turning in
I wanna feel the metamorphosis and
Cleansing I've endured
Within my shadow
My shadow
Change is coming
Now is my time
Listen to my muscle memory
Contemplate what I've been clinging to
Forty-six and two just ahead of me
I choose to live and to grow
Take and give and to move
Learn and love and to cry
Kill and die and to be
Paranoid and to lie
Hate and fear and to do
What it takes to move through
I Choose to live and to lie
Kill and give and to die
Learn and love and to do
What it takes to step through
See my shadow changing
Stretching up and over me
Soften this old armor
Hoping I can clear the way by
Stepping through my shadow
Coming out the other side
Step into the shadow
Forty six and two are just ahead of me.. [TOOL]
http://toolvinyl.com Qui c'è la mia foto!
These photos of the Starlings were taken almost exactly a year ago from my kitchen window. They are frequenting my backyard and the feeders in large groups again this year.
December is very busy for me so I reluctantly put my camera away to avoid temptation. Once I have a camera in my hand, I am very easily distracted and the time just flies by. It would be nice to have a few extra hours in a day to fit everything in!
Hope that everyone is enjoying December and your preparations for the holiday season are going well. I don't have much time to comment but I do try to at least view your photos. I promise I will take time to make comments soon!
If you have the time, click here to see my photos on Darckr.
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (5 of 5): The cliff lookout /
CITA EN EL CINE (5 de 5): El Mirador
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
PHOTOSTORY: In English / En Español
Dom: What you don't know is how much you like me
/
Dom: Lo que no sabes es cuanto me gustas.
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012