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“Plus claire la lumière, plus sombre l'obscurité... Il est impossible d'apprécier correctement la lumière sans connaître les ténèbres.”
Jean-Paul Sartre
Photo prise à Marrakech dans le labyrinthe de la Médina.
La construction du plus grand amphithéâtre de Rome débute en 72 ap. J.C. sur la demande de l'Empereur Vespasien. Ses deux fils, Titus et Domitien poursuivent sa construction qui s'achève en l'an 82. L’édifice s'appelle alors amphithéâtre Flavien, du nom de la dynastie de ces empereurs. Le nom de Colisée n'apparaît qu'au Moyen Age, en référence à la gigantesque statue de Néron de 35 mètres (appelée colosse) situé à côté de l'amphithéâtre. Avec ses 187 mètres de long, 155 mètres de large et 50 mètres de hauteur, le Colisée pouvait probablement accueillir 50 000 spectateurs avides de spectacles tels que les venationes (combats d'animaux sauvages), les munera (combats de gladiateurs) et autres spectacles publics. Pour améliorer le confort, le Colisée était équipé de 70 fontaines à eau et des marchands de nourriture passaient pendant les spectacles. Il est resté en service pendant près de 500 ans, les derniers jeux se prolongeant jusqu'au VIe siècle. Pour l'inauguration du Colisée, Titus donna une naumachie dans le Colisée transformé en bassin reconstituant la bataille navale de Corinthe contre Corcyre. Le bâtiment a finalement cessé d'être utilisé au cours du haut Moyen Âge. Il a plus tard été réutilisé pour des usages variés tels que des habitations, des ateliers d'artisans, le siège d'un ordre religieux, une forteresse, une carrière et un sanctuaire catholique chrétien.
En forme d’œuf, le Colisée présente 4 étages. Les trois premiers sont portés par des colonnes des différents ordres : Dorique (Rez-de-chaussée), Ionique (Premier étage) et Corinthien (Second étage). L'utilisation de ces trois styles montrent les évolutions artistiques connues durant l'antiquité. Cette succession d'arcades n'existent que sur les trois premiers niveaux, le quatrième, postérieur, est un mur plein (une pièce d'architecture que l'on appelle "attique") percé de petites fenêtres rectangulaires au rythme d'une arcade sur deux. L'attique servait à exposer de grands boucliers décoratifs, un peu comme un mur d'exposition. Au sommet, des excroissances encore visibles, permettaient de tendre une toile (le velarium) au-dessus du Colisée pour protéger les spectateurs du soleil. Ce voile était manœuvré par un détachement de marins de la flotte impériale basés à la caserne Castra Misenatium !
Le Colisée utilise plusieurs matériaux. Le principal est le travertin (piliers), le marbre pour des décorations, les murs rayonnants sont en briques ou en tuf, et les voûtes en béton romain. On s'est également servi de métal pour lier les pierres entre elles : pour s'assurer que deux blocs contigüs ne bougent pas on les perçait de deux trous et on y fixait une agrafe. Durant le Moyen-âge ces agrafes furent récupérées et fondues. On peut observer de nos jours sur la quasi-totalité des blocs des trous indiquant les emplacements des anciennes agrafes.
L'espace entre l'amphithéâtre et la façade est fait de deux couloirs circulaires mitoyens par étage. Le nombre de couloirs (vomitorium) permettait de faire sortir les spectateurs en 5 minutes. Chaque classe sociale avait sa tribune et ses couloirs avec leurs propres entrées. Les classes sociales pouvaient donc ne jamais se croiser dans le Colisée. Il existe un couloir spécial derrière le podium interdit au public, une sorte de galerie de service permettant de positionner des archers en charge de la sécurité des spectateurs.
La Cavea (gradins) est fortement dégradée et seule une toute petite partie des gradins a été reconstruite. Les gradins étaient répartis le long de la courbe de l'amphitéâtre. Les sièges les plus proches de l'arène étaient séparés par un mur de 3 mètres de hauteur (le podium), les plus hauts sièges étaient situés à plus de 40 mètres de haut. Les spectateurs étaient assis dans un arrangement hiérarchisé qui reflète la nature rigide et stratifiée de la société romaine. L'empereur était bien sûr tout en bas alors que la plèbe était au sommet. L'arène mesure 83m de long sur 48 m de large. Le sol était un plancher, parfois remplacé par de la brique sur certains endroits. L'arène couvre une vaste structure souterraine appelée « hypogée » (caves d'un bâtiment antique, partie souterraine) qui a été créé après l'inauguration, sous l'empereur Domitien et correspond à nos coulisses modernes. L'hypogée était divisés en 15 couloirs réalisés en brique et en blocs de tuf, bâtis parallèlement à une galerie centrale.
The construction of Rome's largest amphitheater begins in 72 AD. J.C. at the request of Emperor Vespasian. His two sons, Titus and Domitian continue his construction that ends in the year 82. The building is called Flavian Amphitheater, named after the dynasty of these emperors. The name of Colosseum appears only in the Middle Ages, in reference to the gigantic statue of Nero of 35 meters (called colosse) located next to the amphitheater. With its 187 meters long, 155 meters wide and 50 meters high, the Colosseum could probably accommodate 50 000 spectators eager for shows such as venationes (fights of wild animals), munera (gladiator fights) and other shows public. To improve comfort, the Colosseum was equipped with 70 water fountains and food vendors were running during the shows. It remained in service for nearly 500 years, the last games lasting until the sixth century. For the inauguration of the Colosseum, Titus gave a naumachie in the Colosseum transformed into a pool reconstituting the naval battle of Corinth against Corcyra. The building finally ceased to be used during the High Middle Ages. It was later reused for various uses such as dwellings, craftsmen's workshops, the seat of a religious order, a fortress, a quarry and a Christian Catholic sanctuary.
In the shape of an egg, the Coliseum has 4 floors. The first three are carried by columns of different orders: Doric (Ground floor), Ionic (First floor) and Corinthian (Second floor). The use of these three styles show the artistic evolutions known during antiquity. This succession of arcades only exist on the first three levels, the fourth, posterior, is a solid wall (a piece of architecture that we call "Attic") pierced with small rectangular windows to the rhythm of an arcade On two. The attic was used to expose large decorative shields, much like an exhibition wall. At the top, still visible growths, allowed to stretch a canvas (the velarium) above the Colosseum to protect the spectators from the sun. This sail was maneuvered by a detachment of sailors from the imperial fleet based at the Castra Misenatium barracks!
The Colosseum uses several materials. The main one is the travertine (pillars), the marble for decorations, the radiant walls are in brick or tuff, and the vaults in Roman concrete. Metal was also used to bind the stones together: to make sure that two contiguous blocks did not move they were pierced with two holes and a staple attached. During the Middle Ages these staples were recovered and melted. Almost all blocks of holes can be seen today, indicating the locations of the old staples.
The space between the amphitheater and the facade is made of two adjoining circular corridors per floor. The number of corridors (vomitorium) allowed to get the spectators out in 5 minutes. Each social class had its gallery and corridors with their own entrances. Social classes could never cross in the Colosseum. There is a special corridor behind the public banned podium, a kind of service gallery for positioning archers in charge of spectator safety.
The Cavea (bleachers) is heavily degraded and only a very small portion of the bleachers has been rebuilt. The bleachers were distributed along the curve of the amphitheater. The seats closest to the arena were separated by a wall 3 meters high (the podium), the highest seats were located more than 40 meters high. Spectators sat in a hierarchical arrangement that reflected the rigid and stratified nature of Roman society. The emperor was of course at the bottom while the plebs was at the top. The arena is 83m long by 48m wide. The floor was a floor, sometimes replaced by brick on some places. The arena covers a vast underground structure called "hypogeum" (cellars of an ancient building, underground part) that was created after the inauguration, under the emperor Domitian and fits our modern backstage. The hypogeum was divided into 15 corridors made of brick and blocks of tufa, built parallel to a central gallery.
Source: (c) Giacomo Vernoni
Les effets appliqués ont pour but de montrer qu'il s'agit du deuxième plus ancien modèle de la collection en créant un effet antique sans pour autant utiliser le noir et blanc.
iPhone 6 Plus | Snæfellsnes Peninsula, Iceland, 2 April 2016
© 2016 José Francisco Salgado, PhD
Do not use without permission. 2016.04.02_6192
Gauche: 14x16 boxpleat
Centre: 20x20 boxpleat
Droite: 16x16 boxpleat
Le dernier ensemble de tis-animaux. Nous avons donc en haut, un ti-escargot à gauche, un ti-dauphin au centre et une tite-pieuvre à droite. La pieuvre est venue en posant la tête cubique à l'envers. Le dauphin a une grille plus grosse que la norme des tis, mais puisqu'il peut bien se faire dans un carré de 15 cm x 15 cm, tout est bon.
More lil-animals! We have at the top, a lil-snail to the left, a lil-dolphin in the center and a lil-octopus to the right. The octopus came by posing the cubic head backwards. The dolphin has a bigger grid than the others, but since it can be folded from a 15 cm x 15 cm square, all is good.
Living a winter city, Calgarians truly enjoy their extensive elevated pedestrian sidewalk system called the +15 system. The bridges are enclosed and heated. When it's cold and dark, I like to do a 5 km loop in these walkways so I get my exercise without losing precious fingers and toes. Between the bridges inside the buildings are shops, cafes, restaurants, washrooms, and professional services. While the system started in 1970, today there are 62 bridges, and about 18 km's of indoor walkways.
The original late 1970's FSO nee Polski Fiat Polonez may have looked quite modern and crisply styled for the era but underneath it was still the old Fiat 125P. The same lethargic engine which struggled to pull such a heavy body, the same slapdash build quality and rather amusingly it initially lacked a folding rear seat!
It did offer a brand new five door hatchback for bargain loving Brits who continued to buy the Polonez and facelifted Caro right up until 1997 by which time it had been totally eclipsed by Malaysian and Korean offerings! It did last until the early 2000's as a Daewoo product before finally being dropped.
As part of their latest Polish themed series Welly have now produced a small scale version of these last of the line Polonez complete with facelifted front and rear ends plus a very accurate interior too. I know Matchbox like their unusual diversions every so often but I won't hold my breath that they will ever model an FSO!
Sourced directly from Poland. Mint and boxed.
my orders from kawaii plus and abbieskawaii (instagram) came in today!! i think i've spoiled myself way too much lately. lol. oops.
CLUB BOUNCE PARTY PICS 6/27/14!
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#BBW #CLUBBOUNCE #LISAMARIEGARBO #PLUSSIZE #THICKANDSEXY #FULLFIGURED #BBWS #BBWPARTY #PLUSSIZEMODELS #PLUSSIZEFASHION #PLUSSIZEPARTY #CURVY #CURVES #SINGLEBBW #BBWPICS #BBWVIDEOS #BBWS #PARTYGIRLS #SEXYBBW #FA #OC #LA
Camera: 1952 Leica IIIf RD 35mm Rangefinder.
Lens: Waterworth 2 inch Centaur f/3.5.
Film: Ilford FP4 Plus ISO 125 35mm black & white negative.
Development: Ilford ID-11 1 + 3 @ 20C/21m.
Camera supported on Linhof Junior tripod & ball head.
Lens is wide open for this image. Focus point is the "W" badge and lens of the nearest projector, carefully set via the Leica's coupled rangefinder. For a lens with a little front coating damage (cleaning-related I suspect), I thought the contrast and resolution of such an old lens to be respectable.
The Waterworth Centaur is a vanishingly rare 2 inch f/3.5 lens manufactured by Waterworth of Hobart, Tasmania, Australia. Optical manufacture began at the Domain on the edge of the city of Hobart during WWII in order to furnish the Australian defence forces (and to an extent, also, other Allied forces) with lenses, prisms and other components vital for military use in targeting equipment, gunsights and for photo reconnaissance camera applications among others. After the war the workforce turned their skills to the production of goods for civilian use, notably projection equipment for educational institutions. A small number of still camera lenses were nevertheless manufactured in Hobart in the Leica 39mm rangefinder thread mount.
The Centaur was available in two different guises, both with the 39mm Leica thread mount: a non-focusing enlarger version made for darkroom printing; and the type used to make the image shown above. This being a focusing and rangefinder coupled version.
During a visit to the University of Tasmania to inspect the items in their Waterworth Collection (a bequest from the late Peter Smith, long a UTAS chemistry faculty member) I was permitted to fit the focusing example of the Centaur in the collection to my own Leica IIIf Red Dial rangefinder and take a few photos of the collection with it.
In the foreground you will see just a few of the different types of still projectors Waterworth manufactured after World War II.
The Centaur fitted readily to the IIIf like any Leica lens made for it, and coupled perfectly to its (well-calibrated) rangefinder from close range to infinity.
I set the camera and lens onto my own Linhof junior tripod and ball head (which was itself formerly owned by Peter Smith before it came into my possession, so there was a brief reunion of these items once owned by him). A short series of images was made by me at different apertures including wide open at f/3.5 with the camera on the tripod, using a cable release to maximise sharpness.
I have added four very similar images made with this very rare lens. Whilst there are a handful of images of a Waterworth Centaur lens locatable by Google Image search, I have not seen any photos actually taken with the lens: let alone taken with one fitted to a screw mount Leica rangefinder, the type of camera the lens was actually designed to be used with. This series might therefore be the only images on the web with a Centaur on film using a Leica rangefinder and have been uploaded for the benefit of those who may like to see some photos created with one.
The exact number of Waterworth Centaurs produced is not definitively known. At least one serial number into the low 300s exists. But whether all serial numbers from 1 were allocated and used is not known. The actual number made may be considerably less, one source suggests perhaps 200-odd? Many of those would have been for enlarger use and not suitable for photography, thus, the amount of surviving Centaurs with rangefinder coupling may, potentially, be tiny. Who knows? UTAS are researching the activities of the annexe.
You may see a photograph of the Centaur lens attached to my Leica at UTAS here:
www.flickr.com/photos/43224475@N08/51087053587/in/datepos...
More information about the wartime activities at the Hobart annexe and the Waterworth optical products which were made after WWII for civilian use may be found at UTAS's own website for Waterworth, here:
Some images of the actual Waterworth Centaur I had the privilege of photographing with (Centaur serial number 171) may be viewed here:
waterworth.omeka.net/items/show/76
Copyright 2021 Brett Rogers All Rights Reserved
Chelsea - Certified Personal Trainer and Nationally Qualified NPC Bikini Competitor
I had the pleasure of collaborating with Chelsea and excited to see her on stage in 2016.
Nikon D800 with 50/1.4 lens
Strobist: Three light set-up. Key light is an Alien Bees B800 with shoot-thru 60" umbrella, camera left. Criss-Crossed two Alien Bees B1600's against white backdrop to make background pure white. All lights fired via Pocket Wizard Plus III's.
Cette peinture murale est une véritable célébration de la nature et de la beauté du monde.
Au centre, le portrait lumineux d'une jeune fille avec un regard doux et rêveur nous captive.
Autour d'elle, une explosion de couleurs vives et de fleurs épanouies crée une ambiance joyeuse et apaisante.
Les tournesols et les marguerites semblent danser autour de la fillette, l'enveloppant dans une étreinte chaleureuse.
Cette composition florale vibrante transmet un message d'harmonie et de préservation de l'environnement.
Le texte "Pour un monde plus propre" renforce ce thème écologique, invitant le spectateur à prendre soin de notre planète.
L'artiste Star97 réussit à transmettre ce message de manière poétique et accessible, à travers les yeux d'une enfant.
I never would have guessed what these were. I saw them on a tree that I knew was a Dogwood. I thought they couldn't possibly be part of a Dogwood; I must be mistaken about what kind of tree it was. I did some research, and in fact they do belong on a Dogwood tree.
(DSCN1524)
"Ato em memória dos 20 anos da Chacina do Beco do Candeeiro", Cuiabá, MT, Brasil (fotografia analógica - Nikon F401S, 50mm 1.8, Ilford HP5 Plus 400).
Revelação e scan por Ventura FineArt.
Foto por Paulisson Miura.