Brickwork
View allAll Photos Tagged polychrome
I realize it may sound innocent - perhaps naive - but one of the most surprising things to me about visiting Alaska was the rich color palette of the terrain. Despite being deep in Alaska, less than 250 miles from the Arctic Circle, the sun still holds its reign over the summer climate...and with nearly 24 hours of light, the vegetation has ample opportunity to grow.
Certainly, global warming, and glacial melt plays a role in seeing the deeply colored mountain range in the distance. It was surprising to me to learn that much of the green you see along the park road in Denali is vegetation growing atop the glaciers. All-in-all, I highly recommend taking the Kantishna bus tour (11-hours) in Denali, as it is the only method of getting deep into the park, with the opportunities to see as much of the geology, geography, .and wildlife possible.
While the namesake mountain is the primary calling card of this National Park, and rightfully so, it is only seen clearly by approximately 1/3 of the park's visitors, due to the near constant cloud cover. There is so much more, in terms of the vastness, grandeur, remoteness, and ecologic importance of this region to be experienced than simply the sight of Denali looming large above the subarctic plateau.
This picture was in "Flickr's Explore" on April 17th 2023.
Publiée par Flickr dans "Explorez" le 17 avril 2023 (autour du no 443 sur Fluidr/EXPLORE du 17 avril 2023): www.fluidr.com/explore/interesting/2023/04/17
Le plafond de la chapelle Rideau à l’intérieur du Musée des beaux-arts du Canada au 380 Sussex Drive, Ottawa, Ontario, Canada.
La chapelle de la rue Rideau faisait à l’origine partie de Notre-Dame-du-Sacré-Cœur, un pensionnat pour jeunes filles dirigé par les Sœurs de la Charité à Ottawa. La chapelle, conçue par le prêtre et architecte Georges Bouillon, a été ajoutée en 1887–1888. C’est le seul exemple en son genre de cette époque en Amérique du Nord à présenter un plafond avec des voûtes en éventail de style Tudor soutenu par de fines colonnes en fer.
En 1972, ce trésor de notre patrimoine a échappé de justesse à la démolition et a été rebâti dans le Musée des beaux-arts du Canada. Il est maintenant l’une des deux seules reconstitutions architecturales à l’intérieur d’une institution muséale en Amérique du Nord.
Né à Rimouski, Georges Bouillon (1841-1932) est le fils d'un cultivateur. Il fait son noviciat chez les Frères des écoles chrétiennes de Montréal de 1858 à 1865. Ordonné prêtre le 25 janvier 1874, il est nommé vicaire à la cathédrale de Notre-Dame d'Ottawa et secrétaire de Mgr Thomas Duhamel, évêque d'Ottawa.
Bouillon, qui n'a pas de véritable formation en architecture, devient architecte et décorateur par la force des choses. Au cours de sa carrière, il se consacre à l'architecture religieuse et préconise le style néogothique. Tout en assumant ses fonctions ecclésiastiques, il réalise les plans de plusieurs églises, presbytères, chapelles et couvents, principalement dans le diocèse d'Ottawa. Tiré de www.patrimoine-culturel.gouv.qc.ca/rpcq/detail.do?methode...
Il a aussi réalisé le décor (1878-1884) de la cathédrale d'Ottawa, son œuvre la plus célèbre. www.flickr.com/photos/jdeslandes/52684637826/in/album-721...
This area of Denali National Park was named for the colorful volcanic rocks and vegetation. This is the single road to get to the Eielson Center, close to The Mountain.
Even though the weather was stormy and blocked the view of Denali (dang!) it was still a wonderful day spent with Denali expert and tour bus driver (like the bus in the corner) Rebecca Tifft. Thanks for a great day Rebecca! Shot taken from a moving bus....
I sincerely appreciate you stopping by!
At mile 46 of the 92 mile trip out to Denali you come to a very pretty overlook called Polychrome Pass. It's one of those places you are glad you are on a bus driven by a professional driver. Depending on which side of the bus you are sitting, you are on the edge staring down several hundred feet below.
Polychrome Pass gets it’s name from the colorful volcanic rocks that you can see from the overlook, but the name could also be applied to the colorful vegetation, streams, mountains and glaciers that make this spot unique. This high overlook is a great spot to watch bears, moose and caribou from far enough away that you won’t risk disturbing them.
The entire trip down the 92 mile road can take nearly 6 hours which is nice they stop every few hours for restroom breaks and to stretch your legs.
Hello and Good Friday to you all!! One of my favorite models to photograph. (Of course except for Clover!!) This is kind of monotoned but I'd like to call it polychromed...lol! Thank all of you for visiting me even when I don't get to you on time...Had a rough week...a busy one. I won't bore you with details.
My Best Grizzly Pose
After over 50 trips to Alaska from the lower 48 states, I have seen the bears doing almost anything and anyplace. This grizzly bear was taking it easy when we traveled through Polychrome in Denali National Park. As we approached his resting spot, he tilted his head our way and struck this pose. Earlier photographers said he was rolling down the side of the hill. Guess, he is doing his best to entertain the tourists. Just really glad he did not walk away before I got a few shots. Hope you enjoy.
Fomatone 131 two tray development:
1st Easy Lith FT Special 1+10 5 mins
2nd Polychrome 20+12+12+1000ml 1 min.
Short Selenium toning 1+10 30 secs, to shift the greenish shades to red.
Vous pouvez tous rejoindre mon groupe "Juste du talent" pour publier vos plus belles photos !!!
Merci et à bientôt.
One for Johan.
This time Sodium citrate developer. A little overexposed.
Bleach 1+20 45 secs,
Redeveloper Polychrome Kit with a different setting for less saturation:
Siena + Carbonate + NH4Cl + Lith A + water 30+30+10+2+700ml 40°C 45 secs.
Kallitype on HPR, developer Potassium citrate 25%, result cool reddish.
A stronger red tone is possible after bleaching and redevelopment.
Bleach Potassium ferricyanide/bromide (MT3 bleach) 1+20 1 min.
Developer Polychrome Kit: Siena (Glycin), Carbonate, NH4Cl, Lith A 20+20+20+2,5+750 water 4 mins.
Fomatone 132, Lithprint (Kontakt von einem Kallitypie Drucknegativ) mit speziell für Fomatone Papier abgestimmten Easy Lith FT, gefolgt von Polychromentwickler Siena (Glycin). Für farbige Bildtöne ist auch hierbei eine starke Überbelichtung erforderlich. Der Farbton wird bestimmt durch die Abstimmung des Zweitentwicklers.
Anleitung als PDF www.moersch-photochemie.de/files/articles/Anleitung%20Eas...
Fomatone 132, Lithprint (contact from a Kallitype print negative) with Easy Lith FT specially adapted for Fomatone paper, followed by Polychrome Developer Siena (Glycine). For coloured image tones, a strong overexposure is also necessary here. The colour tone is determined by the adjustment of the second developer.
Instructions as PDF www.moersch-photochemie.de/files/articles/Handout%20Easy%...
Isolette, Rollei Superpan in Finol,
Polychrome print on Select Ivory.
MT4 Siena toner (polysulphide) 1+500 30 seconds,
After 20-30 seconds, the previously yellowish-red colour turns cool red to magenta. During the final wash (30 minutes), the toning progresses (to magenta and blue), but only after the drying process does the final colour with yellowish lights appear.
Rolleiflex T, Plus-x at ISO 320, eco film developer,
Polychrome print on Fomatone 131, MT4 Siena toner 1+50 30 seconds.
Just an attempt of Glycin after Lith. A 2nd developer is not necessary with this paper, because the lights come out with enough density. But Polychrome is always a must in my experimental run with new papers.
Lith 50+50+1000+20ml D
Siena 30ml +900ml water +15ml AmCloride + 15ml Carbonate + 6ml !!! (1+4 diluted) Lith D to prevent border fog.
Nach konventioneller Entwicklung erzeugt der MT4 Siena Toner, ohne vorherige Bleichung, einen braunen oder rötlich gelben Bildton und nach einer Bleichung einen gelblichen Ton.
Nach Lith- oder Polychrome-Entwicklung geht die Farbe in Richtung blaugrün bis blau. Je wärmer der ursprüngliche Farbton, desto stärker ist der Ausschlag in eine komplimentäre Richtung.
Alle Prints auf eine alte Charge Fomabrom N 111.
Links: SE15 Polychrome, MT4 Siena 1+500 1 Minute, etwas weniger farbig als die Ergebnisse auf Warmtonemulsionen, wie die beiden Prints zuvor, doch mit ähnlicher Wirkungsweise.
Dagegen ist die Farbigkeit deutlich geringer nach einer einfachen Lithentwicklung (Mitte), obwohl der Toner weniger stark verdünnt wurde (1+35) und länger getont wurde (2 Minuten).
Rechts: Wenn mehr Farbe erwünscht ist, kann im nächsten Schritt, der bereits getonte Print gebleicht (1+75 1 Minute) und nochmals getont werden. Die Lichter erscheinen dann rötlichgelb mit blaugrünen Übergängen zu den Schatten.
After conventional development, the MT4 Siena Toner, without prior bleaching, produces a brown or reddish yellow image tone and after bleaching a yellowish tone.
After lith or polychrome development, the colour goes towards blue-green to blue. The warmer the original hue, the stronger the swing in a complimentary direction.
All prints on an old batch of Fomabrom N 111.
Left: SE15 Polychrome, MT4 Siena 1+500 1 minute, slightly less colourful than the results on warm tone emulsions, like the two prints before, but with a similar effect.
In contrast, the colourfulness is much less after a simple lith development (centre), although the toner was diluted less (1+35) and toned longer (2 minutes).
Right: If more colour is desired, the next step is to bleach the already toned print (1+75 1 minute) and tone it again. The highlights then appear reddish yellow with blue-green transitions to the shadows.
Polychrome print on Record Rapid.
Easy Lith FT Special 50+50+900ml 7:30 mins,
2nd bath SE15 Siena + Ammonium chloride + Potassium carbonate 20+10+10+900ml 1 min.
Hasselblad 501CM, Efke IR820 in efd,
Lobotype on HPR, Potassium citrate developer,
bleach 1+75 30 secs, redeveloped with Siena (Polychrome Kit) 20+20+20+950ml 2:30mins.
France, Région Auvergne-Rhône-Alpes, département du Rhône, Monts du Lyonnais, Thurins, Le Jaricot, Le Rat
Polychrome prints react to selenium toner with an enormous increase in density and contrast and a clear increase in grain.
Fomatone 131
Easy Lith FT Special 1+10 6 minutes followed by Siena 10ml + Carbonate 10ml + NH4Cl 15ml + water 800ml 2 minutes.
On the right MT1 Selenium toner 1+10 50 seconds.
The same procedure as with the previous print, this time on Fomatone 131.
SE15 Polychrome, MT4 Siena toner 1+500 30 seconds.
A slow shutter and the camera in motion over a field with polychrome grasses and flowers..
- Intentional camera movement -
Zoom in and enjoy the details.
A fellow tourist looks in vain for Denali. It's that way somewhere. Only 30% of visitors are blessed with a view of the tallest mountain in the world. I didn't see this special mountain after a week in the park, but fortunately did as I headed S for the Kenai.
Images of Denali in comments.
The colorful Polychrome Mountains were a beautiful solace though.
Hope your week is off to a good start.
FP4, N+1 Tanol,
Fomatone 132 SE15 Polychrome (two tray Lith & Glycin)
MT4 Siena toner (Polysulphide) 1+30 40 seconds
Les toits polychromes sont typiques de la Bourgogne.
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Burgundish roof
Polychrome roofs are typical of Burgundy.
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Sologny - Bourgogne / Burgundy - France
A little snow in Hürth for some hours.
Rolleiflex T, Plus-x at ISO 320, eco film developer,
Polychrome print on Record Rapid 112.
Untoned - MT10 Gold toner 7 mins - MT4 Siena 1+50 1 min.
For comparison, again the polysulphide toner with a totally different hue after Polychrome development.
Left Fotokemika Varycon in SE15 Polychrome, MT1 Selenium toner 1+30 2 mins.
Right additional MT4 Siena toner 1+35 20 secs, with approved toning progression during the final wash.
Earl Morris collection, UCM Boulder. Gila Polychrome vessel from a ruin near Solomonville, AZ, excavated by a University of Colorado expedition in 1931. UCM#4707.
I came across this photo yesterday in my old favorites file, which is worth reviewing from time to time for overlooked gems. Here's one.
Museum photo, cropped and levels adjusted by me. License per museum website, www.colorado.edu/cumuseum/research-collections/anthropolo...
The bowl itself is from the 15th century or perhaps somewhat earlier. Hard to believe it was in the ground for 500 years or more! Found in east central Arizona in the Gila Valley, Graham County.
The Church of Assumption Blessed Virgin Mary, also called St. Mary's Church belongs to the most famous monuments of Krakow and Poland. Is a Gothic church, built in 14th and 15th centuries.
The main nave, 28 meters high, is covered with a rib vault. The polychrome adorning the vault was made in 1890-1892 by Jan Matejko, Józef Mehoffer and Stanisław Wyspiański, who also designed stained glass windows.
An extremely valuable monument is the main altar dedicated to Blessed Virgin Mary, made in years 1477-89 by Wit Stwosz from Nuremberg.
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Kościół Wniebowzięcia Najświętszej Marii Panny, zwany także kościołem Mariackim należy do najbardziej znanych zabytków Krakowa i Polski. Jest kościołem gotyckim, budowanym w XIV i XV wieku.
Nawa główna o wysokości 28 metrów nakryta jest sklepieniem krzyżowo-żebrowym. Zdobiąca sklepienie polichromia była wykonana w latach 1890-1892 przez Jana Matejko, Józefa Mehoffera i Stanisława Wyspiańskiego, który zaprojektował również witraże.
Niezwykle cennym zabytkiem jest ołtarz główny dedykowany Marii, wykonany w latach 1477-89 przez Wita Stwosza z Norymbergi.