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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Epic Panorama Photograph! Dr. Elliot McGucken Fine Art Landscape & Nature Photography: The Epic Pano ! Celebrating the Great American Southwest & California!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
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Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
IMPORTANT BUILDINGS
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
Ajay Devgn & Jaey Gajera together to Promote Gulshan Kumar & T Series Presentation a Panorama Studios Production RAID. Honest, strict and a man of principles Amay Patnaik is ready to meet you all today.
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Demonstrating some of the features of the Metro Principles special edition. I need to work on my scanning skills I think...
John Bell, Principles of Surgery (Edinburgh, 1801). John Bell (1763-1820) dedicated this book to the surgeons of London, particularly mentioning Matthew Bailly and Astley Cooper, amongst others.
The tinted drawing by Bell shows aneurysm of the thigh in a shipmaster following a fall, whose leg was amputated four weeks later, and died a few days after the operation.
SPEC M1.20/oversize from Medical Books collection, Special Collections & Archives, Liverpool University Library.
Images from Special Collections & Archives, the University of Liverpool.
Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
So, I spent a lot of time coming up with these, how am I going to use them in my work?
For real this time.
Read more here: thesustainabilitist.com/
and see more sustainable-graphic-design-as-sculpture here: www.flickr.com/photos/bjornmeansbear/sets/72157616632905413/
3.2.2010
Big Sur Keyhole Rock Sun Starburst! Pfeiffer Beach Winter Solstice Sunset! Breaking Storm Red Orange Yellow Brilliant Clouds Sunset through the Keyhole! Beautiful California Beach Ocean Art! Dr. Elliot McGucken 45EPIC Fine Art Landscape Nature Photography
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
The workshop presents The Right to Share Principles, prepared by ARTICLE 19, that sets out a framework to ensure that freedom of expression and the ability to share knowledge and culture are fully protected, and not unduly restricted, by copyright interests in the digital age. They also seek to promote positive measures to foster the free flow of information and ideas and greater access to knowledge and culture on the Internet and beyond.
Day 4
16 May 2013
ITU/ Claudio Montesano Casillas
In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.
Speakers included:
Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations
H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations
Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union
Ms. Laura Trevelyan, BBC Anchor/Correspondent
Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women
Ms. Lise Kingo, CEO and Executive Director, United Nations Global Compact
Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar
Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women
Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS
Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America
Ms. Katherine Lucey, Founder and CEO, Solar Sister
Ms. Luz Maria Jaramillo, President, Pavimentos Colombia
Ms. Joanne Farrell, Managing Director, Rio Tinto
Keynote Remarks
Ms. Padma Lakshmi, Author, actress, model, television host, executive producer
Photo: UN Women/Ryan Brown
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
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Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Beautiful Venus Swimsuit Bikini Model Venus Goddess! 45Epic 45SURF Pretty Golden Ratio Composition Photography Surf Goddess! Athletic Action Portraits of Swimsuit Bikini Models! High Res Venus! Sexy Hot dx4/dt=ic! Canon 5D MArk II Canon EF 24-105mm f/4L IS USM Lens
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Swimsuit bikini model girls with the famous 45SURF surfboard dx4/dt=ic physics t-shirt! Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me my good friends!
facebook.com/goldennumberratio
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Enjoy my physics! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
The Palouse Washington State Farmlands Fuji GFX100s Fine Art Landscape Nature Photography! Steptoe Butte State Park View: Green & Yellow Farm Fields Rolling Hills of Wheat! Elliot McGucken 45EPIC Master Medium Format Photographer Fujifilm GFX 100s & Fuji Fujinon GF Lens!
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Big Sur Bixby Bridge Fine Art Aerial Drone Landscape Photography! DJI Mavic Pro 2 Drone Aerial Fine Art Landscape Photography Hasselblad L1D-20c Drone Camera! Elliot McGucken 45EPIC Fine Art Drone Landscape Nature Photography!
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
The 2017 BC Hockey Annual General Meeting Awards were presented at the Awards Gala on Saturday, June 10, 2017 at the Sun Peak Grand Hotel & Conference Centre. These awards recognize members and volunteers that are dedicated to the development and governance of our game. Nominations were reviewed and winners were selected by a committee.
BC Hockey - 2017 Presidents Award
This award is given to a to an individual that has brought honour to the amateur hockey fraternity through an outstanding humanitarian endeavor.
Recipient Myles Mattila
Our game continues to be built and delivered on the backs of thousands of volunteers. To them, I extend my sincere thanks to each and every one who selflessly enriched a player’s life this past season. In addition, BC Hockey has exceptional partners like the Vancouver Canucks that have excelled in their commitment to consistently come to the plate to assist developing the game and opportunities throughout the branch.
For those who embraced and supported our transition to a new governance model, my sincere thanks. I believe the path we are on is invariably more productive as was proven this year. I have no doubt it will continue to improve our position in the world of sport choices. As a component of the transition, effective communication will continue as a prime focus to engage all of our membership, sport partners and volunteers.
We must also take pride in the excellence shown in our Above Minor Programs as they continue to thrive as evidenced by a Junior A National and Junior B Western Canada championship last season.
BC Hockey also is an accomplished international host as evidenced in the pride our host communities took in hosting the World U17 in Dawson Creek and Fort St. John and the Women’s Worlds in Kamloops. These communities are to be congratulated as wonderful models of how to provide a worldclass event. The exceptional educational opportunities that took place along with these events will no doubt help grow the game. That said we also prove annually how well we can showcase communities and hockey with our own Branch Championships, the pride of BC Hockey.
The 2016 AGM in Sun Peaks saw critical decisions made toward keeping BC Hockey as the premiere sport leader in British Columbia and the Yukon. I am honored to Chair an organization that puts such high importance in protecting their participants. Our members are to be congratulated for the way we protect our game participants, parents, coaches and officials. The AGM also clarified the need to collaborate more to meet the needs of today’s player as we compete for their registration. The messaging from Tom Renney clearly emphasized the need to plan local operations as thoroughly as the participants deserve. Adjustments to the changing sport landscape are a challenge we must face together and recognize that doing business simply needs us to adapt. The adjustments to the way we do business at the branch level, also needs to be reflected in the way we provide our programming at the district and local levels.
The Hockey Canada launch of a refreshed Initiation Program is a great example of doing business better based on research of what is best for the player. Parents want their child to be involved in a sport that adheres to scientific data to verify the development model the sport will use. The Long Term Player Development Model will become more of a focus in the future not only at IP but is foundational to all levels of our programming. This will provide the best experience for the players and will be reflected in retention rates. Canada has been the world leader in hockey and to remain we need to adhere to the principles now be accepted throughout the world.
As we move forward, we need to trust and listen to each other. We need to grow our game and grow our volunteer base by proving we are the best choice sport a parent can make for their child today and for the future. I have always believed hockey to be the conduit for us to develop good athletes and respected citizens
Randy Henderson
BC Hockey Chair of the Board
Dedication and his ideals came to mind for this piece to represent his principles of violence, demand for food, health, environmental improvements, collaboration, teamwork, and service to others. I can relate to Cesar Chavez’s ideal of teamwork and collaboration at school. I am involved in The Formula SAE annual competition held by the Society of Automotive Engineers in the California State University of Los Angeles for students. The goal for our team is to hand-build a modified prototype racing car. It takes many members to cover different sections of the car; therefore, an immense amount of collaboration and teamwork is required to build this car to run effectively. There needs to be proper communication and people working together because if there isn’t, one error can ruin our model. I ensure that I spark the team and they collaborate with one another. Because of that, our car gave astounding results with its increased speed and we were able to place in the top third in competition out of eighty plus teams. Our team runs many nights without sleep and missed meals to seek many modifications to our car for renovation purposes. One person can make a difference, but why have one when you can collect and have a whole team with similar visions? We all share the same goals as mechanical engineers and we use that shared goal through teamwork, collaboration and dedication to get things done.
My artwork is a representation of Cesar E. Chavez’s principles of nonviolence, demand for food, health, environmental improvements, collaboration, teamwork, and service to others. To begin with, the figures holding the protest signs on the left side are in black and brown opaque colors to represent how farm workers felt – they felt like shadows for their harsh conditions and unheard cries of desperation. Those figures were women, children, and people of different ages which are shown in the right side parallel to the shadow figures on the left. When Cesar Chavez began to speak out and take a stand, the people were beginning to be heard, which the woman holding the protest sign and child on the right side represent. Back to the left side, there’s a cutout of an airplane emitting smoke to fruits below to represent the harsh conditions workers had to endure. Their working conditions were filled with these pesticides in the air, and the food workers would eat from the very fields they worked in out of hunger for lack of food. The consumption of these pesticide-filled vegetation caused illness and sometimes death which is what the skull represents with the groups. The arms from the fruit are the suffering hands that pick the vegetation shown in the collage. The fruits that are picked from these suffering hands made into various wines and these fruits are placed in a cocktail glass cup as seen at the very bottom left of the collage. This cocktail of fruit with a money bill represents injustice and empathy. People would purchase these fancy drinks, such as wine mainly, without knowing where their fancy drinks came from nor having a care in the world as to where and who they came from. The unified flags represent Chavez’s ideals of unity amongst the American and Mexican culture. The Union flag is set in the middle between the previous two to represent the peaceful negotiations between the two cultures as well. The jailed figure in the center is Chavez. The guns overlap the jailed Chavez to represent the harsh attacks he experienced and endured during his protests. Chavez was a believer of nonviolence and the protests to gain farm worker rights reflect Chavez’s beliefs. He was jailed for holding these protests, and despite the many threats and attacks thrown to him and his followers, he didn’t allow the violent attacks to provoke him to subdue to violence to defend him. He gained strength from the hope he had for the cause to continue and the prayers from the saint he believed to guide him which the man kneeling to the saint, the Virgin Mary, in the collage represents. The saint was his patroness of inner strength and hope. It was thus that strength that led Cesar Chavez to take extreme measures. In the right corner of the collage is Cesar Chavez in his weakened state, which was a most memorable action he did as he nearly sacrificed his own life for the cause. The dark colors represent that dark time in Chavez’s life and the sad emotions he felt during that time. He had compelled himself to take this drastic action not knowing whether it would be enough to gain victory and be the end of him and the cause. Chavez gave and dedicated his life to gain workers’ rights. The man on the left, next to the fruits, is Chavez in old age that represents his life’s dedication. Chavez’s woeful old self represents his hardships which were both physical and emotional. He was insulted, criticized, and threatened; his health was not the greatest – many sleepless nights and missed meals – but his dedication, beliefs, and hope provided the strength to come to old age and still continue fighting. Cesar Chavez is recreated as an angelic figure with a crate of fruit and vegetables in my collage because he was and is a symbol of hope and a protector. He was indeed an angel sent to earth who brought unity amongst farm workers of different cultures, fought without violence and gained victory; he sacrificed his own life for the service of others. He is placed at the very top to represent success and renewal as well over all the struggles and injustices he faced and his fellow farmworkers faced. Chavez’s ultimate victory brought colored days to farm workers everywhere, which the colorful bright field with the brilliant sun in the background represents. The grace of Chavez’s legacy and victory shines over the fields and within the hearts of farm workers everywhere.
Vík Wildflowers Superbloom
Iceland Blue Sky White Clouds Fuji GFX100s Medium Format Fine Art Landscape Photography IS Flowers! Elliot McGucken Master Fine Art Nature Photographer Fujifilm GFX 100s & FUJIFILM GF 20-35mm F4 Lens
"Beauty will save the world." --Dostoevsky
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!Seljalandsfoss Waterfall Sunset Behind the Falls! Southern Iceland Fuji GFX100s Medium Format Fine Art Landscape Photography Reykjavik IS Flowers! Elliot McGucken Master Fine Art Nature Photographer Fujifilm GFX 100s & FUJIFILM GF 20-35mm F4 Lens
"Beauty will save the world." --Dostoevsky
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Town of Telluride Autumn Colors Snowcapped Mountains CO! Fall Foliage Colorado Autumn Aspens Fine Art Landscape Nature Cityscape Photography Fuji GFX100! 45EPIC Elliot McGucken Master Fine Art Luxury Photography Colorado Fine Art Fuji GFX 100 & FUJIFILM GF Lens !
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Image source: www.archivessearch.qld.gov.au/items/ITM436066
Boggo Road Gaol in Brisbane, Australia, was Queensland’s main jail from the 1880s to the 1980s, by which time it had become notorious for poor conditions and rioting. Located on Annerley Road in Dutton Park, an inner southern suburb of Brisbane, it is the only surviving intact gaol in Queensland that reflects penological principles of the 19th century. After closing in 1992, the larger 1960s section was demolished, leaving the heritage listed section (built as a women’s prison in 1905), which is open to the public through guided tours run by Boggo Road Gaol Pty Ltd.
It was officially known as "Brisbane Gaol" but was commonly known as "Boggo Road" after the original name of the Annerley Road. A new street formed after 1996 now has the name Boggo Road.
In the 1850s, the district where the gaol was subsequently located was known unofficially as 'Boggo', and by the 1860s the track through the area was known as Boggo Road.
It has been suggested that the name came about because the area was very boggy in wet weather. Another theory is that Boggo (or 'Bloggo' or 'Bolgo') was a corruption of an Aboriginal word meaning 'two leaning trees', and that the road was named after two prominent trees at either One-Mile Swamp or what is now Wilkins Street, off Annerley Road. Another possibility is that Boggo Road was an unofficial and unmaintained short-cut between Ipswich Road and Stanley Street that became very boggy after rain. Boggo Road was officially renamed Annerley Road in 1903, but the colloquial name for the gaol that had long been in use stayed.
In 1863, land off Boggo Road was set aside as a government reserve, finally proclaimed a gaol reserve in 1880. The first cellblock opened on 2 July 1883, built by Robert Porter, contained 57 cells, and was constructed using materials from the demolished Petrie Terrace Jail. In 1903, a new prison was built to hold female prisoners. This later became known as the No.2 Division, and is now the only section still standing, and is listed on the Queensland State Heritage Register. The 'No.1 Division' built in 1883 was the scene of 42 hangings, including the hanging of Ernest Austin in 1913—the last execution in Queensland. A new prison was built around the perimeter of No.1 prison during the 1960s and No.1 prison was demolished leaving area for an oval and recreational facilities for the newly built prison, which had running cold water and toilet facilities in all cells. Under the oval was the facility that became known as the "black hole" where prisoners were subjected to "punishment". The "black hole" continued in use until the late '80s. A new women’s gaol was also built at this time. The gaol was originally designed to cater for 40 male prisoners serving as a holding place for prisoners heading to St Helena Island in Moreton Bay. However, by 1989 there were 187 male prisoners and the women's facility had around 200 additional prisoners.
Boggo Road Gaol Complex, comprising the former State Prison for Women (later No. 2 Division, 1903) and remnants of No. 1 Division (opened 1883, rebuilt 1960s-1980s), is important in demonstrating the evolution of prison design and policy in Queensland.
The former State Prison for Women (No. 2 Division) is important as Queensland’s first women’s prison complex and the only women’s prison designed to incorporate the ‘separate system’ in Queensland.
As one of only three gaol complexes designed on the ‘separate system’ in Queensland, No. 2 Division is a rare and exceptional example of 19th century penological principles. Designed as a complex of buildings to punish and rehabilitate its prisoners through separation, its built and plan form, fabric, and layout reflect the conditions under which prisoners were incarcerated. Converted to a male prison in 1921, the complex continued to serve as part of Queensland’s most populous prison until its closure in 1989.
The remnants of No. 1 Division (watchtower incorporating staircase of former hospital building (c.1969-72) and overhead walkway (c.1975-78); section of former workshop building (c.1974); and detention cells (1988)); and the Visitors Centre (1987) are important in demonstrating the evolution in prisoner accommodation and prison facilities in the latter part of the 20th century. The remnants of No. 1 Division are the only part of that complex to remain and as such they are reflective of the use of the much larger site as a gaol from 1883 and demonstrate its continuity of use for over 100 years.
Features added to the gaol complex during the 1970s and 1980s – including chain-wire and barbed-wire fences and roofs in the exercise yards (c.1970-1984), prisoners’ graffiti (c.1970s-1992), and detention cells (1988) – are important in demonstrating both the deteriorating conditions and the increasing political unrest and civil rights activism associated with the gaol. The gaol complex achieved notoriety for the inadequate conditions and treatment of those inside its walls, and was a focus for protests by prisoners and civilians, part of a broader social and political movement which occurred in Queensland in the late 20th century.
Boggo Road Gaol is significant as part of a network of late 19th and early 20th century institutions in Queensland which were designed to control and discipline. Through the gaol complex’s design, form and layout, it demonstrates the control exerted by the government over those interned.
Boggo Road Gaol Complex (No. 2 Division) is rare as the only surviving intact gaol complex in Queensland reflecting 19th century penological principles, being one of only five such gaol complexes built (including Brisbane men’s prisons at Petrie Terrace (1860, no longer extant) and Boggo Road (1883, no longer extant), Rockhampton (1884, no longer extant) and Townsville (1878, rebuilt 1893, not intact as a complex)).
As a rare Australian example of a prison complex purpose-built for women, the Boggo Road Gaol Complex (No. 2 Division) demonstrates rare aspects of Queensland's cultural heritage.
Boggo Road Gaol Complex (No. 2 Division) is important as a highly intact and rare example of a separate system prison complex established in Queensland during the 19th and early 20th centuries. It demonstrates the principal characteristics of this type through its: collection of robust masonry buildings, forming a purpose-built facility for the incarceration of prisoners; tall perimeter walls/fences to prevent escape; defined, highly-secured areas for prisoners and semi-secured areas for staff and visitors; front, imposing gatehouse; tall observation (sentry) towers and open spaces for surveillance of prisoners; large cell blocks with separate prisoner accommodation cells, organised in a radiating plan form around a central observation point (Parade Ground); cells with curved ceilings, heavy cell doors locked from the outside, and purpose-built fixtures (metal shelves, and bed/hammock hooks), accessed via central galleries with central stairs and large banks of windows to their front and rear end walls; outdoor, fenced exercise yards with shelter sheds and amenity blocks; sanitation facilities (sanitation yard, and drains); ancillary buildings for administration, hospital, kitchen and laundry services and resident staff accommodation; and the use of robust materials (namely brick, stone, concrete and metal) throughout the complex.
The complex is also important in demonstrating the principal characteristics of the architectural work of the Queensland Department of Public Works (DPW), retaining an extensive range of excellent, highly-intact examples of DPW-designed buildings from the early 20th century. The principal characteristics of the DPW’s architectural work demonstrated at the prison complex include: well-designed, fit-for-purpose buildings with a dignified civic character; use of high-quality materials and construction detail; and provision of natural light and ventilation of interiors (except to cells).
Highly intact, Boggo Road Gaol Complex (No. 2 Division) has aesthetic importance for its expressive and evocative attributes, high architectural quality, and strong landmark presence.
Through the grand scale, imposing form and robust material palette of the Cell Blocks, Gatehouse, Matron’s Quarters (former) and Warders’ Quarters (former), the tall Perimeter Walls, the observation towers, and the barred and gated openings, the place expresses the power exercised by the State in applying law, order and social regulation during the 19th and early 20th centuries. The foreboding presence of the buildings, and the complex’s high level of security and surveillance (facilitated by sentry towers, open spaces, and visual observation alignments) conveys the sense of incarceration, punishment, and deterrence.
The imposing appearance of the Gatehouse, and the connections between the prison’s spaces (revealing a sequence of movement through the Gatehouse vestibule, into the Quadrangle for processing in the administration buildings, through the Parade Ground and into the secured Cell Blocks and Exercise Yards), are evocative of the sense of restraint and coercion experienced by former prisoners on admission to the gaol complex. The size and scale of the buildings, and the use of solid materials throughout the complex to enforce compliance and deter escape, reflect the lived experience of the prisoners both on arrival and during their terms of incarceration.
Accentuated by high-quality and durable materials, elegant formal compositions (most using symmetry), assertive massing, and decorative treatments and refined finishes (such render details, dressed stone, and tuck pointing to brick walls), the architectural quality of the buildings reflects an ordered and moralistic approach to incarceration at the time of construction, the functional robust material requirements of a prison, and affords the complex a dignified townscape presence.
Graffiti to Cell Blocks and Exercise Yards, largely dating to the later period of the prison’s use, expresses the sense of confinement, seclusion, political and social ideologies, and sentiment of anti-establishment of former prisoners of Boggo Road Gaol around the time of its closure, and the sub-standard conditions to which they were subjected.
The complex is a landmark in its setting due to the strong physical presence and visual dominance of its elevations (particularly those fronting Boggo Road (north), Annerley Road (west) and Peter Doherty Street/Boggo Road Gaol Park (south)), prominent siting on the rise of Annerley Road, tall Perimeter walls and unified material palette of face brick, concrete and stone.
Boggo Road Gaol Complex is important for its social significance as a place of confinement within the community and has a strong association with those groups connected to the place, including ex-prisoners and their families, ex-prison warders and others employed within the complex.
Protests at the gaol during the 1970s saw inmates undertake hunger strikes, roof-top protests, and rioting over the poor conditions and treatment. The prison was constantly in the headlines and became notorious around Australia. Cells in the No. 2 prison did not have any form of sanitation, and facilities for washing were lacking. Prisoners were required to use a bucket through the evening for toilet breaks and empty it, or 'slop out', in the morning. A Queensland Government inquiry into the living conditions of State prisons found Boggo Road to be outdated and inadequate for prisoners' needs. No. 2 Division was closed in 1989. No. 1 division was closed in 1992 and was demolished in 1996 (a small section of what was "C5" and guard tower still remain). The women’s prison operated until 2000 and was demolished in 2006.
Since 1992, the No. 2 Division was home to the Boggo Road Gaol Museum, which featured displays of prison-related artefacts. Throughout the 1990s, ex-officers conducted guided tours of the site, and from 2003 the museum and tours were operated by the Boggo Road Gaol Historical Society, a non-profit incorporated association of volunteers. Since December 2012, Boggo Road Gaol became a tourist attraction for Queensland, with guided tours being conducted by Boggo Road Gaol Pty, who are now officially licensed to run tours and events at the gaol. Like many other similar places around the country, the site also hosts guided ghost tours.
Redevelopment of the surrounding site began in 2006, leading to the temporary closure of the Boggo Road Gaol historical site. Since 2012 the gaol has been re-opened to the public. Boggo Road has since been turned into an urban village called Boggo Road Urban Village and was completed in 2010.
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Japanese Garden Design.
Below are a few of the guiding principles of Japanese garden Design. Read these before we visit the Japanese Garden at Cowra.
1.Nature is all important. You must recreate nature, even if symbolically. You cannot have items not found in nature i.e. a fountain (but you can have a waterfall) or a square pond (but you can have an irregular, natural shaped pond) etc. A pond or even the sea is often represented by raked gravel.
2.Balance or sumi is important. You cannot have a large rock in a small space. Rocks can be used to symbolise mountains. But the scale must be correct for the size of the area. Pools can represent lakes etc.
3.Emptiness or ma is important. Japanese gardens often have empty spaces as space or emptiness defines the other elements around it.
4.Wabi or sabi is another basic principle. Sabi is about capturing the ideal image of an item and wabi is about capturing the spiritual essence of an item. So a perfectly plain round boulder in a garden has no wabi or sabi, but an irregular, lichen or moss covered boulder typifies a rock in nature.
5.Time is an important feature of Japanese gardens. The garden must have attractions for all four seasons of the year.
6.Enclosure as a feature of Japanese gardening. To be a retreat to nature, the garden must be fenced and gated to keep out interference. The garden is a separate world, and gates have spiritual meaning. Fences, hedges and screens are meant to also hide items which then suddenly become revealed. This is called miegakure.
7.Flatness is important. Flat areas are used for meditation, often in front of temples or shrines. These areas are Zen in style.
8.Formality is another principle. Although tea gardens are always informal and often have rustic huts and chalets in them. A focal point is always the tea pavilion.
9.Rocks are the backbone of a Japanese garden. Stones are usually, but not always set in groups of three. They can be vertical or horizontal in form. Stones set in the ground are used for stepping stones. A wide stone across a path tells us to stop there and admire the view. The pathway represents the pathway of life.
10.Water is an important feature of a Japanese garden. Waterfalls, ponds, and the bamboo deer scarer which fills the water basis for ritual washing are all important features. Water flows through Japanese gardens and bridges are important. The movement of water symbolises the passage through life from childhood to adulthood and maturity. Crossing a bridge takes you from one world to another world. Some bridges are purely ornamental, but most cross flowing water. Carp are obligatory in ponds as they are part of nature.
11.Plants play a secondary role to stone in Japanese gardens. Common plants for a Japanese garden include pines, bamboo, cherries, maples, camellias, azaleas, water plants, grasses etc. Some Japanese gardens are almost monochrome and entirely green. Evergreen trees like pines symbolise eternity.
12.Stone lanterns, stupas and basins are important elements for the garden.
13.Above all the garden must have atmosphere, simplicity and elegance and this is often obtained through the use of extensive pruning and the shaping of plants.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Gerhard Richter (1932), FLOW, 2013 (Kunstharzlack hinter Glas auf Aluplatte - synthetic resin paint behind glass on aluminium plate), Albertina - Dauerleihgabe aus österreichischem Privatbesitz
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
"This new single-family residence was developed to maximize the livability, density & value of an underutilized corner urban lot. The new house reflects the design principles of a structure that is simple & cost conscious, yet flexibly adapts to its resident’s needs & integrates w/ its context. The exterior takes inspiration from traditional gabled roof house forms, while abstracting proportions, fenestration & detailing to create a minimal, yet elegant complement to surrounding homes. Large casement windows & high ceilings flood the interior w/ light, provide passive cooling & heat gain, & create a neutral space that acts as a gallery for the owner’s diverse possessions while adaptable enough to appeal to any future residents. The fenced courtyard connects interior & exterior spaces while providing privacy from the street corner.
In order to keep construction costs affordable, the Owner acted as the General Contractor. The home adds density to a typical urban lot & increases the property’s value & usability, while maintaining a scale w/ fits w/in the built context of the neighborhood.
Along w/ being affordable, the home has low life cycle costs due to sustainable & green elements such as: R-30 walls w/ exterior insulation & R-50 unvented roof; exterior rainscreen siding; standing seam metal roofing; slab-on-grade foundation; hydronic floor/wall & hot water heating from a central natural gas boiler system; A Heat Recovery Ventilation system was installed in lieu of forced air; The house orientation, w/ full height operable windows & interior transoms, maximizes passive principles by taking advantage of prevailing winds in summer for cooling and south solar gain in the winter for heating. The exterior cedar fencing was finished the Shou-Sugi-Ban charred wood treatment to ensure longevity & low maintenance. All permanent & recessed lighting is LED or CFL.
The slab-on-grade floor has a smooth hand-trawled finish reminiscent of stone, w/ the stair & second level flooring being white stained pine. Kitchen, bathroom & closet cabinetry are by IKEA, w/ custom millwork built by a local craftsman."
Portland Modern Home Tour
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Grand Teton National Park Wyoming Fall Foliage Fuji GFX100 Fine Art Landdscape Nature Photography! Dr. Elliot McGucken Medium Format Fuji GFX 100 & Fujinon Lens Autumn Colors Brilliant Aspens dx4/dt=ic !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
Epic Art & 45EPIC Eagle Gear exalting golden ratio designs for your Hero's Odyssey -- 45SURF T-shirts & Hoodies & more:
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
Epic High Resolution Malibu Sunset! Malibu Sea Cave Sunset California Socal Photography! Fine Art Landscape & Nature Photography: Light Beams & Dr. Elliot McGucken Epic Fine Art! High Res!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
My fine art photography graces my physics books!
Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction.
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
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The great thing about the beach is that it presents an entirely different universe from season to season, from day to day, from hour to hour, from second to second, with the ever changing wind, tides, clouds, and sun. A split second with tumbling surf and a sinking sun can make a vast different, resulting in entirely different photographs.
Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...