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The Sabarmati Riverfront Development Project began as an urban renewal project to significantly improve the spatial structure and habitat conditions of the river and adjoining areas. This project aims to transform Ahmedabad’s historic yet neglected river into a vibrant and vital focus for the city. Ideas for the development of the Sabarmati River began with proposals in the early 1960s. In 1997, the Sabarmati Riverfront Development Corporation Ltd. (SRFDCL) was formed byt the Ahmedabad Municipal Corporation and construction began in 2004.
The development project encompasses both banks of the Sabarmati for a 10.5 kms. stretch, creating approximately 185 hectares of reclaimed land. The Fatewadi Canal is fed by water stored in the Vasna Barrage through releases from the Narmada Canal, this made it possible to store water in the river for irrigation purposes - enabling a public waterfront. The project includes water management systems to minimize flooding in traditionally flood-prone areas and to clean up the Sabarmati with new sewage treatment infastructure. These include providing interceptor sewer lines along both banks of the river to divert sewage to Ahmedabad’s two sewage treatment plants; and building retaining walls which will protect the low-lying areas near the riverbanks from flooding.
A key element of the project is a new linear two-level promenade. The lower promenade with a minimum width of 10 meters, will be just above water level, providing uninterrupted pedestrian access to the water. The upper promenade will host a variety of public buildings, cultural and educational institutions, public parks and plazas and a few areas for commercial development, while new traffic infrastructure will connect the riverfront to the city.
The project aspires to create a unique identity for Ahmedabad by creating a unique skyline for the city. Being a landmark project with far reaching impacts, it is the backbone for rejuvenating inner city neighborhoods adjacent to the riverfront project, thereby spurring future developments within the city.
Official Website
Initial planning: the Nautilus project, an attempt to build a Disney-inspired model of the submarine Nautilus from the Jules Verne novel 20,000 Leagues Under the Sea, scaled for 4-inch action figures.
Okay, they're not really "action figures," they're dolls.
Trying to get a sense of scale -- how big should it be? I'm working in an amalgam of standard and metric units: most of the potentially useful pieces I'm finding can be measured in even increments of inches, but I'm sketching my plans in a 1cm = 1 inch scale. I was trying to hold the size to a meter (39 inches), but to get the right look, I think I'll have to extend the length to 42 inches (107cm).
I should probably keep some reference photos at hand. Later I will have to do so, in order to shape some of the sections reasonably accurately. What I'm going for, however, is a "suggestion" of the Disney Nautilus, so at this point what I'm doing is roughing in the approximate shape I want from memory.
Serendipitously, I found a plank that is the exact width I came up with in my plan for the main deck. At present the approach is to create a "waterline model" of how the Nautilus would look floating on the surface of the sea. Creating a full 3-D hull is beyond the scope of this project, although I'll try to craft this so that I might add more detail if I feel so inclined.
I'm thinking I may try to avoid the use of much cardboard, and focus instead on styrofoam and plastic, so the model might actually float. This would facilitate photos later.
There's a good chance this project will not advance beyond the "drawing board" stage.
6 March 2010
Lamborghini Aventador Project.
Due to impossible hard bits and unorganized lego, terminated until an indefinite period of time.
this project is all about trying new things, right? so here's my first real self portrait. yuck.
today was patriotic, of course. happy fourth of july! oh, and it sort of looks better large. i don't know why.
No. 1 - 5: Exploring Canterbury.
Canterbury Cathedral
The Great Cloister.
CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster). The word "cloister," though now restricted to the four-sided enclosure, surrounded with covered ambulatories, usually attached to coventual and cathedral churches, and sometimes to colleges, or by a still further limitation to the ambulatories themselves, originally signified the entire monastery. In this sense it is of frequent occurrence in earlier English literature (e.g. Shakespeare, Meas. for Meas. i. 3, " This day my sister should the cloister enter"), and is still employed in poetry. The Latin claustrum, as its derivation implies, primarily denoted no more than the enclosing wall of a religious house, and then came to be used for the whole building enclosed within the wall. To this sense the German "Kloster" is still limited, the covered walks, or cloister in the modern sense, being called "Klostergang," or "Kreuzgang." In French the word cloitre retains the double sense.
d k In the special sense now most common, the word "cloister" enotes the quadrilateral area in a monastery or college of canons, round which the principal buildings are ranged, and which is usually provided with a covered way or ambulatory running all round, and affording a means of communication between the various centres of the ecclesiastical life, without exposure to the weather. According to the Benedictine arrangement, which from its suitability to the requirements of monastic life was generally adopted in the West, one side of the cloister was formed by the church, the refectory occupying the side opposite to it, that the worshippers might have the least annoyance from the noise or smell of the repasts. On the eastern side the chapter-house was placed, with other apartments belonging to the common life of the brethren adjacent to it, and, as a common rule, the dormitory occupied the whole of the upper story. On the opposite or western side were generally the cellarer's lodgings, with the cellars and store-houses, in which the provisions necessary for the sustenance of the confraternity were housed. In Cistercian monasteries the western side was usually occupied by the "domus conversorum," or lodgings of the lay-brethren, with their day-rooms and workshops below, and dormitory above. The cloister, with its surrounding buildings, generally stood on the south side of the church, to secure as much sunshine as possible. A very early example of this disposition is seen in the plan of the monastery of St Gall. Local requirements, in some instances, caused the cloister to be placed to the north of the church. This is the case in the English cathedrals, formerly Benedictine abbeys, of Canterbury,
Although the covered ambulatories are absolutely essential to the completeness of a monastic cloister, a chief object of which was to enable the inmates to pass from one part of the monastery to another without inconvenience from rain, wind, or sun, it appears that they were sometimes wanting.
We learn from Osbern's account of the conflagration of the monastery of Christ Church, Canterbury, 1067, that a cloister with covered ways existed at that time, affording communication between the church, the dormitory and the refectory. We learn from an early drawing of the monastery of Canterbury that this cloister was formed by an arcade of Norman arches supported on shafts, and covered by a shed roof. A fragment of an arcaded cloister of this pattern is still found on the eastern side of the infirmarycloister of the same foundation.
The older design was preserved in the South, where "the cloister is never a window, or anything in the least approaching to it in design, but a range of small elegant pillars, sometimes single, sometimes coupled, and supporting arches of a light and elegant design, all the features being of a character suited to the place where they are used, and to that only"
The cloister of a religious house was the scene of a large part of the life of the inmates of a monastery. It was the place of education for the younger members, and of study for the elders.
At Canterbury the monks' school was in the western ambulatory,
For this purpose small studies, known as "carrols," i.e. a ring or enclosed space, were often found in the recesses of the windows. Of this arrangement there are examples at Gloucester, Chester and elsewhere. The use of these studies is thus described in the Rites of Durham: - " In every wyndowe" in the north alley "were iii pewes or carrells, where every one of the olde monkes had his carrell severally by himselfe, that when they had dyned they dyd resorte to that place of cloister, and there studyed upon their books, every one in his carrell all the afternonne unto evensong tyme. This was there exercise every daie." On the opposite wall were cupboards full of books for the use of the students in the carrols. The cloister arrangements at Canterbury were similar to those just described.
The larger monastic establishments had more than one cloister; there was usually a second connected with the infirmary, of which there are examples at Westminster Abbey and at Canterbury; and sometimes one giving access to the kitchen and other domestic offices.
Extracts from Classic Encyclopedia
To see this Large:- farm5.static.flickr.com/4005/4370396300_ae46519c75_b.jpg
Taken on
October 5, 2007 at 12:27
I am continuing working on getting some decent images of Mountain Bluebird inflight. I learned a lot more about the challenges today and got a few that I will share but I am still not there yet. It was a lot of fun doing though.
Alright Gary. Here's my starting point. I wanted the tile to be level to the floor so we tore up a raised section someone had added hoping the floor underneath could be used. What we found was a 5 inch deep hole in the floor! Here it's been filled and the beginning frame work is in place. The brick will remain exposed and we're adding a couple of sconces then the hard part. Deciding the design of the mantel. I've changed my mind about a dozen times already!
The Eden Project is a visitor attraction in Cornwall, England. Inside the two biomes are plants that are collected from many diverse climates and environments. The project is located in a reclaimed Kaolinite pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell, Cornwall.
The complex is dominated by two huge enclosures consisting of adjoining omes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal, inflated, plastic cells supported by steel frames. The largest of the two biomes simulates a Rainforest environment and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage.
I decided to follow a new direction for this project. Experiencing the current pandemic situation and having to stay quarantined for safety, I was having issues with myself and the artworks I was creating. I felt like it was unimportant to keep making the same kind of sculptures in the current moment. I felt like there were more pressing matters to attend than making cute, fun, little figurines. Plus, all that was filling my mind was anxieties about knowing if my family and friends were safe after checking the news all day every day to see how close and in which locations new cases of the virus were being found. I felt the need to create some more literal art piece which reminded me of the chapter on language in our book, which reminded me of Jenny Holzer's work with the large projections and light signs. I figured I could express what I was feeling and being surrounded with by working in a similar way.
The bottom sign is more of what the news casts were telling people to do, and the top sign is what I was seeing friends and family post on the internet. I also added the part "We are here because we are here.." as a reference to a time in WWI were British soldiers stopped to sing this in the battlefield over and over as a form of expressing how they felt trapped in battle and danger without knowing even the reason for them to be there.
The Lowbrow Tarot Project
Lowbrow Tarot Collectors Book & Deck:
auniakahn.bigcartel.com/product/lowbrow-tarot-book-deck
The Lowbrow Tarot Project showcased 23 amazing artists who used their creative genius and unique style to take on the 22 Major Arcana [+ the card back] and create 23 new works of art in the rugged glow of the lowbrow art movement that was displayed in an exhibition at La Luz de Jesus on October 1, 2010. With the completion of this project, we celebrate the 2 year anniversary with the release of the Lowbrow Tarot Book & Deck.
The books and deck features 23 new and original works, while the book has been expand to showcase 314 color & black/white works by renowned and accomplished artists: Carrie Ann Baade, Christopher Ulrich, Edith Lebeau, Cate Rangel, Kris Kuksi, Chris Mars, Christopher Umana, Chris Conn, Brian M. Viveros, Claudia Drake, Heather Watts, Molly Crabapple, David Stoupakis, Laurie Lipton, Patrick “Star 27” Deignan, Chet Zar, Jessica Joslin, Danni Shinya Luo, Jennybird Alcantara, Angie Mason, Scott G. Brooks, Aunia Kahn and Daniel Martin Diaz.
the 365 toy project 4. 06/16/24
This is Circus Sam, the world renowned Dragon Trick-Rider displaying his prodigious skills amount the back of a wild dragon. Listen as Sam calls out to his audience, "Look Ma! No hands! And only one foot even! I'd like to see Dennis the Dragon Rider attempt a feat like this. He is such a stumblebum, tangle-foot that he would end up as so much toe-jam between the dragon's claws."
"Gaze on in awe and wonder as I perform one amazing trick after another. You'll definitely get your $1's worth at my show."
This of course doesn't look like a patio, but the landlord told us more than once that it will look like one 'in summer' (and as always, he forgot to mention which year). The apartment next to the derelict balcony is not the one I'm living in, but the view is bad enough for anyone who is forced to pass by every day. And btw, it's not a good idea to accuse others of 'compulsive hoarding' if your house is a mess like this!
(In this photo you can also see that Project staircase, started in 2006, is still not finished!)
(Das hier sieht natürlich nicht wie eine Terrasse aus, soll aber laut dem Vermieter 'im Sommer' mal eine werden (wie immer hat er vergessen, das Jahr zu erwähnen). Die Wohnung, die zu dem heruntergekommenen Balkon gehört, ist nicht meine, aber der Anblick ist schon schlimm genug für jeden, der gezwungenermaßen jeden Tag hier vorbeigehen muß. Übrigens ist es keine gute Idee, andere als "Messie" zu beschimpfen, wenn das eigene Haus ein solcher S**stall ist!
(Auf diesem Bild kann man auch erkennen, daß das Projekt Treppenaufgang, angefangen im Jahr 2006, immer noch nicht beendet ist!))
My daughter doesn't like dresses, so I remixed this as a tunic and leggings. I kept the shape of the bodice, but lengthened it. It is still fully lined. On the back, I used big covered buttons and longer loops to give it a kind of Sergeant Pepper feel. I mimicked the color band of the sash with solid colored leggings. These were re-purposed from the sleeves of an old shirt, using the existing hems and adding a yoga style waistband. Her headband is one I use a lot; ribbon covered with a snap so I can swap out the yoyos to match her different outfits. For a finishing touch, I used the scraps of my lining fabric to make a necklace (from another Cottage Mama tutorial!). Still dressy, but more practical. :)
Workshop run by Warren Millar for Fujiholics. Thanks to Zen Project for performing for us all hosted at The Studio Widnes. Not as easy as it seems.....
Mercedes-Benz GLE63 S AMG [C292] Project: "INFERNO" 806HP & 1180Nm | tuned & powered by auto-Dynamics.pl
„Porzućcie wszelką nadzieję, wy, którzy wchodzicie" / Dante | ów sformułowanie widniało nad bramą piekła, złowieszczo przypominając nadchodzącym o nieśmiertelnych ciemnościach i lucyferycznym ogniu. Niemoralność najnowszego projektu auto-Dynamics.pl idealnie odzwierciedla przywołany na wstępie, mefistofeliczny anturaż. Code Name: „Inferno”.
„Szlachetny owoc nie pleni się tam, gdzie chwastem zarosło pole” / Dante | ergo, „Inferno” bazuje na kanwie homerycznego Aufrecht Melcher Großaspach, o sportowo zorientowanym genotypie zdefiniowanym w Affalterbach, tytanicznego reprezentanta segmentu SAV [Sports Activity Vehicle], stuttgarckiego producenta - Daimler AG pod postacią Mercedes-Benz GLE63 S o typoszeregu C292. Fundamentalnie – perfekcja, lecz proverbium "The Best Or Nothing" proklamowane marketingowo przez MB – konstytuujemy w auto-Dynamics.pl na nowo, trawestując monstrualne AMG Coupé w odmianę naszpikowaną unikatowością i niepowtarzalnością. W budzącą powszechny i ustawiczny niepokój, modyfikacyjną wariację wypełnioną bezwstydną ekstremalnością, bezlitosną mocą i niemiłosierną elastycznością.
„Kiedy spoglądasz w otchłań ona również patrzy na ciebie" / Nietzsche | Stage # Moc: Realizując sprecyzowane założenia koncepcyjne projektu „Inferno”, w pierwszym etapie prac skoncentrowaliśmy się nad aspektami związanymi z maksymalną eskalacją mocy i momentu obrotowego - mającymi w konsekwencji skutkować radykalnym spotęgowaniem tabelarycznych, danych technicznych pojazdu. Cel? 800KM. Jedna z paremii prawniczych stanowi „impossibilium nulla obligatio est”, lecz nie w auto-Dynamics.pl. Redefinicję cech rozpoczęliśmy od wymiany fabrycznych, mało wydajnych turbosprężarek na wariant zmodyfikowany [zarówno ciepła jak i zimna strona obu sprężarek]. Zestaw od niekwestionowanego, niemieckiego lidera w dziedzinie upgrade’ów turbosprężarek – renomowanej firmy The Turbo Engineers. Kolejno celem maksymalizacji przepustowości gazów spalinowych, w GLE zamontowane zostały sportowe, eliminujące restrykcyjne katalizatory, w pełni przelotowe rury „Downpipe’s” firmy Supersprint oraz nasze autorskie rury „Turbo Outlet Pipe’s” [TOP by AD], które to pozwoliły wyeliminować kolejne „wąskie gardło” pod postacią ogromnej zwężki w seryjnej sekcji łączącej turbosprężarki z rurami DP. Całość sportowego układu wydechowego uzupełnia system typu cat-back renomowanej, niemieckiej manufaktury - Capristo, naturalnie z zaimplementowanymi zaworami / przepustnicami, które to pozwalają zdalnie, za pomocą pilota na wybór trybu głośności pracy systemu wydechowego [szczegóły na naszym blogu – mods-Stage#1]. System dolotowy AMG otrzymał zestaw sportowych, wysoko przepustowych filtrów powietrza firmy BMC, eliminujących mało wydajne filtry papierowe. Ponadto, towarzyszące i uzupełniające mechaniczne modyfikacje to zestaw chłodniejszych świec zapłonowych [Weistec] oraz system zaworów atmosferycznych / upustowych ASV / BOV – również amerykańskiej firmy Weistec. Efekty naszego zabiegu zmierzone na hamowni, wykorzystując potencjał wszystkich przeprowadzonych modyfikacji, po dokonaniu profesjonalnego, indywidualnego strojenia [chiptuning] jednostki ECU [jak i TCU] to 806KM i 1181Nm. Cóż – „pacta sunt servanda”. Właściwości fabryczne podane przez MB to: 585KM i 760Nm [Wyniki pomiaru rzeczywistych wartości to 567KM i 755Nm]. Infernalny przyrost: +239KM i +426Nm.
HardFacts # Porsche Cayenne Turbo '18 [-256KM | -411Nm], Rolls-Royce Cullinan '18 [-235KM | -331Nm], BMW X5M / X6M [F85] '18 [-231KM | -431Nm], Range Rover Sport SVR '18 [-231KM | -481Nm], Levante Trofeo '18 [-208KM | -451Nm], Bentley Bentayga '18 [-198KM | -281Nm], Lamborghini Urus '18 [-156KM | -331Nm] vs. Inferno
„Powszechna to wada ludzi nie pamiętać o burzy, gdy morze spokojne" / Machiavelli | Stage # Profilaktyka i Asekuracja: Czyniąc tuning odpowiedzialnym, przy tak kolosalnym przyroście mocy i momentu obrotowego, „Inferno” otrzymało szerokie spectrum zabezpieczeń mechanicznych, dzięki którym, długofalowa, dynamiczna eksploatacja przebiegać będzie w sposób gwarantowany, bezawaryjny i bezpieczny. 7-biegowa przekładnia AMG Speedshift Plus wyposażona została w zewnętrzną, frontową chłodnicę oleju z serii „ProLine” szwedzkiej firmy Setrab. Skrzynia otrzymała również aluminiową, chłodzoną pasywnie, wyczynową misę oleju o zwiększonym litrażu – misa firmy Weistec. Celem maksymalnego wykorzystania właściwości i parametrów nowego zespołu najwyższej klasy podzespołów oraz poprawy charakterystyki pracy i skuteczniejszej ochrony przekładni MB 722.9, w całym układzie wymieniony został olej na wyczynową, wydajniejszą odmianę pochodzącą z palety produktów brytyjskiej firmy Millers - Millermatic ATF MB, naturalnie w połączeniu z kompletem nowych [OEM MB] części i filtrów przewidzianych przez producenta do przeprowadzenia takowej procedury w automatycznej skrzyni AMG. Pozostając w tematyce czynników smarujących - „Inferno” zaaplikowaliśmy pełen profesjonalny serwis olejowy z wykorzystaniem zaufanych i niezawodnych olei Millers, które znacznie przewyższają zadane przez stuttgarcką fabrykę normy. Widlasta jednostka napędowa zapełniona została wyczynowym olejem z serii Motorsport, o specyfikacji 10W60 – CFS z NT+. Dyferencjały tj. mechanizmy różnicowe o ograniczonym poślizgu wypełnione zostały olejem CRX NT+ o charakterystyce 75W90 – pochodzącym również z ultra wydajnej serii Motorsport. Ponadto, kierując się czystą estetyką, filtr oleju zamknęliśmy aluminiowym odpowiednikiem plastikowej OEM pokrywy. Element wykonany w technologii CNC, wykończony w barwie czerwonej - anodowany [część firmy Weistec] który idealnie współgra z czerwono – czarną stylistyką komory silnika którą własnym sumptem i kreatywnością – zaaranżowaliśmy w indywidualnym ale i koherentnym z całością stylu.
„Jedna zmiana przygotowuje drugą" / Machiavelli | Stage # Bezpieczeństwo: Sama moc nie jest ani dobra ani zła - po prostu istnieje. To człowiek decyduje, co z nią zrobi, ale odpowiedź „Inferno” musi być natychmiastowa. Takowa argumentacja przyświecała nam podczas prac związanych z poprawą wydajności systemu hamulcowego. W pierwszej fazie fabryczne, gumowe, puchnące a z czasem parciejące przewody hamulcowe zastąpiliśmy ich sportową odmianą – przewodami w stalowym oplocie od naszego wielokrotnie sprawdzonego partnera – niemieckiej firmy Fischer Hydraulik. W zaciskach przednich i tylny AMG zagościły wyczynowe klocki hamulcowe Hawk Performance w fuzji z nowymi, wentylowanymi i nawiercanymi tarczami OEM MB AMG. W całym układzie hamulcowym wymieniony został płyn na wyczynowy wariant o ekstremalnie wysokiej temperaturze wrzenia i znakomitej odporności higroskopijnej [Płyn „Performance Brake Fluid” brytyjskiej firmy Millers]. Przy zwiększonej mocy - modyfikacja ta w znaczny sposób przekłada się na poprawę bezpieczeństwa zarówno kierowcy i pasażerów.
HardFacts OEM vs. Inferno # 0-100km/h: 4,20s vs. 3,25s | 100-200km/h: ca. 10,8s vs 7,8s | V-Max: 250km/h vs. 336km/h
„Sztuka milczenia jest większa niż sztuka mówienia" / Schopenhauer | Fragmentaryczność: „Inferno” przeszło u nas szereg towarzyszących, mniejszych i większych modyfikacji mających wpływ na obecny kształt przyrostów i niezawodności - jak choćby wymianę płynu chłodniczego na bezwodny wariant brytyjskiej firmy Evans którego temperatura wżenia wynosi 180°C dzięki czemu m.in. w układzie chłodzenia nie występuje korozja a ciśnienie w całym systemie pozwala na spokojne odkręcenie korka zamykającego rezerwuar płynu nawet po ekstremalnie dynamicznej jeździe. Pozostałe kwestie, aspekty i wynikający z doświadczenia know-how, pozostawiamy w czeluściach głów całego zespołu auto-Dynamics.pl. Wszak - „Dobrze ten schował, kto schował w pamięci" / Dante.
Postscriptum – Mercedes Benz GLE63S AMG Code Name: INFERNO | Część II – Stylistyka / Kompletny Pakiet Stylistyczny TOPCAR, 23” Kute Felgi VOSSEN, Moduł Obniżający BRABUS – film, zdjęcia, opis - znajdziecie na naszym blogu pod niniejszym linkiem : auto-dynamics.pl/blog-mercedes-benz-gle63-s-amg-c292-code...
Klientowi życzymy szerokości i zadowolenia!
Koniecznie sprawdź nasze wybrane realizacje i przekonaj się, że powierzasz swoje auto profesjonalistom - to również solidna baza modyfikacyjnych inspiracji!
Zapraszamy Właścicieli Mercedes-Benz GLE 63 i 63 S AMG [W166 / C292] chcących nadać swoim pojazdom niesamowitego brzmienia, mocy, nuty indywidualizmu oraz nadzwyczajnego wyglądu do współpracy!
Szersze info na naszym blogu: auto-dynamics.pl/blog-mercedes-benz-gle63-s-amg-c292-proj...
Zespół auto-Dynamics.pl
parts.auto-dynamics.pl
Kindle by candlelight
ODC - 12/10/2014 - Glowing
Monthly Scavenger Hunt - December 2014 - #8 - Candle
The Eden Project is a visitor attraction in Cornwall, England. Inside the two biomes are plants that are collected from many diverse climates and environments. The project is located in a reclaimed Kaolinite pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell, Cornwall.
The complex is dominated by two huge enclosures consisting of adjoining omes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal, inflated, plastic cells supported by steel frames. The largest of the two biomes simulates a Rainforest environment and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage.
The Heidelberg Project is art, energy, and community. It's an open-air art environment in the heart of an urban community on Detroit's East Side.
Week 1/52
I've decided to do a 52 week project, instead of a 365 day project, to learn more about photography and hopefully become more artistic and creative. It's going to be a challenge, but i really feel that i will be able to accomplish this and discover even more about myself through photography. I've learned a lot through looking at other people pictures and I've never been this excited for something in a while!
This picture is alright I really just thought it was cool how there's the bokeh on the tree, and the reflection of the bokeh in the window.
Mi amiga..Isabella Fortune..checkidy check hers out!