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Justin Morales "On Location"
March 20th, 2016
New York City
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Scan from book published in 1904. FLIEGENDE BLATTER. This image is IN THE PUBLIC DOMAIN and you may use them as you like, though I'd love it if you left a comment when you do use them.
ALSO: I do not speak German and have not translated this, so I have no idea what it says. If you feel like translating, please do! I'd love to know what this says.
A note on racist imagery: these images are appalling to me, but I think it's important not to hide history, but to expose it and study it. I post these images in that spirit and ask that you think carefully before you comment on them. The racist cartoon continues on page 11.
I couldn't get my poems published years ago so I wrote them in the stoneware dishes I made. Every meal had a message to nourish not just our bodies but also our souls.
Here is what this one says, "My fledglings are sitting on the edge of the nest restless, flying out, flying back, looking outward not at me. Your birds are still babies, snuggled in the nest with their mouths open, taking whatever you give them."
Written when I was in a relationship with a man who had young girls when my daughters were teenagers. Hoping he would understand.
See my sets, Earth to Stoneware and Living in a Jungle.
Published - VOGUE italia, photographed by Vital Agibalow ( face of HENSEL USA )MakeUp & Hair by Kate Romanoff Model - Tori Maisey
Capt. Joe Hammersley salute from B-17 44-8271 named "Butch"after mission from Mendlesham Field to Bremen Germany on February 24, 1945 This is the last mission for Hammersley and Crew 92.
More photos and information are at www.johnfunk.com/WWII/
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Online Comments on Flickr:
Sheley, D., Online posting, January 1, 2011
"Butch"
Lockheed/Vega B-17G-55-VE Flying Fortress
s/n 44-8271
391st BS, 34th BG, 8th AF
Flew 80 missions.
-----
Asher, G., Online Posting. October 18, 2011
B-17G serial 44-8271 "Butch" assigned to the 391st Bomb Sq, 34th BG. Joining the unit in August 1944, she survived the war to return Stateside with a load of veterans on 21 June 1945; by 2 December she was parked with a multitude of her sisters at Kingman, AZ.
This photograph was published in the Illustrated Chronicle on the 29th of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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La quinta edizione del festival organizzato da Wired Italia. Due lunghi fine settimana in cui vivere l’innovazione nell’economia, nella scienza, nella politica, nell’intrattenimento, nella cultura. Milano e Firenze si trasformano per un fine settimana nel luna park della scienza e della tecnologia. Oltre 150 relatori, performance artistiche, laboratori di stampa 3D, droni in volo, videogame, film, documentari, speed date sul lavoro, maratone di coding e workshop per tutte le età. A Milano da venerdì 26 a domenica 28 maggio ai Giardini Indro Montanelli.
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ore 12:00
Quando la tecnologia diventa un linguaggio
Speaker
Federico Ferri - Direttore Responsabile Sky Sport
Federico Ferri è da fine 2016 Direttore Responsabile di Sky Sport. Torinese, 39 anni, Federico Ferri è stato autore di alcuni dei più importanti prodotti della rete, da Sky Sport Tech, che porta la sua firma, al rinnovato storytelling di programmi di punta come Sky Calcio Live, Sky Calcio Club e Sky Calcio Show, fino ad alcuni format di successo molto apprezzati dal nostro pubblico e dalla critica sportiva, come “Buffa Racconta” e “Mister Condò”.
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ore 12:30
Sempre in prima linea
Speaker
Nadya Tolokonnikova - Fondatrice Pussy Riot
Nadežda Andreevna Tolokonnikova, anche nota come “Nadya Tolokno” è una artista e attivista politica russa. È tra le fondatrici del collettivo Pussy Riot, uno dei più importanti gruppi artisti degli ultimi anni che ha focalizzato la propria attività sulla violazione dei diritti umani in Russia e altrove. Nell’agosto 2012 è stata condannata a due anni di carcere in seguito alla performance anti Putin alla cattedrale di Cristo il Salvatore a Mosca. La protesta ha attirato l’attenzione e il supporto internazionale e l’adesione di personaggi quali Peter Gabriel, Sir Paul McCartney, Madonna, Bjork and Aung San Suu Kyi.
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ore 13:00
Sempre più in alto
Speaker
Gianmarco Tamberi - Atleta
Gianmarco Tamberi (Civitanova Marche, 1º giugno 1992) è un atleta italiano specializzato nel salto in alto, disciplina di cui è campione mondiale indoor a Portland 2016 e campione europeo ad Amsterdam 2016, nonché detentore del record italiano sia outdoor che indoor. In carriera vanta anche una medaglia di bronzo agli Europei juniores di Tallinn 2011.
È figlio dell’ex saltatore in alto e primatista italiano Marco Tamberi, suo attuale allenatore, e fratello di Gianluca, primatista italiano juniores del lancio del giavellotto, modello e attore.
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ore 13:30
10 cose da fare per fare prevenzione - In collaborazione con Airc
Speaker
Geppi Cucciari - Artista e Testimonial Airc
Ugo Pastorino -Dottore e Direttore Scientifico Fondazione IRCCS Istituto Nazionale dei Tumori
Geppi Cucciari (Cagliari, 18 agosto 1973) è un’attrice e comica italiana, nota sul piccolo schermo per la sua comicità e le capacità di recitazione.
Il dottor Ugo Pastorino nasce ad Albenga (SV) il 15 luglio 1954. Nel 1979 consegue la Laurea in Medicina e Chirurgia presso l’Università Statale di Milano (110/lode). Dall’ottobre 2014 è Direttore Scientifico della Fondazione IRCCS Istituto Nazionale dei Tumori.
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ore 14:30
Insta-star
Speaker
Beatrice Vendramin - Attrice
Attrice, cantante e modella sin da bambina Beatrice Vendramin è un vero e proprio punto di riferimento per la generazione Zeta. É una delle protagoniste di Alex&Co, la situation comedy di Disney dal successo strepitoso dove interpreta il ruolo di Emma. Nel 2016 debutta sul grande schermo a fianco di Giovanna Mezzogiorno e Margherita Buy in “Come Diventare grandi, nonostante i genitori” per la regia di Luca Lucini dove è un’adolescente alle prese con tutte le sfide che la sua giovane età porta con sè.
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ore 15:00
Mediocrazia
Speaker
Alain Deneault - Docente e scrittore
Alain Deneault è un docente e filosofo canadese. Ha scritto saggi sulle politiche governative, sui paradisi fiscali e sulla crisi del pensiero critico. Insegna Scienze Politiche presso l’Università di Montréal e collabora con la rivista Liberté.
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ore 15:30
EPCC@WNF
Speaker
Alessandro Cattelan - Conduttore Radio e Tv
Alessandro Cattelan (Tortona, 11 maggio 1980) è un conduttore televisivo, conduttore radiofonico, scrittore e attore e comico italiano. Presentatore di punta di Sky Italia, tra i suoi programmi di maggior successo vi sono X Factor ed E poi c’è Cattelan.
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ore 16:30
Lo chiamavano cinema italiano
Speaker
Gabriele Mainetti - Attore e Regista
Nato a Roma nel 1976, è attore, regista e produttore cinematografico. Inizia come attore per cinema e fiction, è al contempo un compositore musicale e ha scritto le musiche per molti dei suoi lavori. Come regista inizia con il cortometraggio Basette. Nel 2011 fonda la Goon Films, che raggiunge il successo con Tiger Boy. Vince numerosi premi. Nel 2015 la sua casa di produzione realizza il suo primo cortometraggio: Lo chiamavano Jeeg Robot che, con un budget basso, ottiene grandi incassi e vince 7 statuette al David di Donatello, tra cui quella di miglior regista.
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ore 17:30
Lo strano caso dei TheGiornalisti
Speaker
Tommaso Paradiso - Cantante Thegiornalisti
Tommaso Paradiso è autore e cantante della band Thegiornalisti, ha scritto numerosi testi per artisti italiani. Nato 33 anni fa a Roma, ha iniziato a suonare con alcune band della capitale. Nel 2009 nasce Thegiornalisti. Dopo il debutto nel 2011 col primo album, Vol. 1, seguito dal secondo disco Vecchio, il gruppo ha raggiunto la notorietà grazie all’album Fuoricampo, pubblicato nel 2014. In particolar modo, si sono fatti conoscere nel 2015 con il singolo Fine dell’estate.
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ore 18:15
La critica del giornalismo
Speaker
Ilaria D’Amico - Conduttrice Tv e Giornalista
Ilaria D’Amico è una conduttrice televisiva, giornalista sportiva italiana. Dal 2003 lavora in Sky. Ha frequentato giurisprudenza all’Università La Sapienza di Roma senza conseguire la laurea. La D’Amico raccontò in tv nel 2006 a Fabio Fazio che esordì, grazie all’amico di famiglia Renzo Arbore, in televisione nel 1997 con La giostra dei goal su Rai International, programma che ha condotto per sei edizioni.
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ore 18:45
Tecnologici per caso
Speaker
Federico Russo - Conduttore radio e tv e Musicista
Francesco Mandelli - Attore, Comico e Musicista
Federico Russo nasce a Firenze il 22 dicembre 1980.
Negli anni del liceo, dopo aver abbandonato la “promettente” carriera calcistica, fonda con il suo compagno di banco gli “Scrabbles”, gruppo del quale è cantante, con cui si esibisce in giro per la Toscana sognando Smashing Pumpkins, Rolling Stones, Modern Lovers, Led Zeppelin e tutto ciò che c’è di irraggiungibile!
Francesco Mandelli (Erba, 3 aprile 1979) è un attore, presentatore, autore e musicista, noto per aver esordito nel 1998 nei panni del Nongiovane. Su MTV ha scritto e partecipato a programmi di successo quali Tokusho, Videoclash, BlackBox e Lazarus. Il grande successo è stato raggiunto, assieme al socio Biggio, con I soliti idioti, giunto alla quarta serie e trasformato successivamente in film e in un libro.
The Postcard
A postally unused carte postale published by Robert Laillet of Chartres. The card has a divided back.
The statue has unfortunately been vandalised at some point in its history.
Chartres
Chartres is a city and capital of the Eure-et-Loir department in France. At the 2019 census, there were 38,534 individuals living in the city.
Chartres is famous worldwide for its Gothic cathedral which is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th. century.
Part the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
The Cathédrale Notre-Dame de Chartres, is one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
Chartres is built on a hill on the left bank of the river Eure. The medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "Granary of France", of which the town is the commercial centre.
Chartres cathedral was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple).
Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom. It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it.
Chartres in WWII
In World War II, the city suffered heavy damage, both by bombing and during the battle of Chartres in August 1944, but the cathedral was spared by an American Army officer who challenged the order to destroy it.
On the 16th. August 1944, Colonel Welborn Barton Griffith Jr. questioned the necessity of destroying the cathedral, and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post.
With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions and after heavy fighting in and around the city, Chartres was liberated on the 18th. August 1944, by the U.S. 5th. Infantry and 7th. Armored Divisions commanded by General George S. Patton.
Churches of Chartres
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th. century by Queen Balthild. At the time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created circa 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th., 16th. and 17th. centuries), and Saint-Martin-au-Val (12th. century), inside the Saint-Brice hospital.
Museums of Chartres
Chartres' Museums include:
-- Le Musée des Beaux-Arts, a fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
-- Le Centre International du Vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
-- Le Conservatoire du Machinisme et des Pratiques Agricoles, an agricultural museum.
-- Le Musée le Grenier de l'Histoire, a history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
-- Le Musée des Sciences Naturelles et de la Préhistoire, a Natural science and Prehistory Museum (closed since 2015).
Other Features of Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th. century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army on the night of the 15th./16th. August 1944.
The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The Parc André-Gagnon lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville dates from the 17th. century, and is called l'Hôtel de Montescot. There is also La Maison Canoniale dating back to the 13th. century, and several medieval and Renaissance houses.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
There is also a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
The Economy of Chartres
Historically, game pies and other delicacies of Chartres are well known, and the city's industries have also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery.
More recently, businesses include the manufacture of electronic equipment and car accessories. Since 1976 the fashion and perfumes company Puig has had a production plant in the commune.
Pilgrimages
Chartres has been a site of Catholic pilgrimages since the Middle Ages. The poet Charles Péguy, who was born in 1873, revived the pilgrimage route between Paris and Chartres before the Great War.
At the outbreak of the war, Péguy became a lieutenant in the French 276th. Infantry Regiment. He died at the age of 41 in battle, shot in the forehead, near Villeroy, Seine-et-Marne on the 5th. September 1914, the day before the beginning of the Battle of the Marne. There is a memorial to Charles near the field where he was killed.
After the war, a number of students carried on the pilgrimage in his memory. Since 1982, the association Notre-Dame de Chrétienté, with offices in Versailles, organizes the annual 100 km (62 mi) pilgrimage on foot from Notre-Dame de Paris to Notre-Dame de Chartres. About 15,000 pilgrims, from France and countries outside France, participate every year.
The Bataclan Theatre Massacre
Chartres was the home of Omar Ismael Mostefaï aged 29, one of the three gunmen who attacked the audience at the Bataclan concert venue on the 13th. November 2015, starting at 21.40.
It was part of a carefully co-ordinated attack on Paris; over a 20 minute period, Islamist militants also killed and injured people at the Stade de France, and at six restaurants and cafes along the 10th. and 11th. arrondissements.
Shootings and bomb blasts on that night left a total of 130 people dead and hundreds wounded, with more than 100 in a critical condition.
The Start of the Bataclan Massacre
On the evening of the 13th. November 2015, the American rock band Eagles of Death Metal was playing to an audience of about 1,500 people at the Bataclan on the Boulevard Voltaire in the 11th. arrondissement of Paris.
One of the restaurants was a popular Cambodian eatery in the trendy Canal Saint-Martin area, where at least 12 people died. Another 19 people were killed at a busy restaurant on nearby Rue de Charonne.
Three dark-clad gunmen had been waiting in a black rental car near the venue for more than an hour, and were armed with Zastava M70 assault rifles. The M70 is a derivative of the Soviet AK-47, and can fire at a rate of 620 rounds per minute. Over 4 million of the hellish things have unfortunately been manufactured.
The terrorists were three French natives of Algerian descent. As the band was playing their song "Kiss the Devil", the three men got out of the car and opened fire on people outside the venue, killing three.
They then burst into the concert hall and sprayed the crowd with automatic gunfire. Witnesses heard shouts of "Allahu Akbar" as the terrorists opened fire. Initially, the audience mistook the gunfire for pyrotechnics. The band ran offstage and escaped with many of the crew, although their tour manager was killed.
Rows of people were mown down by gunfire or were forced to drop to the ground to avoid being shot. Survivors described hundreds of people lying beside and on top of each other in pools of blood, screaming in terror and pain.
The gunmen also fired up into the balconies, and dead bodies fell down onto the stalls below. For a few minutes, the hall was plunged into darkness, with only the flashes from the assault rifles as the gunmen kept shooting.
The terrorists shouted that they were there because of French airstrikes against Islamic State. A witness who was inside the Bataclan heard a gunman say:
"This is because of all the harm
done by Hollande to Muslims all
over the world."
A radio reporter attending the concert reported that:
"The terrorists were calm and determined, and they
reloaded three or four times. Two gunmen attacked
the concert hall; one gunman covered fire while
another reloaded to ensure maximum efficiency."
Whenever a gunman stopped to reload, members of the crowd, some with bullets in them, ran for the emergency exits, scrambling over each other to escape. Some were shot from behind as they fled, and the terrorists laughed as they shot them. Those who reached an emergency exit were shot by the third gunman, who had positioned himself there.
Other groups of people barricaded themselves in backstage rooms. Some smashed open the ceiling in an upstairs toilet, and hid among the rafters under the roof. Those who could not run lay still on the floor or under bodies pretending to be dead. One women was seen hanging from a third floor window.
According to survivors, the terrorists walked among those who were lying down, kicked them, and shot them in the head if there were any sign of life.
An eyewitness reported hearing the gunmen ask amongst themselves where the members of the Eagles of Death Metal were once the gunfire stopped. Mostefaï and another of the gunmen then went upstairs to the balconies, while the third attacker stayed downstairs and fired at people who tried to flee.
Initial Armed Response to the Terrorists
The Brigade of Research and Intervention (BRI) arrived on the scene at 22:15, soon followed by the elite tactical unit, RAID. At 22:15, the first two responding officers entered the building armed with handguns and encountered one of the terrorists who was standing on the stage.
The Jihadist died after being shot by the officers and detonating his explosive vest. Mostefaï and the other remaining gunman (Mohamed-Aggad) then fired upon the officers, forcing them to withdraw and wait for backup.
The Stand-Off
From this point, Mostefaï and the other attacker took about twenty hostages and herded them into a room at the end of a corridor located further within the building. They also seized the hostages' mobile phones and attempted to use them to access the Internet, but they were unable to find a signal.
Some of the hostages were forced to look down into the hall and out the windows and report what they saw. During this time, the two terrorists fired on police and first responders as they arrived at the scene.
At 23:30, an elite police squad entered the building. One unit evacuated survivors from downstairs, while another unit went upstairs. They found Mohamed-Aggad and Mostefaï, who had begun using hostages as human shields. They shouted out to police the number of a hostage's phone.
Over the next 50 minutes, they had four phone exchanges with a police negotiator, during which time they threatened to execute hostages unless they received a signed paper promising France's departure from Muslim lands.
The Police Assault
The police assault began at 00:20 and lasted three minutes. Police launched the assault because of reports that Mohamed-Aggad and Mostefaï had started killing hostages. Police using shields burst open the door to the room and exchanged fire with Mohamed-Aggad and Mostefaï while managing to pull the hostages one-by-one behind their shields. One terrorist detonated his explosive vest, and the other tried to do the same but was shot.
Ninety people were killed at the Bataclan on that night, and hundreds of others were wounded. Almost all of the deceased victims were killed within the first 20 minutes of the attack. All of the hostages were rescued without injury.
Police dog teams from the Brigade Cynophile assisted with body removal because of concerns that there could still be live explosives in the theatre. Identification and removal of the bodies took 10 hours, a process made difficult because some audience members had left their identity papers in the theatre's cloakroom.
Omar Ismael Mostefaï
The homegrown suicide bomber Omar Ismael Mostefaï was identified after his finger was found among the Bataclan concert hall carnage.
Mostefaï was born in the Paris suburb of Courcouronnes and had eight past convictions for petty crimes. He is said to have been radicalised by a Belgian hate preacher at a mosque in France.
The Jihadist was buried in the Cimetière Parisien de Thiais
located in Val-de-Marne.
I recently learned that a photo I took from the cycling leg of a triathlon was used as a two page spread in a book called "Bike Fit" from Bloomsbury Publishing. So of course I had to buy a copy for posterity.
Published as shot i.e. no post-processing.
View even larger: farm3.static.flickr.com/2129/2264736732_887b96131a_o.jpg
This photograph was published in the Illustrated Chronicle on the 24th of February 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Justin Morales "On Location"
March 20th, 2016
New York City
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Published by Ebal, Brazil 1967-1969
One of the 31 complete runs we acquired from the Pedigree collection Rio Grande do Sol, Brazil
This photo appeared in the Honolulu Star-Bulletin on October 4, 2007.
My byline follows...
BILL ADAMS | MOMENTSNOW.COM
Haku Ho`opai, adorned with the `ie`ie. Sig Zane Designs, Hehi`ulu
Dress, 2008 Wailani Collection.
Not every day i get the Opportunity to have my work seen in a magazine all over the world.
I was contacted last week by the editor of the ROSL a Magazine to ask if they could use my picture ...well you know me by now Sure...Yip Grrrrreat NO Problem.
The issue goes all over the world to all Commonwealth countries.and is dislplayed in overseas house in London and in Edinburgh.
I was as you would say jumping for joy when i seen this today my picture in the big picture and another wee bit of me and The photo "The Belfast Child"around the world
Info about Rosl-The Royal Over-Seas League ,Patron HM The Queen Vice Patron HRH Princess Alexandra Brief history of the Royal Over-Seas League
The Royal Over-Seas League is a unique institution. It is the practical embodiment of an idea conceived by a young man John Evelyn Wrench who saw what was then the British Empire not merely as a political and economic structure but as a 'far flung brotherhood of individual men and women of diverse creeds and races living under
differing conditions in different latitudes'. He sought to encourage friendship and understanding between them.
Founded in 1910 as the Over-Seas Club, it was granted a Royal Charter of Incorporation in 1922. To mark its Golden Jubilee in 1960, Her Majesty the Queen granted the title 'Royal'.
View large
Here's my cycling photo in the June 2010 issue of Popular Photography (on newsstands now!), on page 67. :-)
This photograph was published in the Illustrated Chronicle on the 16th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photo was probably taken in the 1950s or 1960s. My father (William Henry Carpenter) was headteacher here from June 8 1936 until his retirement in August 1967 and this photo stood in a little frame on his desk. The infant school was on the same site with (from 1965, it seems) a different head, and was converted to a Teddies private day nursery in 2005. Smitham Primary School has been relocated to a much greener and less cramped site a few hundreds away in Portnalls Road. The old primary school buildings are now the Smitham centre of Croydon Adult Learning and Training (CALAT), run by the London Borough of Croydon, though until 1956 this building was occupied by a secondary school.
Her Majesty's Inspectors of Schools, making their report following an inspection in 1952, concluded with the following paragraph:
"In this school both children and staff do their best to overcome the limitations of the buildings. The classrooms are cheerful and stimulating, and there are excellent relations between the Head Master, his staff and their pupils. Consequently the school is an essentially happy community, and a visit to it is a most happy experience."
Nineteen years after my father's retirement, a booklet was published in 1986 celebrating the school's centenary. At the end of the account of my father's headship, the author wrote:
"Mr Carpenter had been Headmaster of Smitham since 1936 and seen the school through the war years. His 31 years of service represents about a third of the century we are celebrating, and his contribution to the development of the school was colossal."
The Postcard
A postally unused postcard published on behalf of California-in-England Ltd. by the Photochrom Co. Ltd.
The Photochrom Co. Ltd.
The Photochrom Co. Ltd. of London and Royal Tunbridge Wells originally produced Christmas cards before becoming a major publisher and printer of tourist albums, guide books, and postcards.
These mainly captured worldwide views as real photos, or were printed in black & white, monochrome, and color.
They also published many advertising, comic, silhouette, novelty, panoramic, and notable artist-signed cards in named series as well. The huge number of titles that Photochrom produced may well exceed 40,000.
In 1896 they took over Fussli’s London office established three years earlier, and began publishing similar photo-chromolithographic postcards after securing the exclusive English licence for the Swiss photochrom process.
This technique was used to produce a great number of view-cards of both England and Europe. While they captured the same fine details as the Swiss prints, their colours were much softer and reduced.
Apart from their better known photochroms, they produced their Celesque series of view-cards printed in tricolor.
One of the largest unnamed series that Photochrom produced was of view-cards printed in brown rotogravure. Many of these cards were simply hand coloured with a dominant red and blue, which gives these cards a distinct appearance. They are similar to cards produced in their Photogravure and Velvet Finish Series.
Photochrom postcard series include:
-- Night Series - Line block halftone over a blue tint depicting London.
-- Carbofoto Series - Black & white real photo cards.
-- Sepiatone Series - Sepia real photo cards.
-- Grano Series - View-cards printed in black & white.
-- Exclusive Photo-Color Series - View-cards printed in colour.
-- Duotype Process Series - View-cards printed in two tones.
California Country Park
California Country Park is a 100-acre (40 ha) country park covering Long Moor in the north of the parish of Finchampstead in Berkshire. It consists of lowland heath and bogland, including Longmoor Bog, a Site of Special Scientific Interest (SSSI) and Local Nature Reserve.
History of the Park
In 1931, the area was established as an amusement park and zoo by Alfred Cartilage, and was called 'California in England'. Alfred built the park so that he could use his Charabanc company, based in Teddington, London, to take parties of people from London to the countryside.
A miniature railway was initially laid out to 10.25", but was soon changed to 18". This lasted until the outbreak of the second world war, when the park closed and all the buildings were used for the manufacture of munitions, mostly for the aircraft industry.
Alfred reopened the park after the war and set about developing the rides, many of which were designed and built onsite, including the famous Snake Train.
The railway was reestablished using a petrol-powered locomotive.
Alfred's son Norman took over in the early 1950's and continued the development of the site.
The track was extended across the bog, and had a point installed with the intention of constructing a loop. Track-work was never completed beyond the apex of the loop, and it is here that after the park closed the last loco on the line was run off into the swamp. It is probably still there.
The cleared area between the railway and the original rides was developed with extra rides. There was a small galloping horses roundabout, a full size 'chairoplane', climbing frame, swing boats and a concrete oval track.
The latter was initially intended for petrol driven go-karts, but these were a maintenance nightmare and were soon replaced by children's pedal cars of the Austin J40 and Pathfinder type.
The removal of the original station opened up access to a further area of scrub which was cleared to provide a site for a circus which operated each summer for several years.
The art deco main building, built around 1937, included a famous sprung glass floored ballroom over the restaurant and featured a full calendar of dances, often with 'star turns'. This structure was destroyed by fire in 1976.
In the 1930's, and lasting to the 1950's the Park was home to a speedway track, where local speedway team the 'The California Poppies' competed on the dirt track laid out in a remote corner of the estate.
In the early 1960's the amusement business was failing and the site was obtained new owners who turned it into a holiday camp. Caravan and camping facilities are still available on site at the California Chalet and Touring Park, but the main part of the original amusement area is within the country park and now largely overgrown.
Das Gitter/Railing, 2014 (Kohle und Kreide auf Papier/Charcoal and chalk on paper)
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.
published in Buzz
Photographer: Fayyaz Ahmed
Model: Iffy Zafar
Hair & Makeup: Asma Zuberi @Depilex
Label: Arsalan & Yahseer
SF Pride Parade 2015
ALL RIGHT RESERVED Nash Exposures@2015
All material in my gallery MAY NOT be reproduced, copied, edited, published , transmitted or uploaded in any way without my permission.
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This photograph was published in the Illustrated Chronicle on the 25th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published by Bedřich Kočí in Prague. Circa 1908.
Animated gif generated with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
And while we're at it... FRESHLY published on BLURB.COM - "Stone Dead Forever". Two books of stone/poem/photos from the last three years. Available to buy direct from Blurb.com - check them out HERE -> www.blurb.com/bookstore/detail/2860219
The Columbus Metro Parks has included one of my photos (golden spider web at sunrise, take at Three Creeks Metro Park) in their Autumn edition of the Parkscope. Doing me cute happy dance : )
Credit: Lance Bellers/ICEH
Published in: Community Eye Health Journal Vol.29 No.90 2015 www.cehjournal.org
Suspended Animation Classic #215
Originally published February 7, 1993 (#6)
(Dates are approximate)
Two-Fisted Tales
By Michael Vance
You can’t go home again. What was revolutionary in 1951 is not today because the revolution succeeded. Risqué then, even Marilyn Monroe seems innocent now.
“Two-Fisted Tales” and EC Comics changed comic books forever. In 1951, they were startling; they set a new standard. That standard was adopted, and has now been surpassed many times.
Well, not entirely. The early issues of “Mad” magazine remain unequaled. Certain stories from “Tales from the Crypt”, “Weird Science” and other EC Comics are still classics. But the first issues of “Two-Fisted Tales” now being reprinted seem … tame.
An anthology comic, each issue featured four stories. In the second issue, five artists are represented that all became legends.
John Severin and Bill Elder’s “War Story” is set in the Korean War. “Jivaro Death!” by Harvey Kurtzman takes place on the Amazon River. Both use twist endings that were typical of EC, but atypical of Kurtzman’s later work.
Johnny Craig’s “Flight From Danger” travels to Germany during WWII. Aboard an 18th century ship, Wally Wood spins the tale of a man’s impression into the British navy in “Brutal Capt. Bull”. Craig’s tale of the attempted flight of a scientist to America and Wood’s adventure both fall short of the heights these artists were to reach.
But in ’51, they must have seemed as wild as Monroe.
They lack the sophistication of later “Two-Fisted Tales” stories because most ‘50s comics lacked the maturity that this title and other ECs would eventually inspire. In their day, EC would inevitably become so controversial that they helped trigger the near death of the entire industry under the pink eye of Senator Joseph McCarthy!
Genius has to start somewhere. Alas, genius never stands unchallenged. But don’t save your pennies for later, more innovative issues, or the complete series will never see the light of day. And, at one time, it was the light of day.
“Two-Fisted Tales #2/$1.50, 31 pages, published by Russ Cochran/available in comics shops.
E.Z. Wolf's Astral Outhouse
art: Ted Richards
published by Ron Turner, Last Gasp Ecco-Funnies (Burkeley / USA)
Copyright: Ted Richards (1977)
ex libris MTP
This week, I came home to find a plaque that featured one of my photos. In the Fall, my photo was selected from over 500 photos as a winner and lead photo of the Annual Fall Photo contest. The paper has a distribution of approximately 415,000. It was fun to get the call while at WDW. Thanks for looking.
P.S. I have nothing to do with the bomber on the right ;-)
These four images plus two more images used as promos were in The Plain Dealer today. This is a full newspaper page in our Inside & Out section. Promo images are in photostream below.
Our daily circulation is 356,286 with daily readership estimated to be 883,690. So if only one in four readers finds this page, that's still 200,000 "hits," which is much better than this page will do on Flickr!
The images: Flying tigers, Julia butterfly, www.flickr.com/photos/jonfobes/106667951/ Pink orchid and Zebra butterfly.
I hadn't planned to, but I ended up writing the text block for these images, which reads:
Awesome. Orchids. Everywhere.
That pretty much sums up the Cleveland Botanical Garden's "Orchid Mania: Blossoms & Butterflies" show, running through March 26.
The other thing to know about the event can be summed up in even fewer words: bountiful butterflies, approximately three times more than normally seen in the Cloud Forest of Costa Rica biome in the Eleanor Armstrong Smith Glasshouse.
You'll see, among others, Postman, Cattleheart, Zebra Longwing and Julia butterflies and also the captivating Blue Morpho; you'll watch them flutter around orchids, ginger blossoms, leaves, branches and even land on visitors, providing magical moments that have patrons pointing their cameras in three directions at once and clicking shutters as fast as their fingers can function.
And don't forget to visit the spiny desert of Madagascar, also in the glasshouse. The resident chameleon is as beautiful as any flower.
But the stars of this show are the awesome orchids: Big orchids, small orchids, white orchids, purple orchids ... some peer out from frames as living artwork, others spring from free-standing orchid sculptures, and others congregate in pots that haunt every nook and cranny of the botanical garden.
As one weary worker said Thursday during setup for the show, "If there's such a thing as orchid overdose, this might be it!" But of course, there's no such thing as orchid overdose, just as there's no such thing as too much beauty – you always want more.
The Victorians coined the word "orchidelirium" to describe flower madness – now I know why.
Photo:Joseph Oye.
Published in: Revue de Santé Oculaire Communautaire Vol. 7 No. 8 Janvier 2010 www.revuesoc.com