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03063 in the works yard with wagons carrying loads of scrap metal from scrapped wagons and worn out parts.
Same snake as the other day. When I lift up refugia I normally get one or two shots before the snake slithers off. I managed about eight this time and most are in focus which is a miracle. Only two snakes seen on this occasion, the end is Nigh.
Othem church (Swedish: Othems kyrka) is a church building in Othem, Othem parish on Gotland and belongs to the Othem-Boge parish in Visby diocese. It is located just over 3 km northeast of Visby and 6½ km northwest of Slite.
Othem church is a whitewashed Romanesque limestone church with narrow arched windows, a narrower choir to the east and a pointed tower to the west. The tower is equipped with two-coupled arched openings on three floors. On the south side of the church are two entrance gates. They both have pointed arches with a fit tympanone contour and both have plant ornaments on the capital bands. The larger portal into the longhouse is equipped with lashes, while the chancel portal is more elaborate in its details. On the northern side of the longhouse, there is a clogged Romanesque portal originating from a former stone church. The sacristy is located north of the choir. In the middle of the longhouse's south side is an unusually strong support wall.
The choir is dominated by the altarpiece from 1693, but there are also medieval lime paintings from the 13th, 14th and 15th centuries. Such have previously existed in the longhouse. On the epistle side stands a pulpit from the 18th century with sound ceilings. In the triumphal arch hangs a crucifix with the "victorious Christ".
On both sides of the altar are two tombstones with runic inscriptions reminiscent of Halvard in Agnabo and Niklas in Kikin (?). The choir also has a burial hob with majuscule inscription; underneath it rests the first known vicar Nicolaus (†1336).
Investigations of the foundation have found remains of a 12th-century church. Before the present church, there has been at least one church building in stone, built just before 1200. A walled Romanesque portal in the long wall's northern wall is reminiscent of its predecessor, as well as a strong, weather-beaten baptismal font from around the year 1200, possibly performed by the stone master Sighraf. This older church was equipped with a tower at the beginning of the 13th century.
In the 13th century, the present church was started. It was connected to the tower from the previous stone church. In the middle of the 13th century, the square-shaped longhouse, consisting of four square trusses, was erected by a round center pillar, the capital of which was decorated with reliefs. This chapter is very similar to the corresponding chapters in Hellvi church, built by the Gotlandian builder and sculptor Lafrans Botvidarsson, which could indicate that the same builder worked here as well. After the construction of the longhouse, the choir continued almost immediately with the straight-ended choir consisting of a single trough with round diagonal ribs. The tower was also heightened then.
As early as the 1240s, the four arches were decorated. In the east, the tree of life was painted with the root of one of the streams in the Garden of Eden. In the northern and southern kappas there are more trees and also the vaulting ribbons are ornamented. In the tree of life, a couple of birds have settled down. They, i.e. the human souls, are shot by the powers of evil disguised as hunters, but the arrows bounce back against the shooters. In the western arch, evil power appears in the form of an ascending dragon, which opens its gap to the tree of life. In a medallion under the tree of life, Christ oversees it all. About 1265 the church buildings and decorations were finished.
Around 1330 a significant artist visited the church. On the northern side of the triumphal arch, he painted Mary with the baby Jesus, an unusually high-quality work of art.
At the turn of the century, the so-called "Othemsmästaren" appeared, which also made lime paintings in Fide church on Gotland. In Othem he painted Christ as king surrounded by the disciples, as well as on each side of the altar, the apostle Paul and Saint Dionysius, bishop, and perhaps the patron saint of the church.
In 1693, all medieval paintings were calcified and an altarpiece of sandstone was inserted in the choir.
In the 1730s, the pulpit was installed and it was probably during the 1740s that the church received a new bench interior.
In 1774 a new stand was built. The Barrier Barrier was decorated in 1776 by the sergeant and church painter Johan Nicolaus Weller (1723-1785), who painted the four evangelists and Jesus at the age of twelve in the Temple of Jerusalem.
In 1854, a church organ was installed by organ builder Anders Vilhelm Lindgren (1807-1860) from Stockholm. His organ facade still remains, even though the interior has been replaced.
One night in March 1908 the church was ignited and in the morning the wood in the tower as well as over the longhouse and choir had been consumed by the fire. The church bell was alerted before it fell down and burst. Fortunately, you managed to save loose inventory, among other things. the church silver and all old documents. The fire was probably due to faults in the heating system. The following year, the church had a new roof over longhouses and cows. Now they took the opportunity to produce the old medieval paintings that were whitewashed in 1693.
In 1952, the church was restored following a proposal by architect Erik Fant (1889–1954).
In 2000, the church was renovated and in August 2004, a ceiling painter could be seen climbing to the top of the church tower spire.
Altar essay in sandstone depicting "The Crucifixion of Jesus", donated by Mårten Fries and Margareta Schröder in 1693.
Baptismal font, weathered, from about the year 1200 possibly by Sighraf,
Triumphal crucifix with the "victorious Christ".
Pulpit and sound ceilings from the 18th century.
Decoration on the Balcony Barrier "The Four Evangelists" & "Jesus at the age of twelve in the Temple of Jerusalem", painted in 1776 by Johan Nicolaus Weller.
Contemporary wood sculpture above the baptismal font depicting "Mary with the Child of Jesus", executed by sculptor Bertil Nyström from Slite.
Source: Swedish Wikipedia, translation by Google Translate and me
________________________________________
Othems kyrka är en kyrkobyggnad i Othem, Othems socken på Gotland och tillhör Othem-Boge församling i Visby stift. Den ligger drygt 3 mil nordöst om Visby och 6½ kilometer nordväst om Slite.
Othems kyrka är en vitputsad romansk kalkstenskyrka med smala rundbågiga fönster, ett smalare kor i öster och ett spetsigt torn i väster. Tornet är försett med tvåkopplade rundbågiga öppningar i tre våningar. På kyrkans södra sida finns två ingångsportaler. De är båda spetsbågiga med passformad tympanonkontur och de har båda växtornamentik på kapitälbanden. Den större portalen in till långhuset är försedd med vimperg medan korportalen är mera genomarbetad i sina detaljer. På långhusets norra sida finns en igensatt romansk portal härstammande från en tidigare stenkyrka. Sakristian ligger norr om koret. Mitt på långhusets sydsida en ovanligt kraftig stödmur.
Koret domineras av altaruppsatsen från 1693, men där finns också medeltida kalkmålningar från 1200-, 1300- och 1400-talen. Sådana har tidigare funnits även i långhuset. På epistelsidan står en predikstol från 1700-talet med ljudtak. I triumfbågen hänger ett krucifix med den "segrande Kristus".
På ömse sidor om altaret ligger tvenne gravstenar med runinskrift minnande om Halvard i Agnabo och Niklas i Kikin (?). I koret finns också en gravhäll med majuskelinskrift; under denna var ursprungligen kyrkoherde Nicolaus (†133) begravd.
Vid undersökningar av grunden har man funnit rester från en 1100-talskyrka. Före nuvarande kyrka har det funnits åtminstone en kyrkobyggnad i sten, byggd strax före år 1200. En igenmurad romansk portal i långhusets nordvägg minner om föregångaren, liksom också en starkt söndervittrad dopfunt från cirka år 1200 möjligen utförd av stenmästaren Sighraf. Denna äldre kyrka försågs i början av 1200-talet med ett torn.
Under 1200-talet påbörjades den nuvarande kyrkan. Den anslöts till tornet från den föregående stenkyrkan. Vid mitten av 1200-talet uppfördes det kvadratformade långhuset bestående av fyra kvadratiska travéer, vilka bärs upp av en rund mittpelare, vars kapitäl smyckades med reliefer. Detta kapitäl påminner mycket om motsvarande kapitäl i Hellvi kyrka, byggd av den gotländske byggmästaren och bildhuggaren Lafrans Botvidarsson, vilket skulle kunna tyda på att samme byggmästare verkade även här. Efter uppförandet av långhuset fortsatte man så gott som omedelbart med det rakt avslutade koret bestående av en enda travé med runda diagonalribbor. Man byggde även på tornet på höjden.
Redan under 1240-talet dekorerades de fyra valvkapporna. I den östra målades livets träd med roten i en av bäckarna i Edens trädgård. I norra och södra kapporna finns fler träd och även valvribborna är ornamenterade. I livets träd har ett par fåglar slagit sig ned. De, d.v.s. människosjälarna, beskjuts av ondskans makter förklädda till jägare, men pilarna studsar tillbaka mot skyttarna. I den västra valvkappan uppträder den onda makten i form av en uppflygande drake, vilken öppnar sitt gap mot livets träd. I en medaljong under livets träd övervakar Kristus det hela. Cirka 1265 var kyrkobyggnaden och dekorationerna klara.
Omkring år 1330 gästade en betydande konstnär kyrkan. På triumfbågens norra sida målade han Maria med Jesusbarnet, ett ovanligt högklassigt konstverk.
Vid följande sekelskifte uppträdde den så kallade "Othemsmästaren", som gjorde kalkmålningar även i Fide kyrka på Gotland. I Othem målade han Kristus som konung omgiven av lärjungarna, samt på var sida om altaret, aposteln Paulus och Sankt Dionysius, biskop, och kanske kyrkans skyddshelgon.
År 1693 överkalkades alla medeltida målningar och i koret insattes en altaruppsats av sandsten.
På 1730-talet installerades predikstolen och sannolikt var det under 1740-talet som kyrkan fick en ny bänkinredning.
År 1774 byggdes en ny läktare. Läktarbarriären dekorerades 1776 av sergeanten och kyrkomålaren Johan Nicolaus Weller (1723–1785), som målade de fyra evangelisterna och Jesus vid tolv års ålder i Jerusalems tempel.
År 1854 installerades en kyrkorgel av orgelbyggaren Anders Vilhelm Lindgren (1807–1860) från Stockholm. Fortfarande finns hans orgelfasad kvar, trots att innandömet blivit utbytt.
En natt i mars 1908 antändes kyrkan och på morgonen hade träet i såväl tornet, som över långhuset och koret förtärts av elden. Man hann larma med kyrkklockan innan den föll ned och spräcktes. Lyckligtvis hann man rädda lösa inventarier, bl.a. kyrksilvret och alla gamla handlingar. Branden berodde förmodligen på brister i uppvärmningssystemet. Året efter hade kyrkan fått nytt tak över långhus och kor. Nu passade man på att ta fram de gamla medeltida målningarna som kalkades över år 1693.
Är 1952 restaurerades kyrkan efter ett förslag av arkitekten Erik Fant (1889–1954).
År 2000 renoverades kyrkan och i augusti 2004 kunde man se en takmålare klättra högst upp på kyrktornets spira.
Altaruppsats i sandsten föreställande "Jesu korsfästelse", skänkt av Mårten Fries och Margareta Schröder 1693.
Dopfunt, vittrad, från omkring år 1200 möjligen av Sighraf,
Triumfkrucifix med den "segrande Kristus".
Predikstol och ljudtak från 1700-talet.
Dekoration på läktarbarriären "de fyra evangelisterna" & "Jesus vid tolv års ålder i Jerusalems tempel", målad 1776 av Johan Nicolaus Weller.
Nutida träskulptur ovanför dopfunten föreställande "Maria med Jesusbarnet", utförd av skulptören Bertil Nyström från Slite.
Källa: Wikipedia
I was out a walk yesterday when I saw this wee chap sitting in a web within a Maple Leaf and thought his camouflage was quite amazing. As I was getting ready to take a couple of shots this poor unfortunate cleg landed in his web. In no time at all the cleg, which was the same size as the spider, was bound up and wheeched away to the larder. Amazing to watch but really quite gruesome.
I believe the spider's proper title is Araniella Curcurbitina. Mr Telford please take note!
Taken during the same wander around as the last shot, I just couldn't let all those subtle colours go unrecorded. The simplicity of the composition is trying to emphasise the soft colours of the illuminated leaves. It was really perfect conditions for this type of shot, with grey cloud, rain on and off but with the odd patch of stronger light just pushing through. The trees took on a glowing almost ecclesiastical quality.
Same cosplayer I met at Katsucon. Her wig was a bit troublesome as there were a lot of stray hairs all over her face. I digitally re-touched and edited those out (while retaining her natural skin texture). I am available for hire if anyone wants re-touching done to their photographs.
Cosplayer: Duchess Designs Creations
Wooden planks, white railing - same theme as before, but different setting here. I like the tranquility expressed in this lakeside scene.
Same Fly taken from a different angle , cleaned up slightly in gimp and lightroom.
a 43 image stack using the MP-E65 at approx 3x.
Stacked in Zerene stacker using Pmax
Same set up as previous shot with red food coloring. 2x 580ex speed lights @ 1/16 power camera left and right triggered via pocket wizards. 70-200 f/4L with EF 25 extension tube. Camera shutter remotely triggered.
I used a wider angle to show more of the Bridge in Phillipsburg, NJ. The same point on the bridge is lined up with the turret on the house on the hill. There is a US Gas station now where the Pennsy station was. The tracks are still there and they use them to move coal to the power plant up the Delaware River and for steam excursion trains. You can see more detail if you click "All Sizes" above and view it large.
The bridge is the "Free Bridge" or Northampton Street Bridge over the Delaware River and was built in 1895.
My photo is in color because I prefer color for 98% of my photos.
Article on Walker Evans from Wikipedia, the free encyclopedia:
Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration documenting the effects of the Great Depression.
Much of Evans' work from the FSA period uses the large-format,
8x10-inch camera. He said that his goal as a photographer was to make
pictures that are "literate, authoritative, transcendent" [1]
Many of his works are in the permanent collections of museums, and have
been the subject of retrospectives at such institutions as The Metropolitan Museum of Art.[2]
Born in St. Louis, Missouri, Walker Evans came from a well off family. He graduated from Phillips Academy, in Andover, Mass. He studied French literature for a year at Williams College, spending much of his time in the school's library, before dropping out. After spending a year in Paris, he returned to the United States to join the edgy literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends.
Evans took up photography in 1928[1]. In 1933, he photographed in Cuba on assignment for the publisher of Carleton Beals' then-forthcoming book, The Crime of Cuba, photographing the revolt against the dictator Gerardo Machado. In Cuba, Evans briefly knew Ernest Hemingway.
In 1935, Evans spent two months at first on a fixed-term photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania. From October on, he continued to do photographic work for the RA and later the Farm Security Administration (FSA), primarily in the Southern states.
In the summer of 1936, while still working for the FSA, he and writer James Agee were sent by Fortune magazine on assignment to Hale County, Alabama,
for a story the magazine subsequently opted not to run. In 1941, Evans'
photographs and Agee's text detailing the duo's stay with three white
tenant families in southern Alabama during the Great Depression were
published as the groundbreaking book Let Us Now Praise Famous Men.
Its detailed account of three farming families paints a deeply moving
portrait of rural poverty. Noting a similarity to the Beals' book, the
critic Janet Malcolm, in her 1980 book Diana & Nikon: Essays on the Aesthetic of Photography,
has pointed out the contradiction between a kind of anguished
dissonance in Agee's prose and the quiet, magisterial beauty of Evans'
photographs of sharecroppers.
The three families headed by Bud Fields, Floyd Burroughs and Frank Tingle, lived in the Hale County town of Akron, Alabama,
and the owners of the land on which the families worked told them that
Evans and Agee were "Soviet agents," although Allie Mae Burroughs,
Floyd's wife, recalled during later interviews her discounting that
information. Evan's photographs of the families made them icons of
Depression-Era misery and poverty. In September 2005, Fortune revisited Hale County and the descendants of the three families for its 75th anniversary issue[3].
Charles Burroughs, who was four years old when Evans and Agee visited
the family, was "still angry" at them for not even sending the family a
copy of the book; the son of Floyd Burroughs was also reportedly angry
because the family was "cast in a light that they couldn't do any
better, that they were doomed, ignorant"[3].
Evans continued to work for the FSA until 1938. That year, an exhibition, Walker Evans: American Photographs, was held at The Museum of Modern Art,
New York. This was the first exhibition in this museum devoted to the
work of a single photographer. The catalogue included an accompanying
essay by Lincoln Kirstein, whom Evans had befriended in his early days in New York.
In 1938, Evans also took his first photographs in the New York
subway with a camera hidden in his coat. These would be collected in
book form in 1966 under the title Many are Called. In 1938 and 1939, Evans worked with and mentored Helen Levitt.
Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom making prints from his own negatives.
He only very loosely supervised the making of prints of most of his
photographs, sometimes only attaching handwritten notes to negatives
with instructions on some aspect of the printing procedure.
Evans was a passionate reader and writer, and in 1945 became a staff writer at Time magazine. Shortly afterward he became an editor at Fortune magazine through 1965. That year, he became a professor of photography on the faculty for Graphic Design at the Yale University School of Art (formerly the Yale School of Art and Architecture).
In 1971, the Museum of Modern Art staged a further exhibition of his work entitled simply Walker Evans.
Evans died at his home in Old Lyme, Connecticut, in 1975.[4]
In 1994, The Estate of Walker Evans handed over its holdings to New York City's The Metropolitan Museum of Art.[5]
The Metropolitan Museum of Art is the sole copyright holder for all
works of art in all media by Walker Evans. The only exception is a
group of approximately 1,000 negatives in collection of the Library of Congress which were produced for the Resettlement Administration (RA) / Farm Security Administration (FSA). Evan's RA / FSA works are in the public domain.[6]
In 2000, Evans was inducted into the St. Louis Walk of Fame.[7]
Jasper Jean Bus Services Inc.
Volvo B8R Low Entry Bus
Autodelta Coach Builders, Inc.
Bicol Isarog Transport Service Inc. 803
Volvo B8R (in DMMW DM16S2 Body)
Del Monte Motor Works, Inc.
This camera was generously donated by Mark (Ubique Ulf). It's a beautiful camera and the lens is in great shape. Shutter not working, but that's good excuse to adapt the lens to digital :)
Matt (Matt's Crazy Lens Adventures) has a slightly different (newer) version of this camera/lens at www.flickr.com/photos/59224964@N05/albums/72157672959418970 with same nice samples.
For dc. roake from my side of the world. Full moon with some clouds. I forget if a red moon is a good or a bad sign.
I woke up with a headache this morning. Must be the weather. It was real warm yesterday and the air quality in the Bay Area is so bad it's newsworthy. Again. We're supposed to have more of the same today.
My Ricoh GR Digital II arrived yesterday while I was home for lunch. I've been lusting for one of these little honeys for a while, and I must admit that after playing with it for a few short hours, it's living up to my expectations. It's one sweet camera. The one feature that impresses me the most is that one of the image formats is 1:1. Yup, square. I'd like to see Pentax do that with their DSLR offerings. Square is cool. I know what you're thinking... crop in Photoshop. Well, that's just not the same. I'll post shots soon.
This is that same Peony from a couple weeks ago - different camera this time.
Stay cool.
Listening to Pale Blue Eyes - Alejandro Escovedo (Bourbonitis Blues)
"BEFORE" living room scene
Superman Ken in LB BOYZ polo shirt with Sleepytime Gal reproduction Barbie in vintage blue "Belle" dress; vintage sofa set found on eBay for $15; Gloria table lamps repainted by photographer; picture frames found at flea market. Thin sheet magnets adhered to back of all items on wall; diorama magnetic walls by Room With A View; parquet hardwood floor from Dreamstime.com royalty-free stock photo, printed on 13x19 inch Epson R1800 panoramic photo printer; Barbie and RE-MENT miniatures abound.
RESOURCE LIST:
Room With A View magnetic diorama
www.cleabella.com/SceneShop.html
Carolyn Allen
Mod-O-Rama Fashion Doll Furniture
cda311@myway.com
Matt Trujillo
Custom OOAK reflocked Ken dolls
rubbermatt2000@yahoo.com
Joan Hudson
Reproduction Francie fashion
jhudson1101@hotmail.com
B&J Fabric (for black and white pattern on wallpaper)
525 Seventh Avenue, 2nd fl at 38th St
New York, NY
(212) 354-8150
TOHO Shoji Bead Store
990 Avenue Of The Americas/36-37th St
New York, NY
(212) 967-2088
RE-MENT Miniatures
feeling rather worn out today.
i did a bunch of shopping last night... feeling pretty good for where I am at. I have a bit more to do but the lion share is done. Need to get some wrapping done. I'm usually a late and indecisive shopper so it feels good to be getting close to done. if i don't stay up late on christmas eve... total win.
they are supposed to be the same barbie...they look so different! there is another hong kong very similar to the china one, I'd like to find her some day but I don't know whether I'd recognise she's hong kong instead of china :D
Nikonos V - Nikkor 35 f/2.5 - Fujicolor Superia X-tra 400 - Cinestill Cs-41 - dslr scan - Negative Lab Pro
Nikon D800 Photos: Blonde Wavy Hair Swimsuit Bikini Model Goddess with Pretty Blue Eyes
Here is some awesome video I shot at the same time as the stills with the Sony NEX 6 camera with the 1.8 50mm prime lens bracketed to my Nikon D800:
Nikon D800 and 70-200 mm F 2.8 lens photoshoot of beautiful blonde Swimsuit Bikini Model Goddess with Pretty Blue Eyes and wavy blond hair. With the black 45SURF surfboard! Readingthe Great Books and Classics--Shakespeare's Hamlet, Homer's Iliad & Odyssey, and Herman Melville's Moby Dick! Modeling the 45surf hoodie. Everyone loves the hoodies!
The rich creamy Bokeh off the 1.8 50 mm Sony prime lens on the crop sensor is amazing! Combine the shallow-depth-of-field with Sony NEX-6 latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! I shot at wide-open 1.8 all day long! :)
She was tall, thin, fit, toned, defined, and beautiful! Wearing a hoody!
Nikon D800 Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom! :)
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