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Lifestyle section of an re video shoot
cameras used:
Canon 6d
Canon 5d mkii
Lenses used
Canon 16-35 f2.8 mkii L
Canon 24 mm TS mkii
Sigma 50mm f1.4
slider, jib and some tripods
Abydos dates back to the dawn of Ancient Egyptian civilisation when it was established as the cult centre of the god of the Netherworld Osiris and the burial site for a number of the earliest kings. en.wikipedia.org/wiki/Abydos,_Egypt
Over the centuries several temples were constructed at the site on the edge of the desert, the Great Osiris Temple being at the heart of the god's cult but little remains of this structure. What visitors come to Abydos to see today are the far more substantial remains of the New Kingdom temples built by Seti I and his son Ramesses II.
The Temple of Seti I is the glory of Abydos, an impressive complex that originally comprised two large forecourts with towering pylons followed by a succession of pillared halls and chapels beyond. Today the forecourts and pylons are so ruined that only their lower parts remain, but beyond this the heart of the temple remains almost intact, and its many chambers, walls and pillars bear some of the very finest relief decoration in all of Egypt.
The interior is somewhat gloomy and takes a while to adjust to after the glare of the sun outside. The roof is largely a modern restoration in order to protect the ancient colouring that remains on much of the carving and admits little natural light. initially the decoration the visitor encounters in the first hypostyle hall is of a standard type, sunken relief from the reign of Ramesses II who fiinished his father's temple after the latter's death. It is only when one progresses into the second hypostyle halls and the group of chapels and chambers beyond that the fame of the art of Abydos becomes clear.
The relief sculpture of Seti I's reign are without parallel in the New Kingdom, the pinnacle of artistic achievement in the surviving temples of Egypt. The figures are all in raised (rather than the easier sunken) relief and the carving is of such delicacy that one can only assume that Seti must have placed great emphasis on the quality of the decoration he commissioned during his fifteen year reign (evidence of this can be seen in other projects commissioned by the king, but none more so than his temple at Abydos). The survival of much of the ancient colouring in many areas simply adds to the magic, with some scenes in pristine condition. Luckily the sort of vandalism that afflicted many temples during the post-Pharaonic period was only confined to one or two rooms and most decoration remains intact.
At the rear of the second hypostyle halls is a sequence of seven chapels dedicated to six major deities along with the pharaoh himself. Beyond these lie further sumptuously decorated rooms connected to various rituals of Osiris.
To the rear of the temple is a wing with further chambers accessed via a corridor inscribed with the famous Abydos 'King's List', which bears the cartouches of all the Pharaohs up to Seti's reign (with a few notable omissions). The corridor also leads out to a separate structure behind the temple known as the Osireon, a sunken monolithic chamber erected as a cenotaph to the god Osiris.
Some distance to the north of the Temple of Seti I lies the much smaller temple of his son Ramesses II (who decided to add his own temple in addition to finishing his father's). This is much less well preserved, with the walls only standing up to around three metres high, but much of the relief decoration of these lower courses remains, and much of the vivid colouring is beautifully preserved.
Abydos is one of Egypt's most important sites, both historically and artistically and will richly reward the visitor.
Just started getting back into riding with the Wakeboard club and Hunter was killing it so I thought it would be a good opportunity to work on getting some pics to stitch together into a sequence. Still some rough edges, but overall I was pretty pleased. And feel free to correct me if this is not an OHH. Just going from memory since it has been a very long time since I've even entertained the thought of trying some of the tricks he was throwing. :-)
Richard Serra sculpture panels for "Sequence " sitting at LACMA lot outside of newly built "BCAM" building. 2007. Photo taken with my Mamiya 645 AF and Kodak 320TXP film. I got to shoot part of the installation thanks to RS since he was working at Gemini GEL with me making etchings at the same time the LACMA install was happening.
I played Sequence with my sister this morning; it's her last day here and she loves games, so I thought I would humor her. :)
Video here: www.youtube.com/watch?v=e-77F7kVEtA
This is a hand generator cranked rotary sequencer. It has 8 slots and 4 sounds and uses 4 LDRs into a picaxe to make sounds. When a marble is removed from the turntable a sound is made that corresponds to its position.
16 step sequencer inside, panel wiring complete
if you're curious about my day job check out Space Milkshake
Another from the photo shoot with Derek. This time I was trying to use a strobe and long exposure to make the sequence. Unfortunately being indoors didn't help and since I couldn't afford a super nice strobe, I think it didn't turn on and off fast enough to really stop his action. Still came away with some kinda cool shots though, especially for my first time trying this technique.
Detail inside "Sequence," a 1996 work in weathered steel by Richard Serra. This work is adjacent to the north lawn of the Cantor Center for Visual Arts at Stanford University.
Winger Craig Benson about to touch down the first of three Kells tries in the 30th minute of an 18-16 victory over West Hull in the Premier Division of amateur rugby league's Kingstone Press Cider National Conference League. Making the most of wind advantage in the second half at the Pit Field, the Whitehaven team came back from 12-4 down at the interval to win narrowly. West missed out on salvaging a draw from their long trip by fluffing a difficult conversion attempt in the last minute of normal time.
Match statistics:
Admission: £3. Programme: 24 pages (w/a). Attendance: 180. Scoring sequence: 0-6 (8mins); 4-6 (30mins); 4-12 (36mins); 10-12 (58mins); 16-12 (64mins); 18-12 (77mins); 18-16 (80mins).
Class: Design 3 (3d design)
Assignment: Design a sculpture utilizing 2 measurement systems. The first system must adhere to at least the first 7 digits in the Fibonacci sequence; the second system may be a system of your choosing. All measurements and intervals in the sculpture must conform to one of the 2 systems.
Media: Basswood, balsa wood, museum board, twine.
photo sequence of my sister on the swings, s/o to my sis for walking to the park and back twice because i forgot a part of the tripod for my camera
you can see (sort of, this is small!!) the man shooting with the sun BEHIND him in the first two frames.
you gotta press L to see it.
Here is my eclipse sequence, from Hamilton, New Zealand, occurring 1am local time. Things I learned; that the moon scoots along pretty fast! To get the shadowed blood version, I was getting very blurry shots until I realised it was moon movement, not shaky tripod, and cranked the ISO up! Not super happy with sharpness on any of the shots, but OK at this size. Sunlit moon shot on EOS-M with 500mm Reflex mirror lens, (1/100 f8 ISO100), blood moon on 7D at 400mm (70-200 with 2x converter, 1 sec f2.8 (really f4 at sensor) ISO800 all shot from inside my back door!
This sequence of photographs demonstrates the sequence of operations involved in the making of common frame and box joints. Covered here are; the end lap joint, the cross halving joint, the mitre bridle joint, the finger or comb joint, the mortice and tenon joint and the dovetail joint.
All S3 Craft & Design pupils work on a box project so that they can develop some basic woodworking skills. This year S4 have all been encouraged to work on frame and carcase construction techniques. This is mainly due to the large numbers being presented this session but also due to the fact that we have acquire a lot of high quality hardwoods at a bargain price. For these reasons a more prescriptive approach has been taken than the last few years. This should help make the large number of projects a bit easier to manage whilst also displaying the materials and pupils' skill to best effect.
I'll try and annotate these better over the next week or so.