View allAll Photos Tagged sobriety
#RecoveryIsPossible .
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As I grow, I change.. As I go further - I am grateful. I grow more and more grateful every single day. I grow stronger mentally - day by day. I often forget that I am even 'doing something', because most of the time it is so far out of my mind.. *my addiction*. But of coarse things come and go thru my week and remind me... and I just find myself being extremely grateful, that when drugs come up- I am no longer triggered. So grateful.
>>I prayed very hard for a long time for God to relieve me of not only my addiction, but the cravings/thoughts. And he has. In time. I am at 2 & 1/2 years, and very grateful. Truthfully, I never thought I'd get this far.. - In fact, DURING my addiction, I wasn't sure if I was going to make it out alive. But someone up there was looking out for me, that is for sure. I did make it out alive. Alive, in recovery and THRIVING! Amen!
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>> I do my very best to TRY to be a good influence to others - either in active addiction, recovery (new or old) & sober people as well. I hope to even be an inspiration of sorts, to those who have a family or close friend in active addiction.. when they believe it's NOT possible & there is NO HOPE.. - I hope that they see me. I hope that they knew me before, or hear stories... The photos really won't do my demon of a past justice.. I hope that they can see ME.. My Transformation.. & know NOT to give up HOPE for their loved ones.. & know that it IS POSSIBLE- although most of the time it doesn't feel that way at all.
I know how hopeless it feels, because I lived it TO THE MAX for many years. I allowed addiction to tear everything out of my life.. [everything IMPORTANT to me that I LOVED.] & Addiction had it's hands on me SO HARD... that I just watched the things and PEOPLE whom I loved with all of my heart .. go away. & Told myself that because it hurt - that I should go double or triple up- my normal dose to numb it more.. So I didn't have to feel anything at all anymore. And that excuse to numb everything away again, would make my addiction even stronger. The drug would wrap it's hands around my neck even tighter, and to numb the truth - the nightmare that had become my life.. and everything in my life.. I would happily numb the pain *if I could feel anything at all*.. Just so I didn't have to feel.
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◻>>> People REALLY NEED TO UNDERSTAND that in MOST cases - people who are addicted to drugs ARE SELF MEDICATING. [FOR SOME REASON!]
>>Now whether they're self medicating for a mental illness (either mild or big) & yes this includes depression and anxiety which most people have.. - MOST ADDICTS ARE self medicating for mental illness of some type .. *this type of therapy in a rehab setting would be called, ""CO-OCCURING" I believe.
... In the rehab facilities they are VERY aware of this & cater directly to co-occurring addictions. They help their patients to get medicated (the right way).. So they begin to feel normal - or as normal as possible.
[Keep in mind, that drug addiction REALLY takes a toll on the brain and the chemicals in the brain.. ] So it could take A VERY LONG TIME - Years even.. to fully regain your natural balance of chemicals to feel 'normal again' ... to be honest.. Some of us.. did permanent damage which we have to learn to live with, it isn't fixable. *raises hand*] <- but that doesn't mean all hope is lost. It means you might have to take a medications for a long time, or forever.. to help even the balance.. And learn HOW to help yourself to feel better.. & get better. But know it is possible. If I can do this.. ANYONE CAN! && I truly mean that, guys.
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>>>I often hear from people (when they see me in person usually), how absolutely PROUD & surprised they are with my transformation. Most of them will go on to explain how they watched me for years - homeless, wandering the streets - high- not even knowing where I was going or what I was doing- a bag of bones.. face picked to hell and full of scabs- dirty.. and they were all waiting to hear that I overdosed. My family was dreading that phone call, but almost knew it was coming, unfortunately. I believed this too.. that I would probably die soon. So I actually went as far as to tell my closest loved ones my wishes.. In case I die. On my facebook I set up a tribute person (my cousin/she's like my sister) in case I passed.. so she could run my facebook etc) - I didn't think I'd make it out alive.
- But I wanted sobriety more than anything. I envied those who had it. I envied those who went from where I was at, and got sober.. and couldn't quite figure out HOW they did it.. But they were a hero in my eyes.
>>These people have come up to me (even while I'm at work) to tell me HOW PROUD THEY ARE OF ME. How they didn't think I'd make it out.. How I'm a total different person & how I am an inspiration & how if I CAN DO IT - ANYONE CAN. etc
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Which is why I write about my addiction.. and TRY MY BEST to explain it to others!
Because even if you are not an addict, it's important for you to understand... it's a disease. It's not as easy as to just put down the drug and quit.
Most will relapse.. Maybe 50 times or more. Most won't make it out alive.
It is a mental thing. A MENTAL DISEASE. The drug is just a symptom.
>>We have addictive personalities. And to fix this we require A LOT of therapy and personal reflection and work on OURSELVES.
When we have reached the point of wanting sobriety.. and truly wanting it.. THEN the hardest work comes in!
>>>We have to figure out WHY we're using.
>>>We have to do A LOT of self reflection and WORK ON OURSELVES.
We are ADDICTS. Even if we have quit the drug part.
We literally can and WILL get addicted to anything and everything! - So we have to be careful.
**Shopping. Sex. Relationships. FOOD. Cigarettes. *A different drug to substitute one for another, etc***
The list can go on and on... and on..
>>Which is why we REALLY must look at ourselves and stop ourselves.
>>We have to create limits and stick to them. And therapy is a must for many of us. I signed up and still go at least once a month to see a counselor. I've been seeing a counselor from this program SINCE I got sober 2 1/2 years ago- and I'm not stopping any time soon.
Groups are a very good way to keep MANY people sober (but not all of us). I love doing groups sometimes, but I prefer church, personally.
Why I wrote all of this.. is to help some of you have a better understanding of addiction. Even if you are not an addict.
>>You may know someone who is an addict.. And if you DON'T YET, I'd be VERY Surprised.. But it's still important for you to know this.. because if you don't.. YOU WILL.
Addiction is sweeping the nation.. the world... Every place out there, far & wide. Even in the middle of the jungle.. They're seeing addiction. Imagine that!
It's a disease.. and it's NOT going away any time soon.
So EDUCATION is very important.
So I hope what I wrote (if you read it / or part of it) - helps you to understand.. a little bit more about addiction.
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I am proud of myself. I am growing and learning more and more every single day!
Like I said above, I feel like most days I don't even think about how I'm in recovery. But several times a week I am reminded.. And I feel gratitude immediately. I never want to forget what I went thru. I never want to stop talking about it.. I want to help. I want to help give others knowledge.. and/or inspiration.
& Even if you don't think you're an addict.. You very well could be. Denial is a huge part of it.
>>Prescriptions from your DOCTOR is where it ALL STARTED FOR ALL OF US. (I don't know statistics, but I'm almost positive that OVER 90% of addicts started with a doctor's prescription! Every single person that I met in recovery.. has the SAME STORY)
NOT ONE ADDICT can say that they woke up one day and said, "I want to be a homeless drug addict and live on the street, rob people and beg for change".
Sadly enough... most of them started with an injury or something and a doctor wrote them a prescription.. And because of their brain.. *THEIR BRAIN LOVED IT* & they have some type of addictive personality.. Their brain wanted more. & It ended badly.. for all of us.
Some of us were lucky enough to make it out alive. And only 2% of us who do make it out alive.. will REMAIN sober. I just pray every single day that I am going to remain one of those 2%! May God continue to give me the strength to remain sober.. & on the right path.
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If any of you have any questions or what to reach out about addiction, feel free to message me privately at any time.
>>>Stay positive friends.
I care for you all, deeply!
UN ESEMPIO DI SOBRIETA'.
Le chiese erette nel periodo della Controriforma dagli ordini dei Francescani e dei Cappuccini si distinguono per semplicità e rigore nettamente dalle tradizionali collegiate. A progettare questa chiesa fu il frate francescano Vitus Rastbichler. Nella rinuncia a un alto campanile, a volte complesse e a soffitti affrescati si riflette l’ideale di povertà proprio dell’ordine.
Il disadorno edificio sacro con il suo modesto campanile, semplici volte e privo di affreschi, fu inaugurato solo nel 1697. A lungo i canonici rifiutarono l’insediamento dei francescani. Temevano che questo ordine religioso, con il suo ideale di povertà, attirasse i mendicanti.
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AN EXAMPLE OF SOBRIETY.
The churches built in the Counter-Reformation period by the Franciscan and Capuchin orders are clearly distinguished from the traditional collegiate churches for simplicity and rigor. The Franciscan friar Vitus Rastbichler designed this church. The order's ideal of poverty is reflected in the renunciation of a high bell tower, sometimes complex and with frescoed ceilings.
The unadorned sacred building with its modest bell tower, simple vaults and devoid of frescoes, was only inaugurated in 1697. For a long time the canons refused the installation of the Franciscans. They feared that this religious order, with its ideal of poverty, would attract beggars.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
Dinamarca - Copenhague - Rundetaarn (Torre Redonda)
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www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
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ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
©JaneBrown2019 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
there are certain words that test sobriety!
Dinamarca - Copenhague - Vistas desde la Rundetaarn (Torre Redonda)
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www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
***
ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
Stopping off at some cheesy tiki club leftover from the '70s. A lot of seniors present, and of course, their granddaughters. There was dancing, great food, high end scotch and affectionate glances from young and old alike.
It was a good time but really, I just miss her. I think about the fun, the laughs, and the love that made them all so much deeper than anything else. Thank you Princess. Thank you for helping feel this level of loss to know how much I love you.
The people around me notice issues but... I smiled through it till morning brought me painful sobriety again. Old folks sure know how to party.
From Marrakech to Merzouga
The beauty of the Atlas mountain range and its immensity, the hardness of its climate, little or no vegetation, sobriety of life and austerity of means for the population. The grandeur of the desert dunes. The tradition of their peoples, markets and sellers in the souks. Its typical prior to the closing of a deal haggling. The dignity of its people, their traditional clothing to protect themselves from excessive heat. All this makes this special and unforgettable experience.
De Marrakech a Merzouga
La belleza del Atlas con su sistema montañoso e inmensidad, la dureza de su clima, su escasa o nula vegetación, la sobriedad de la existencia y la austeridad de medios para la población. La grandiosidad del desierto, sus dunas. La tradición de sus pueblos, mercados y vendedores en los zocos. Sus típicos regateos previos al cierre de un trato. La dignidad de sus gentes, sus típicos atuendos para protegerse del excesivo calor. Todo ello hace esta experiencia especial e inolvidable.
© 2009 Aelin Quan – All rights reserved - Réf. 090412
These bottles caught my eye in a bar/club of Cicada (slurl.com/secondlife/Cicada/128/128/0)... I felt they had some potential but did not know what to do exactly with them.. Here comes the resulting pict...
Institut Mental de la Santa Creu, Nou Barris, Barcelona.
Instituto Mental de la Santa Cruz es un edificio historicista de Barcelona que forma parte del Inventario del Patrimonio Arquitectónico de Cataluña.
El edificio, originalmente, estaba formado por doce pabellones aislados dispuestos perpendicularmente con dos crujías paralelas y que tenían en ambos extremos unos hemiciclos para el tratamiento de los enfermos con mayores dificultades. En total tenía una capacidad para ochocientos usuarios.
El hospital disponía de enfermerías, salas de reuniones, amplios comedores, salas de trabajo, biblioteca y baños. También había espacios dedicados por el recreo de los internos como una sala de billares, de música, teatro y unos amplios patios y jardines.
El 30 de septiembre de 1987, después de un siglo de existencia, el Mental cerró sus puertas. Hoy sólo quedan tres pabellones ocupados por la Seu del Districte y la Biblioteca de Nou Barris que permiten apreciar la monumentalidad y la sobriedad que caracterizó la obra, realizada en un estilo neoclásico muy sencillo.
Mental Institute of the Holy Cross is a historicist building in Barcelona that is part of the Inventory of the Architectural Heritage of Catalonia.
The building, originally, was made up of twelve isolated pavilions arranged perpendicularly with two parallel corridors and which had chambers at both ends for the treatment of patients with greater difficulties. In total it had a capacity for eight hundred users.
The hospital had infirmaries, meeting rooms, large dining rooms, work rooms, a library and bathrooms. There were also spaces dedicated to the recreation of the inmates, such as a billiards room, a music room, a theater and large patios and gardens.
On September 30, 1987, after a century of existence, the Mental closed its doors. Today only three pavilions remain, occupied by the Seu del Districte and the Nou Barris Library, which allow us to appreciate the monumentality and sobriety that characterized the work, carried out in a very simple neoclassical style.
The church was built in Gothic style in the 15th century. The walls of the hall and the choir are supported by stepped buttresses, typical of Gothic architecture. According to a graphic representation from the mid-19th century, the church had a wooden bell tower on the west facade, later replaced by the current brick tower. The religious building was not fortified, like those of neighboring towns.
Before the Reformation, the church was painted inside, with different scenes, representing legends, characters or biblical themes, of which only fragments are preserved, because with the penetration of the ideas of the religious reform, the Lutheran community Saxon or Hungarian Calvinist covered with mortar the frescoes with which the interior of the place of worship was decorated, in their desire for sobriety and austerity.
The carved stone pulpit dates from the 14th century. Its crowning was carried out in 1796 and repainted in 1932. In 1718, the vault of the nave was abandoned in favor of a coffered ceiling. From the same year 1718 also dates the choir, intended for men who participated in religious services, built in wood and painted with floral motifs.
(Wikipedia)
Austin's own, Stevie Ray Vaughan will be inducted into the Rock and Roll Hall of fame in 2015.
Stephen Ray Vaughan (October 3, 1954 – August 27, 1990), known as Stevie Ray Vaughan, was an American musician, singer, songwriter, and record producer. In spite of a short-lived mainstream career spanning seven years, he is widely considered one of the most influential electric guitarists in the history of blues music, and one of the most important figures in the revival of blues in the 1980s. AllMusic describes him as "a rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death."[2]
Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie. In 1971 he dropped out of high school, and moved to Austin the following year. He played gigs with numerous bands, earning a spot in Marc Benno's band, the Nightcrawlers, and later with Denny Freeman in the Cobras, with whom he continued to work through late 1977. He then formed his own group, Triple Threat Revue, before renaming the band Double Trouble after hiring drummer Chris Layton and bassist Tommy Shannon. He gained fame after his performance at the Montreux Jazz Festival in 1982, and in 1983 his debut studio album, Texas Flood, charted at number 38. The ten-song album was a commercially successful release that sold over half-a-million copies. After achieving sobriety in late 1986, he headlined concert tours with Jeff Beck in 1989 and Joe Cocker in 1990 before his death in a helicopter crash on August 27, 1990, at the age of 35.
At the west end of pedestrian Calle Regina at Calle Bolivar is Templo de Regina Coeli, a Roman Catholic church and convent built in the mid-1600's. The church has a beautiful, gilded altarpiece.
Although the property has some monastic sobriety, the altarpieces and paintings from the chapel, are of interest.
It was a property of the nuns of the Conception in the colonial era in Mexico. In 1863 the nuns were defrocked and the property nationalized.
In 1867, President Juárez gave the property to the army. The last owner was Concepción Béistegui who modified the place to become a hospital.
When Porfirio Díaz held power, part of the former convent was used as a hospital - the Concepción Béistegui Hospital , another part was occupied by the Secretary of Public Education and another part, the General File of Notaries , until 1973.
Today, parts of the property are owned by individuals. The cloister of the property is managed by a private board.
Another part is the House-Home for the Elderly Old Hospital Concepción Béistegui .
Apparently, the inner patios are now used for social, artistic and cultural events, and workshops are held for the elderly in the home.
Shot in the Galerie Vivienne - 75002Paris - France -
The Galerie Vivienne is one of the covered passages of Paris, in the second arrondissement. It is 176 metres (577 ft) long and 3 metres (9.8 ft) wide. The gallery has been registered as a historical monument since 7 July 1974.[1]
The gallery was built in 1823 by Marchoux, President of the Chamber of Notaries, at the location of the Vanel de Serrant hotel and the Petits Peres passage. It was based on plans drawn up by the architect Francois Jean Delannoy. Inaugurated in 1826 under the name Marchoux, but soon renamed Vivienne, the gallery took advantage of its unique location. It attracted many visitors with its tailor shops, cobblers, wine shop, restaurant, Jusseaume bookstore, draper, confectioner, print-seller and so on.
Located between the Palais Royal, the stock exchange and the Grands Boulevards, the passage enjoyed considerable success until the end of the Second Empire. But the gallery lost some of its appeal with the move of the prestigious shops to the Madeleine and the Champs-Élysées, and particularly because of the Revolution caused by Georges-Eugène Haussmann. The gallery has been the scene of interesting events. The monumental staircase of No. 13 led to the former home of Eugène François Vidocq after his disgrace. The convict had become chief of a police squad made up of former criminals.
There has historically been competition with the nearby Galerie Colbert. Since 1960 the gallery has once again become very active. It features fashion and home furnishings, and haute couture shows held there. The installation of Jean Paul Gaultier[2] and Yuki Torii shops in 1986 helped with the resurrection of the gallery. It now houses many shops selling ready-to-wear and decorative items.
Description
An interior view of the Galerie Vivienne
François-Jacques Delannoy conceived the decor in neo-classical Pompeian style covered with an elegant canopy, with mosaics, paintings and sculptures exalting trade. The restoration work rehabilitated the abundant ornaments around the half-moon windows, and the goddesses and nymphs that adorn the rotunda. The mosaic floors are signed Giandomenico Facchina and Mazzioli. Their sobriety emphasized by the repetition of simple geometric shapes is reminiscent of the style of the mosaics of the Rue de Rivoli. The 42 metres (138 ft) long gallery is sheltered by a glazed rotunda with a hemispherical glass dome that allows for air circulation.
Cf : Wikipedia
I thought the guy's shirt was really funny, so he posed with his semi-conscious girlfriend while I snapped a photo. The flash bothered her eyes that were already such a beautiful shade of red. She reached out for my camera and said (or to be more accurate, slurred), "I'll break your shit." He had to explain to her that I was taking a pic of his shirt and not her admittedly entertaining lack of sobriety. I was sure she was gonna puke on someone in the elevator.
Dinamarca - Copenhague - Rundetaarn (Torre Redonda)
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www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
***
ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
actually it is one of my favourite colours. I am leaning against one of two chairs I once bought. They are purple velvet. i love them. My OH hates them. i suspect when we move to our final (smaller) home, there will be an argument. Which i will win.
I shall sit down on the pavement when I’m tired,
And gobble up samples in shops and press alarm bells,
And run my stick along the public railings
And make up for the sobriety of my youth.
(i think I am nearly there now....)
For WAH who are celebrating all things purple
jamesmilson.com/2017/04/19/warning-poem-by-jenny-joseph-w...
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live once for the good life.
NYC is Home Trailer can be found here.
check out: my website.
Stumbling around Reykjavik, exhausted by days of waterfalls and basalt columns, worn down by whistling wind and too little coffee, nearly broke with just a handful of Kronur left jingling in my pocket, I saw this sign. Oh my! Yes! Such a simpatico face, freckled with some sort of red lesions, smiling the enigmatic smile of the blind drunk Freddy Mercury wannabe - if this wasn’t the perfect invitation to take a load off and abandon my twenty plus years of sobriety, I didn’t know what was. So in I went…
Let this real review from Trip Advisor paint the picture:
Jon J.: “Staff is really arrogant. Staff has terrible attitude (the poorest I have seen in Europe, Asia and the U,S.) The only plus is opening hours, but there are other much better alternatives like Kaldi, Weather bar (?) and Coffee bar (?), where the staff is much nicer. Staff will randomly approach you and offend you - you never know. If you can´t afford a lawyer, you can´t afford this place, Avoid at all costs - it is really nasty. Plus it does not attract the most interesting crowd.”
I’m still in here. C’mon down and we’ll have a drink. We’ll be the most interesting crowd. Cheers!
PRESS FOR PROGRESS
INTERNATIONAL WOMEN'S DAY MARCH 8TH
All God's Children Need Traveling Shoes is a book by Maya Angelou about hopelessness and displacement, but so much more than that, about survival, dignity, resilience and evoking in me a sense that all will come right in the end.
“I didn't talk much, my smile was rare
for almost two years I was that way
but then aged 9 ½ I found
I could write without making hardly a sound
except for the soft touch of pen on paper
like a whisper as the words flowed over and from me
like my life's blood had spilled across the pages
from paper cuts that made me bleed. “ - AP
Soundtrack : www.youtube.com/watch?v=T5emcbg_wZk
TWIST IN MY SOBRIETY – TANITA TIKARAM
I lost my innocence in childhood
first time was when I was eight years old
then again at seventeen
seems like my story needs to be re-told
I was as brave at eight years old
as I was again at seventeen
but no-one was convicted
I was not believed; I bore the shame
now I stand tall for every woman
though I still feel often small
and to women who abuse other women
I try to forgive them; I pray for them all
we are sisters no matter our geography
no matter class; no matter fortune
we dance in unison; beautiful choreography
we dance together; to one tune
always we should find love and comfort
in each other's arms
across the ocean; holding hands
joined together we calm and balm
we could stand up and scream and shout
but no-one would hear us then
the still small voice of calm is stronger
with grace and dignity; the mighty pen
can outweigh the sword with every word
can adjust the balance in our favour
join with me now and press for progress
sisters; mothers; children; saviours
For those who do not have a voice
for those whose voice was taken
God gave me the gift to write these words
to let them know they are not forsaken.
- AP - Copyright © remains with and is the intellectual property of the author
Copyright © protected image please do not reproduce without permission
My artwork is a compilation of my photographs and art
Santa María la Blanca, Toledo, Castilla-La Mancha, España.
Santa María la Blanca es un templo ubicado en la ciudad española de Toledo. Construida en el 1180 como sinagoga y, habiendo funcionado como tal durante 211 años, fue expropiada y transformada en iglesia como consecuencia del pogromo de 1391. En la actualidad el edificio pertenece a la Iglesia católica, pero no se realiza culto en él. Se encuentra abierto al público y funciona como museo o centro en el que se desarrollan actividades tanto culturales como educativas.
Construido en 1180 (según testimonia la inscripción visible en una de sus vigas), este edificio mudéjar posee cinco naves separadas por pilares sobre los que descansan arcos de herradura. Si bien existe cierto contraste entre la sobriedad del exterior de la sinagoga y su elaborado interior, el edificio presenta no poca austeridad. Conforme a la tradición oriental, el mismo 'vive' hacia el interior. Esta sinagoga tuvo considerable influencia sobre otras sinagogas españolas; tal es el caso, por ejemplo, de la sinagoga de Segovia.
Se trata de una construcción mudéjar, creada por canteros musulmanes. Sus elementos de arquitectura incluyen paredes blancas y lisas, hechas de ladrillo, arcos de herradura y pilares octogonales, decoración geométrica en los frisos y vegetal en los capiteles de los pilares. Todas estas características y la distribución de los espacios, con sus naves formadas por la sucesión de arcos de herradura soportados por pilares, tienden a recordar la tipología propia de una mezquita. La articulación interior y estilo morisco de Santa María la Blanca han servido de modelo para importantes sinagogas europeas y americanas del siglo XIX.
Los 32 pilares de este templo son de ladrillo recubierto por cemento y cal. Ornados de piñas y volutas, sus capiteles denotan influencia del arte románico. Por encima de los arcos de herradura prevalece la ornamentación abstracta en frisos horizontales que incluye molduras con delicados motivos basados en la interacción de líneas y medallones. Los entrelazados geométricos formados por las líneas son de origen almohade.
Santa María la Blanca is a temple located in the Spanish city of Toledo. Built in 1180 as a synagogue, and having functioned as such for 211 years, it was expropriated and transformed into a church as a result of the pogrom of 1391. Today the building belongs to the Catholic Church, but no worship is held there. It is open to the public and functions as a museum or centre where both cultural and educational activities are held.
Built in 1180 (as evidenced by the inscription visible on one of its beams), this Mudejar building has five naves separated by pillars on which horseshoe arches rest. Although there is a certain contrast between the sobriety of the synagogue's exterior and its elaborate interior, the building is not without austerity. In accordance with Eastern tradition, it 'lives' towards the interior. This synagogue had considerable influence on other Spanish synagogues; such is the case, for example, of the synagogue of Segovia.
This is a Mudejar construction, created by Muslim stonemasons. Its architectural elements include smooth white brick walls, horseshoe arches and octagonal pillars, geometric decoration on the friezes and plant decoration on the capitals of the pillars. All these characteristics and the distribution of the spaces, with its naves formed by the succession of horseshoe arches supported by pillars, tend to recall the typology of a mosque. The interior articulation and Moorish style of Santa María la Blanca have served as a model for important European and American synagogues of the 19th century.
The 32 pillars of this temple are made of brick covered with cement and lime. Decorated with pine cones and volutes, their capitals denote the influence of Romanesque art. Above the horseshoe arches, abstract ornamentation prevails in horizontal friezes that include moldings with delicate motifs based on the interaction of lines and medallions. The geometric interlacing formed by the lines is of Almohad origin.
Dinamarca - Copenhague - Rundetaarn (Torre Redonda)
***
www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
***
ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
Au pied du voile, le portail central prends la forme d’une treille monumentale soutenant la statue de la Vierge. Marie, au sommet, est en position d’attente et d’accueil. Elle a fait l’expérience du passage dans l’édifice, elle a déjà été touchée par la grâce de Dieu ; c’est la signification des larmes qui roulent sur son visage et se répandent sur le trumeau. Sur ce dernier, figurent des inscriptions hébraïques : JEANCLOS, marqué par la spiritualité juive, a souhaité dresser un portail qui soit une ouverture sur le monde et sur les autres religions.
Grâce aux plaques de verre thermoformé, la porte est translucide, tout comme le voile de marbre. Ce choix rejoint le souci d’une façade qui ne fasse pas obstacle mais qui soit invitante. Sur les croisillons, JEANCLOS appose ses créatures en bronze : des dormants recroquevillés, des couples, images de la tendresse, de cueilleurs de raisin, des piétas, images de “détresse toujours présentes en Europe” selon l’artiste. Il explique : les dormeurs expriment “un enfouissement et en même temps une attente. Le dormeur s’enfouit comme un animal (….) qui va chercher dans la poussière et dans la terre les ultimes éléments de survie dans l’attente d’une résurrection, dans l’attente d’un futur”. Plus on regarde vers le haut du portail, plus les visages s’ouvrent et s’éveillent. Ces personnages, figures de l’humanité, on ne sait s’ils dorment, s’ils veillent, s’ils prient ou s’ils souffrent. Tous sont protégés par des draps de terre. Chez JEANCLOS, le corps n’est jamais entièrement visible. Sous le drapé se cachent les blessures. JEANCLOS explique cette impossibilité de représenter le corps par les événements tragiques de la Seconde Guerre mondiale. Les dormeurs sont sans cheveux et sans âge.
Cette porte dominée par Marie, ici symbole de l’amour universel, demeure pleine d’espérance, comme si JEANCLOS voulait donner une dimension humaine au thème chrétien. La force du portait tient à ce style tout en retenue et en symbolique propre à l’aspect heurté, fragile et souffrant de l’art de JEANCLOS. Le sculpteur meurt en Mars 1997 et ne voit pas l’élévation de son portail en 1999. Les portes latérales sont réalisées par sa fille Maya. Leur sobriété laisse au portail principal toute sa grandeur.
At the foot of the veil, the central portal takes the form of a monumental trellis supporting the statue of the Virgin. Mary, at the top, is in a waiting and welcoming position. She has experienced the passage through the building, she has already been touched by the grace of God; this is the meaning of the tears that roll down his face and spill over the trumeau. On the latter, there are Hebrew inscriptions: JEANCLOS, marked by Jewish spirituality, wished to erect a portal which would be an opening on the world and on other religions.
Thanks to the thermoformed glass plates, the door is translucent, just like the marble veil. This choice is in line with the concern for a facade that does not obstruct but is inviting. On the crosspieces, JEANCLOS affixes his bronze creatures: curled up sleepers, couples, images of tenderness, grape pickers, piétas, images of “distress still present in Europe” according to the artist. He explains: the sleepers express “a burial and at the same time an expectation. The sleeper burrows like an animal (…) which goes to seek in the dust and in the earth the ultimate elements of survival while waiting for a resurrection, while waiting for a future”. The more we look up the portal, the more the faces open and awaken. These characters, figures of humanity, we do not know if they are sleeping, if they are awake, if they are praying or if they are suffering. All are protected by sheets of earth. At JEANCLOS, the body is never entirely visible. Beneath the drapery hide the wounds. JEANCLOS explains this impossibility of representing the body by the tragic events of the Second World War. Sleepers are hairless and ageless.
This door dominated by Mary, here a symbol of universal love, remains full of hope, as if JEANCLOS wanted to give a human dimension to the Christian theme. The strength of the portrait is due to this style, all in restraint and in symbolism specific to the shocked, fragile and suffering aspect of the art of JEANCLOS. The sculptor died in March 1997 and did not see the elevation of his portal in 1999. The side doors were made by his daughter Maya. Their sobriety leaves the main portal all its grandeur.
IN ENGLISH BELOW THE LINE
Vista en detall del dificil de trobar obturador Ernemann Bob X, montat en una Ernemann Heag XII; tant la càmera com l'obturador date del 1905-1906. Per desgracia aquest rar obturador funciona a estones, només.
L'evolució estètica de les cameresfotogràfiques entre els anys 1900-1910 i els anys 20 del s. XX està clarament marcada per un increment de la sobrietat i el domini del color negre. Però crec que enlloc es veu tant com en les càmeres de la marca alemana Ernemann. Encara que costi de creure, els models Ernemann dels anys 20 son l'extrem més radical de discreció, essent totes elles de negre absolut, gairebé com de dol. I costa de creure perque les primeres càmeres Ernemann son un esclat de color i metalls polimentats, com aquesta.
Es tracta d'una Ernemann HEAG XII, fabricada cap al 1905-1906. El format és el més usual per a càmeres europees de plaques, el 9x12 cm, i no cal dir que la manxa de pell vermella era a inicis de s. XX, "de rigeur".
Encara destaca més el molt poc usual obturador central, model Ernemann Bob X. Només es produí molt poc temps. L'objectiu és un Ernemann Detektiv Aplanat f6.8. Era molt usual que les càmeres Ernemann montessin tant l'obturador com l'objectiu de la mateixa marca (cosa gens normal en altres fabricants).Un detall molt divertit es que el visor superior es plega i desplega amb la càmera. Per desgracia el obturador no funciona del tot bé i la càmera manca el cristall esmeril·lat d'enfoc.
www.camarassinfronteras.com/articulos/obturadores/erneman...
camera-wiki.org/wiki/Ernemann_Heag_XII
=================
A very rare Ernemann Bob X leaf shutter, manufactured only in 1905-1906, and mounted in an Ernemann Heag XII. Sadly the shutter does not work at all times and I've found almost no information about it.
The aesthetic evolution of photographic cameras between the years 1900-1910 and the 1920s in the XX Century is clearly marked by an increase in the sobriety, restraint, and dominance of the black. But I think nowhere is it seen as much as in the cameras of the German brand Ernemann. Although hard to believe, the Ernemann models of the 1920s are the most radical end of discretion, all of them in absolute black, almost like mourning. And it's hard to believe because the first Ernemann cameras are a burst of color and polished metals, like this one.
It is an Ernemann HEAG XII, manufactured around 1905-1906. The format is the most common for European plate cameras, the 9x12 cm, and needless to say the red leather bellows was in the early XX Century, "de rigeur".
Even more noteworthy is the very unusual leaf shutter, a model Ernemann Bob X. It's manufacture was quite short lived, only a couple of years. The lens is a Ernemann Detective Aplanat f6.8. It was very common for Ernemann cameras to mount both the shutter and the lens of the same brand (which is not normal in other manufacturers). An interesting detail is that the top viewfinder folds and unfolds with the camera bed. Unfortunately the shutter does not work quite well and the camera lacks ground glass to focus.
www.camarassinfronteras.com/articulos/obturadores/erneman...
Lately, more than ever before, I happen to perceive the everyday, the so-called “ reality”, as conceptually distorted. Hence, in an effort to depict the widespread social and cultural distortions I perceive, I continue my quest, assembling or re-assembling lenses that can depict my inner perception accordingly.
In this case I am experimenting with an old and modified Bell and Howell projector lens.
The lens original focal length (f2.5) is a mere 2 inch, but after modification it covers a 4x5 format. When I say “cover” I am obviously not talking “corner to corner sharpness” as many of my esteemed colleagues appear keen to seek in their optics: quite the opposite, in fact. This prototype I built is only sharp in the very middle of the frame, hence the photograph needs to be composed accordingly.
The rest of the image looks more like an experiment with Psychotropic drugs as the level of distortion and funky, crazy bokeh exceeds any expectations of optical sobriety.
And that’s exactly what I am looking for.
I called this lens “the poor man’s PLASTICCA” as the center sharpness fading into the “unknown” softness recalls a bit that vintage and nowadays extremely expensive large format lens.
These are portrait experiments created with it, using a Speed Graflex at roughly 1/700th shutter speed. There is a yellow filter at the back of the lens and the image is recorded on x-ray film (green) rated at 200 ASA.
TODAY I AM CELEBRATING 26 YEARS SOBER!!! Usually I take a photo every year in my $2 hanes t-shirt to mark the anniversary, but today I met with my surgeon and it was just A LOT, so I am not really in the mood.
Shot in the North of India back in 2009, finally digitalised in 2015.
I used a Nikon FE2 with (sometimes defective - sorry ) Fuji 200. For most of the photographs, the lens was the Zenitar 16mm.
This one is from Khajurâho, the sobriety of the inner life translated in the innards of the temple, in sharp contrast to how the outside walls -the outside world- are decorated.
Ce remarquable édifice datant de 1050 est l'une des plus anciennes églises romanes du pays. C’est la seule à avoir conservé la pierre dédicatoire qui commémore la consécration de l’église le 20 juin 1050.
Le cadre extérieur est plaisant avec l’ancien cimetière qui entoure l’église et le tilleul séculaire tout proche. Le bâtiment est construit sur un plan très simple : une partie centrale et deux parties latérales moins élevées. L’église est conservée largement dans l’état originel des églises romanes primitives : petite taille, sobriété, simplicité de la construction, équilibre des proportions. Elle est classée patrimoine exceptionnel de Wallonie.
Elle contient un mobilier intéressant, notamment des œuvres du maître de Waha, des superbes statues de saints, la cuve baptismale, et, parmi les éléments contemporains, des vitraux réalisés par Louis-Marie Londot et ceux de Jean-Michel Folon qui rappellent le martyre de saint Etienne.
This remarkable building dating from 1050 is one of the oldest Romanesque churches in the country. It is the only one to have preserved the dedicatory stone which commemorates the consecration of the church on June 20, 1050.
The exterior setting is pleasant with the old cemetery which surrounds the church and the centuries-old lime tree nearby. The building is built on a very simple plan: a central part and two lower side parts. The church is largely preserved in the original state of primitive Romanesque churches: small size, sobriety, simplicity of construction, balanced proportions. It is classified as an exceptional heritage site in Wallonia.
It contains interesting furniture, notably works by the master of Waha, superb statues of saints, the baptismal font, and, among contemporary elements, stained glass windows made by Louis-Marie Londot and those of Jean-Michel Folon which recall the martyrdom of Saint Stephen.
another day یک روز دیگر
the next page صفحه بعدی
still in a dream هنوز در یک رویا
out of pipe خارج از یک پایپ
my lust for life حرص من برای زندگی
comes and goes میاد و میره
from above از بالا
demanding purity تقاضای پاکی می شود
sobriety هوشیاری
cursing me like مثل سورتمه که کورس می گذاره
hammering down at me به من شلاق می زند
out of water .......
During the time of the coronavirus pandemic and social (physical distancing), early morning became my ecological niche to enjoy life while avoiding contact with other people. Although it would have been most obvious to take pictures of places without people and practice the Japanese art style of absent motifs (留守模様), nothing drew me to anything human.
I preferred nature and particularly trees that became my personal obsession of that time. Whenever looking at these different trees, there always came a quotation from the ancient Chinese Daoist philosophy of Zhuangzi to my mind 是不材之木也，無所可用: “It’s not a timber tree, there's nothing it can be used for” ―― except of course for enjoying it just as it is …
However, I think that there is more behind the tree pictures than Zhuangzi’s typical praise of uselessness. Eventually, I became aware of a state of mind I never thought of as a possibility, but that became appealing: Biedermeier. Although I had never thought of Biedermeier art as anything other than "stuffy" or "boring," I could suddenly understand the concentration on the domestic and the non-political, the longing for stability, security, honesty, modesty, decency, sobriety, a simple elegance. I am also able to empathize with the predilection for everyday life and its details, ist tranquility and coziness. Am I becoming Biedermeier’s best friend?
Finally, I have to ruminate over a quote from a philosopher of the Biedermeier age who died from a pandemic of that time (Cholera):
“History is not the soil in which happiness grows. The periods of happiness in it are the blank pages of history.” (Georg Wilhelm Friedrich Hegel)
{Zeiss Loxia 2/50 Planar on Sony Alpha 6600}
He could get down the yellow line okay, but touching his finger to his nose was a tough one.
Happy Worm's Eye Vew Sunday.
And if you think this is SOOC, you might need to join Mr. Worm in that test of his. :-)
Happy Sliders Sunday too!
A Christmas present which I have yet to try is this bottle of Dixon's Wicked Blueberry Gin.
Dixon's is one of two local distilleries in Guelph, along with five local breweries, which is quite a number for a small city like Guelph with only 135,000 people! Maybe that says something about the sobriety of our citizens! Haha
Colorado Springs, CO - I was inspired by this week's flicker Friday theme, "Crystal". This is amethyst, according to the International Gem Society Amethystos means "not drunk" in Ancient Greek. The Greeks believed you could drink all night and remain sober if you had an amethyst in your mouth or on your person.
Amethyst gets its purple color from the earth's inner radiation. It also makes for a great paperweight and or a record player companion.
On a technical note, this was focus stacked with 18 images which was probably overkill. I placed the crystal on a small sheet of glass with an LED underneath.