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The Clositers, 99 Margaret Corbin Drive, Fort Tryon Park, NYC
by navema
France, late 12th Century.
Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here.
Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated.
Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem.
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THE CLOISTERS
Described by Germain Bazin, former director of the Musée du Louvre in Paris, as "the crowning achievement of American museology," is the branch of the Metropolitan Museum devoted to the art and architecture of medieval Europe. Located on four acres overlooking the Hudson River in northern Manhattan's Fort Tryon Park, the building incorporates elements from five medieval French cloisters—quadrangles enclosed by a roofed or vaulted passageway, or arcade—and from other monastic sites in southern France. Three of the cloisters reconstructed at the branch museum feature gardens planted according to horticultural information found in medieval treatises and poetry, garden documents and herbals, and medieval works of art, such as tapestries, stained-glass windows, and column capitals. Approximately five thousand works of art from medieval Europe, dating from about A.D. 800 with particular emphasis on the twelfth through fifteenth century, are exhibited in this unique and sympathetic context.
The collection focuses on the Romanesque and Gothic periods. Renowned for its architectural sculpture, The Cloisters also rewards visitors with exquisite illuminated manuscripts, stained glass, metalwork, enamels, ivories, and tapestries.
The Cloisters, which celebrated its sixtieth anniversary in 1998, is named for the portions of five medieval French cloisters—Saint-Michel-de-Cuxa, Saint-Guilhem-le-Désert, Bonnefont-en-Comminges, Trie-en-Bigorre, and Froville—that were incorporated into the modern museum building. The result is not a copy of any particular medieval structure but an ensemble of spaces, rooms, and gardens that provide a harmonious and evocative setting in which visitors can experience the rich tradition of medieval artistic production. Just as cloisters provided sheltered access from one building to another within a monastery, here they act as passageways from gallery to gallery. They provide as inviting a place for rest, contemplation, and conversation as they did for their original monastic population.
Much of the sculpture at The Cloisters was acquired by George Grey Barnard (1863–1938), a prominent American sculptor and avid collector of medieval art. While working in rural France before World War I, Barnard supplemented his income by locating and selling medieval sculpture and architectural fragments that had made their way into the hands of local landowners over several centuries of political and religious upheaval. He kept many pieces for himself and, upon returning to the United States, opened to the public a churchlike brick structure on Fort Washington Avenue filled with his collection—the first installation of medieval art of its kind in America.
Through the generosity of the philanthropist and collector John D. Rockefeller, Jr. (1874–1960), the museum and all of its contents were acquired by the Museum in 1925. By 1927, it was clear that a new, larger building would be needed to display the collection in a more scholarly fashion. In addition to financing the conversion of 66.5 acres of land just north of Barnard's museum into a public park—inside which the new museum building would be located—and donating seven hundred acres of additional land to the state of New Jersey across the Hudson River to ensure that the view from The Cloisters remain unsullied, Rockefeller contributed medieval works of art from his own collection (including the celebrated set of seven South Netherlandish tapestries depicting "The Hunt of the Unicorn") and established an endowment for operations and future acquisitions.
The new museum building was designed by Charles Collens (1873–1956), the architect of New York City's Riverside Church, in a simplified, paraphrased medieval style, incorporating and reconstructing the cloister elements salvaged by Barnard. Joseph Breck (1885–1933), a curator of decorative arts and assistant director of the Metropolitan, and James J. Rorimer (1905–1966), who would later be named director, were primarily responsible for the interior. Balancing Collens's interpretation with strict attention to historical accuracy, Breck and Rorimer created in the galleries a clear and logical flow from the Romanesque (ca. 1000–ca. 1150) through the Gothic period (ca. 1150–1520). The Cloisters was formally dedicated on May 10, 1938. The Treasury, containing sumptuous objects created for liturgical celebrations, personal devotions, and secular uses, was renovated in 1988. The galleries in which the seven tapestries depicting "The Hunt of the Unicorn" are hung were refurbished in 1999.
The Jewish Daily Forward Building at 175 East Broadway was built in 1912. The Forward relocated to midtown in 1974, where it remains, and was succeeded by a Chinese church. The building was into a 39-unit apartment complex in 1999.
Taking the name of a successful Socialist paper in Berlin, the Yiddish-language Daily Forward was first published in 1897 serving the swelling working-class immigrant population in the area. Abraham Cahan, the first editor, fled Russia after revolutionary activities. It was under his direction that the 8-page paper became more than just a broadside of political ideology, choosing to address “daily life” and local news. By the opening of the building, in the same year Socialist Eugene Debbs garnered 901,000 votes in the Presidential election, circulation had reached 120,000. The 1920’s saw circulation peak at 275,000, generating assets over $1MM, allowing the Forward to donate tens of thousands of dollars a year to labor and charity organizations. Laws in 1924 and 1929 restricted immigration eventually weakened the paper’s reach and by 1939 circulation had dropped to 170,000. Despite this, the Forward enjoyed a reputation as a literary paper attracting contributors like Isaac Bashevis Singer, Elie Wiesel and Art Spiegelman. In 1963, an English supplement was launched and today it prospers as a weekly with a circulation of 45,000 in English, Yiddish and Russian.
A popular story was that the building was built in reaction to the Capitalist symbolism of the nearby Jarmulowksy Bank Building, but the construction started one year earlier. Designed by George Boehm, the 11-story midblock building still towers over the shorter houses and tenements in the area. Boehm would reuse the cream-and-tan exterior and delicate terra cotta design a few laters for his Chalif Dancing School (163 West 57th St). Above the second floor, a series of relief busts depict four famous socialists, including Karl Marx and Friedrich Engels. Above them two oversize reclining figures in classical dress against a blue background flank a torch, an image that runs through the building's decoration.
The Forward Building was designated a landmark by the New York City Landmarks Preservation Commission in 1986.
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(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Alongside newspaper supplements like this one, the Weekly Freeman and the Freeman's Journal were very keen on publicising "Mr. Davitt's Story of the Boer War" as evidenced by many adverts, e.g. one from the Freeman's Journal on Wednesday, 8 May 1901. It called The Boer Story of the War by Mr Michael Davitt, the Publication of the Year. It promised "photographic and other sketches of battles, leaders, war scenes, incidents, councils, camps, prisons, trenches, etc., and portraits of noted Boer officers and commanders..."
Date: Saturday, 11 May 1901
Size: 41.5 x 28 cm
Printed by: The Weekly Freeman
NLI Ref.: WEEKLY FREEMAN 1901 MAY 11 (A)
Reproduction rights owned by the National Library of Ireland
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Tugboat Comet pushing petroleum barge Eva Leigh Cutler upbound on the Hudson River near Newburgh, NY
Built in 1977, by Modern Marine Power, Incorporated of Houma, Louisiana (hull #16) as the Clarion.
In 1978, she was acquired by Gulf Mississippi Marine where she was renamed as the Gil Hebert.
In 1999, she was renamed as the Gulf Comet.
The tug was then acquired by Dann Ocean Towing of Tampa, Florida where she was renamed as the Comet.
She is a twin screw, model bow ABS Maltese Cross A-1; Maltese Cross AMS Towing Service certified tug. Powered by two EMD 12-645-E7B diesel main engines with Reintjes WAV 2600 reduction gears via 10 1/2(in) shafts turning two 116(in) diameter by 99(in) fixed pitch five bladed propellers for a rated 4,610 horsepower.
Her electrical service is provided by two Delco 75 KW generators driven by two 6V-71 Detroit Diesel engines. The tug's capacities are 115,433 gallons of fuel oil, 364 gallons of Hydraulic Oil, 364 gallons of lube oil, 364 gallons of gear oil, 1,421 gallons of potable water (supplemented with watermaker), 12,610 gallons of wash water, 3,105 gallons of sewage, and 1,360 gallons of waste oil.
The towing gear consists of an INTERcon 7319 1E 00 towing winch outfitted with 2,000(ft) of 2(in) wire as the primary towing wire with a secondary 2,000(ft) of 2(in) wire.
Vessel Name: COMET
USCG Doc. No.: 580823
Vessel Service: TOWING VESSEL
IMO Number: 7726550
Trade Indicator: Coastwise Unrestricted, Registry
Call Sign: WCZ3965
Hull Material: 16
Hull Number: STEEL
Ship Builder: MODERN MARINE POWER, INC.
Year Built: 1977
Length: 108.4
Hailing Port: WILMINGTON, DE.
Hull Depth: 16.7
Hull Breadth: 32
Gross Tonnage: 193
Net Tonnage: 131
Owner:
COMET TOWING COMPANY
3670 S WESTSHORE BLVD
TAMPA, FL 33629
Previous Vessel Names:
Clarion, GIL HEBERT, GULF COMET
Previous Vessel Owners:
Gulf Mississippi Marine
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