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For my Advanced Photo Techniques class I had to replicate a photo done by someone I admire.
These photos are inspired by Joel Robison's photo Night-Time Stories.
Any critiques or criticism would be greatly appreciated. I'm really happy with how these turned out.
This technique can be expanded to use anything that has an axle hole in it or axle holder and then has a rotatablepin below it
Members of the Ole Miss Pride of the South drum line perfect their technique during a recent practice session. Photo by Robert Jordan/Ole Miss Communications
The art of Turkish tiles and ceramics occupies a place of prominence in the history of Islamic art. Its roots can be traced at least as far back as the Uighurs of the 8th and 9th centuries. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.
The Anatolian Seljuks were of course influenced by the cultural heritage they encountered in their new homeland, adapting them to the techniques that they had brought with them from the Iranian plateau. This resulted in a distinctively Anatolian style of Seljuk architecture that was in full bloom by the 13th century. Seljuk mosques, medreses (theological academies), tombs, and palaces were lavishly decorated with exquisite tiles. Examples of such tile-clad structures can still be seen in the Seljuks' capital city of Konya as well as in the cities of Sivas, Tokat, Beysehir, Kayseri, Erzurum, Malatya, and Alanya.
The most frequently-encountered type of architectural decoration during the Anatolian Seljuk period involved the use of glazed brick in which glazed (and also unglazed) bricks were arranged to produce a variety of patterns, mostly on the facades of buildings. Turquoise was the most frequently-used color for glaze although cobalt blue, eggplant violet, and sometimes black were also popular.
A type of architectural decoration used in conjunction with glazed brick was hexagonal, triangular, square, and rectangular monochrome tiles. Unlike brick, these were preferred for indoor applications and were suitable for a multiplicity of geometrical arrangements. Tiles were made from a paste that was harder and more yellowish than that of bricks. Turquoise, cobalt blue, violet, and (sometimes) green glazes were used. There are rare examples with traces of gilding.
www.turkishculture.org/pages.php?ChildID=582&ParentID...
www.turkishtileart.com/english/history_of_turkish_tile_ar...
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
Technique shown on Digital Photo Magazine 149, Dec/2011,
3D image cube, applying my own images and processing.
Photos were taken at Trevarno Gardens, Cornwall.
Technical Meeting on Advanced Techniques for Equipment Testing Under Field Conditions (BRD TM). Division of Nuclear Security, IAEA Seibersdorf. 13 June 2019
Figure 12. Two technical participants attempt to locate hidden sources during a field exercise.
Photo Credit: Dean Calma / IAEA
Stamping with Bibiana: The Bokeh Technique with Distress Inks and fairytale, blooming happy birthday dies from memory box, step by step at the blog;
stampingwithbibiana.blogspot.com/2015/03/the-bokeh-techni...
Another angle, another technique.
No filters! Just black card!
1920 x gazillion wallpaper size here (one of the few times that I upload a big version :-p): www.flickr.com/photos/cl191/5959642955/sizes/o/in/photost...
www.ebay.com/itm/Judo-seminar-Hiroshi-Katanishi-8-dan-201...
www.youtube.com/user/kallistafilm/
Hiroshi Katanishi is an expert of the European Judo Federation. Specialist of the highest class. Conducts seminars around the world in the framework of the project "Improve your club". Winner of the 8th dan. This is the most sought-after expert compared to 20 other specialists working on this project. It is easier to name the countries where he has not been yet than to list his seminars. It should be noted that the judo technique, which he demonstrates at the seminar, is completely based on the Japanese school of education. Date of birth March 11, 1952. At the time of the seminar in Canada (Vancouver), he was 65 years old, although it is difficult to believe in it.
Judo technique, which Katanishi analyzed at the seminar.
It should be noted that all technical actions were in the standing position from the NAGE WAZA section.
Disc 1 - the technique of the tricks okuri-ashi-barai, ko-uchi-gari, okuri-ashi-harai.
Disk 2 - the technique of o-uchi-gari tricks.
Disk 3 – the technique of ippon-seoi-nage tricks.
Disk 4 – the technique of okuri-ashi-barai, de-ashi-barai, ko-uchi-gari tricks.
Disk 5 – the technique of o-soto-gari tricks.
Disk 6 – the technique of o-soto-gari tricks.
In addition to these tricks, another technique was considered. Katanischi is a good demonstrator. He always supports all his explanations with a real throws. The seminar is designed for coaches working with children of 8 years and older.
Short biography of Hiroshi Katanishi.
8th dan is an expert at Tenri University (Japan).
Technical consultant of the Swiss Judo Federation, as well as technical consultant of the judo magazine "Lesprit-ju-judo". H. Katanishi teaches Judo in Lausanne, Switzerland.
03.11.1952 - Born in Kobe - Hero - Japan.
1970 - 1974 - Studied at the University of Tenri in Japan. 1974 - 1976 - coach of the French team.
Since 1976 - professional trainer and technical director of JKL.Since 1978 - an expert of Swiss dana in judo and jiu-jitsu.1979 - 1985 - National coach of the Swiss women's team.1992 - 1997 - coach of the Swiss national men's team.Since 1999 - Technical Advisor to the Swiss team.Currently he regularly holds seminars on judo techniques and methodics.
Look: Judo seminar
Time: 331 min. / 6 DVDs
Author: Pavlov D.
Language: French. English.
Format: PAL (DVD: 0/All)
Year: 2017
Shooting: Canada
For this i used a black card to cover the front of the lens. Within the black card i cut out the shape of a heart so that once the correct aperture was set, the blurred lights in the background would be presented accordingly
Found in a bin of parts left over from some old/abandoned WIPs.
Pretty standard fair but I thought someone might enjoy seeing it.
Moment between Moments…
There’s nothing cuter than a baby elephant. . Elephants will give you a different exposure in its color depending on the mud they’ve been rolling in and yet you have to figure out how they are in relationship to gray that day (I use the grey card reading). Light, understanding the natural light.
Momento entre Momentos…
Não há nada mais fofinho do que um elefante bebê. Os elefantes dão uma exposição diferente na sua cor, dependendo da lama em que se lambuzaram, no entanto você tem que calcular de como as sua cores estão em relação ao cinza daquele dia (uso a leitura do cartão cinza). Luz, compreendendo a luz natural.
Makalolo Plains - Hwange National Park
Planícies de Makalolo - Parque Nacional de Hwange
ZIMBABWE – ZIMBÁBUE
Camera: Nikon F5
Film Type: Ektachrome Color Reversal Film E100
Lens: AF-S Zoom Nikkor 500mm
Weather Conditions: Clear- Winter + 10°C or 50F
Time of Day: Noon around 03:30 pm
Lighting Techniques: Natural light
I used a tripod, mounted in a 4X4 open jeep
And today, I will reveal to you a new technique I have discovered, for street photography of people - you don't need any of that 'courage' or 'skill' crap to do it! That's right - no skills required!.
So you start by shortening your camera straps. Shorten it so that when you hang it around your neck, it goes down to nipple level. The camera must be as high up as possible so that not all your shots are looking up.
Next is about cradling the camera - you need to hold the camera in a way that has your thumb on the shutter button with your fingers gripping the side of the camera. This gives the appearance of you casually holding the camera as you walk around.
You then need a busy street. This obviously precludes places like Derby where nobody lives. The street has to be one of those main shopping areas where it's crowded - you can then blend in and you won't be noticed that much.
And finally, to take the photo, you need to have a good sense of direction. Point the camera at people as you walk around by swiveling it with your thumb. Point towards them, make a best approximation, shoot.
The photos won't be as good as doing it the proper way, but the point of this is to get a feel of walking around streets and taking photos of people. And a small percentage of the photos will be worth showing. In my case, it was this photo above.
The rest of the crappy photos are in the comments below.
16 HARDWICK Ryan (usa), ROBINCHON Zachary (can), HEYLEN Jan (bel), Proton Competition, Porsche 911 RSR - 19, during the Administrative Checking and scrutineering of the 24 Hours of Le Mans 2023 on the Place de la République from June 2 to 3, 2023 in Le Mans, France - Photo Frédéric Le Floc’h / DPPI
Example of noise reduction using multiple exposures.
These are crops at 800% from the sky of a photo taken in daylight with CirPol, ND and ND Grad filters giving a 1.3 second exposure.
A digicam owner would no doubt be pleased with the result in frame one, but the result from averaging 4 frames from a DSLR is quite remarkably smooth! Reducing the noise effectively increases the dynamic range, giving more scope for post-processing.
See Sean McHugh's wonderful tutorials for more information.
Far from the most interesting shot I've ever taken, but this was mainly an exercise in HDR processing, which I haven't really done in a while. Comments appreciated!
see larger here
Rescued by the DDC at the Eagle's Club Swap Meet just off Lombard in North Portland. One fine morning; September 28th, 2008, to be exact.
Asking price: 25 whole cents.
MORE STUFF LIKE THIS: Draplin Design Co.
YOU NEED THESE: Field Notes
Just a table scrap creation. I wanted to make something using brick separators and here it is, an interesting Sci-fi floor technique.
7DOS - Week #6 Shine - Technique Tuesday - again one from my archive, sorry, this time LG with a shiney crown, shot from above.
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ODC, P is for … Finally, a smile of sorts from my poorly Princess. She doesn't like to show her tooth-gaps so it's seldom a full smile, but I take what I can get these days. I try to get regular photos for both my sake and for various family members scattered around the world, so I took full advantage of her being less than usually active today and thought this might make a nice P for Princess and Something Sweet (call me sentimental, haha).
Neon Techniques & Handling, Samuel C. Miller, 1988 edition.
I went through a period in my sign painting career where I became enamored with neon. I knew an old glass bender named Jimmy (J.R.) Rogers who started teaching me to create neon. During that time period I bought this book to learn from. While I have done a little glass bending under the tutelage of Mr. Rogers, I must confess I never learned enough to make a living at it.
It's pretty cool how you bring out the shadows and highlights by blending with the underlying layer. The combination of all the techniques applied really helps to give the final 'pop'.
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Some other albums of mine I hope you'll enjoy:
Bokeh
Twitter ID: erraticspace
Tumblr ID: space-rbo
Instagram (opens in same page!)
Instagram: My cat + friends
Instagram: Me - Non-cat stuff.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
A wig I made with needle felt technique. I used teeswater locks, combed those and felted them onto a piece of bridal tule cut into a shape based on a wig pattern.
It's very labour intensive and I'm sure there are better ways to make a wig with long locks. It was still an interesting experiment.
The wig needs some styling, though.
Here shown on my Narae N406.
During conventional plant breeding genes are mixed and newly assorted. This results in non-desired traits being inherited together with the trait of interest. Several generations of backcrossing to the elite variety are needed to remove these from the new variety.
Some individuals have got a technique for breaking down a problem, laying it out in its easiest, most rudimentary sort. Comic and podcaster Adam Carolla did just that recently when he unleashed what a lot of conservatives will hail an acerbic but painfully precise debunking with the Occupy movement and its self-ascribed motivations. The almost 10 moment long lampooning of America’s new “f-king self-entitled monsters“ who ”think the world owes them a living” is peppered with extremely powerful language, nevertheless, Carolla’s observations are worth listening by way of for the finish.
Amongst the various highlights in Carolla’s rant, he asks why the very best “1 percent” of America paying 50 % of all earnings taxes within the country just isn't great adequate for the Occupiers. He also observes how “envy” in no way ahead of existed between Americans the way it does now, and that it, along with “shame” performs a vital part within the Occupiers’ determination and self-justification.
Reflecting on how things used to be “back while in the day,” Carolla states:
“You took men who constructed some thing, and you also mentioned ‘there’s a guy who completed something.‘ You did not say, ‘that guy did not shell out his honest share.’ That man compensated numerous dollars final yr, so you paid shi*t and you are pissed at him?”
You are able to hear Carolla’s podcast underneath. We caution yet again, he employs really sturdy language:
Relating to the “envy” of Occupiers, the media persona notes that men and women accustomed to look up to those who “accomplished” something and constructed corporations.
“It’s this envy and shame, and there’s gonna be a lot far more of it,” he warns. “It accustomed to be back within the day, a father was strolling his son and they’d see a man go by in his Rolls Royce. There goes Mr. Jenkins. Appear around him.’ What do we do now? Oooh, look at him. Does he need that auto? Why does he must generate that vehicle? Let us toss a rock at it.”
“That’s not gonna allow you to get from your Chevette,” Carolla adds sarcastically.
Reflecting on the time when people were rewarded for their actual accomplishments in lieu of for absolutely nothing in any respect, Carolla laments, “We’re coping with the initial wave of participation trophies…everybody’s a winner, there isn't any losers.”
He rhetorically asks why the “slowest, fattest guy on the team” would are worthy of an MVP award. In the approach of gratifying individuals undeserving, Carolla states that “we designed a bunch of f**king self-entitled monsters.”
“We’re coping with the first wave of these f-cking a**holes now,” he blasts in reference towards the Occupy protesters. The variety who think “my personal fecal make a difference doesn’t stink.”
Carolla also strongly suggests the Occupiers should “find a mirror” and discover why they're not “doing better” in daily life as opposed to appear at other folks.
For that most portion, Carolla maintains that even though Capitalism does veer off class at times, it's the “best method.”
Update: This is not the first time Carolla has spoken out versus the Occupy Motion. Beneath, listen to yet another clip for the duration of which the comedian lambastes the protesters:
From The Blaze.com
Kangaroo care is a technique practiced on newborn, usually preterm, infants wherein the infant is held, skin-to-skin. This provides both physical and emotional benefits to baby and family. Kangaroo care for pre-term infants may be restricted to a few hours per day, but if they are medically stable, and the family is educated in the care, that time may be extended. This care compliments neonatology. Doctors and Nurses check the progress and weight of the premature babies. Programa Madre Canguro Integral - Fundacion Canguro. Universitario San Ignacio Hospital. Universidad Javeriana. Programa Madre Canguro Integral. Bogota, Colombia.
Gesso Resist technique I show along with some others in my new backgrounds video: www.youtube.com/watch?v=r-_e_pNDvyU
Nia is a 30 year old fitness practice blending dance, martial arts and yoga. It is sweaty, inspiring and my passion. www.nianow.com
On the old podracer. There were a couple techniques i thought were good that I had come up with for this build...about 2 and 1/2 yrs ago...and I liked my Boba visor one. Figured it was worth a couple shots. That and the power coupling beam.
For materials used go to:
piascreativeworld.blogspot.dk/2014/01/template-techniques...
Handmade card made with stencil from Studio Calico, Stamps from My Favorite Things and Simon Says Stamp, Shadow inks from Hero Arts.
Improved carbonization techniques training.
Photo by Fiston Wasanga/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
(8712annabyfirealmost7oclockoil1)
Anna was about 3½ years old here. For the *Soul of the Photograph group, I watched Anna many times and many hours in this house. Ironically, a little over 12 years later, this living room, the whole house, yard, out-buildings and vehicles were destroyed by the Holiday Farm/McKenzie Fire. Thank God, Anna and family were not at home. September of 2020 when roughly 800 homes and 250 businesses were destroyed.
It is ironic, but not necessarily artistically interesting, and I may not post it; but the wood stove you see in this picture (bringing warmth and comfort) was pretty much blown up by the heat in year 2020, not from a fire inside it, but from outside of it. One of the photos I took after the above mentioned fire, shows what is left of it in a pile of rubble and ash. Then again, I may post it later, because it is profound, artistic, interesting, evokes emotion and so on. I haven't decided yet.
See Round Window Back (2) for full details of how this is built. It's a technique for producing round windows to be used to replicate some elements of Fatimid and Mamluk (i.e. medieval Egyptian) architecture.
After purchasing the fine book by Paul Jackson "Folding techniques for designers," I decided to fold the tessellations by Ron Resch. Not that they are in the book but the figure of Ron Resch has always intrigued me. Apart from folding paper, which is always a good thing, Ron Resch was an architect, that perhaps is also nice ... I do not know, I'm an architect and sometimes I like it and sometimes I don't ... but in general I feel akin to other architects, not all architects. However Ron Resch was an architect here he is in beautiful pictures uploaded by Eric Gjierde. Look at that face: the face of an architect; my father was an engineer and when I was a child, all his architects friends, tremendously resembled Ron Resch ... the beard had to be some kind of uniform... unfortunatly I cannot wear it. But Ron Resch is not only famous for his paper tessellations, Ron Resch did other jobs, first of all he was a teacher and a researcher at the university and... consultant for the geometry of the spaceships of Star Trek. This is stuff that has always intrigued me and also I've always envied. I do not know what I would give to do that job. I have no idea about how one becomes a consultant for the design of the geometry of the spaceships, and end up working with Isaac Asimov: well! Is there a degree? Do you send your curriculum to a certain emailing? No, because I am an architect and I have some experience in the field of geometry ... not to mention my experience in Star Trek! That, of the three subjects is certainly the one that I know better.
In his spare time Ron Resch was also an artist and is known for having built a work of art known as "the world's largest Easter egg ... and who knows me by name and surname will well understand that at this point my respect for Ron Resch is now skyrocketing. Unfortunately on Ron Resch are very few reports. There is something on Wikipedia in the "origami" entry, and there is also an interestingarticle on their site, by Erik and Martin Demaine, unfortunately the links to the website of Ron Resch have been disabled and substituted with something else I must advice to NOT try to connect to, unless you are adult (very adult... actually... at first sight I did not even understand so well what it was)... unuseful to say that I would love to have back the real Ron Resch's site. The tessellations are a real fun to fold, according to GeneratorX Ron Resch patented these tessellations. I do not know whether it is true that you can patent such a simple fold, I think that rather than patent the fold he patented the structures based on this tessellation, any way thanks (many thanks!) to Eric Gjerde we can link to the patent (I haven't read it yet... so I'm not sure about what I'm saying) .... in any case the pattern is quite easy and as wrote here others arrived independently at the same result ... with all the other regular tessellating polygons... as it was probably not easy but obvious. Finally I love the tactom's and Daniel Piker's video and I love the research developed by responsive kinematics ... I wish I did it myself.
I now want to fold a really big tess ... I have the paper, but not the time ... in any case will be a job to do with the warm season :-))) while waitng I'll continue my experiments on the A4 ... there will be time for A0 or better A0s. I wish all of you to be polyhedric :-))