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Just started getting my camera out again thanks to a friend at work who wanted me take a picture of his wife who was a torch bearer for the 2012 olympics.
This is Sue who ran the streets of eastbourne with her torch as part of the 2012 torch route across the UK.
This is the first time I have taken pictures of someone other than my immediate family so I was a little nervous but sue was great fun and relaxed, Sue loved the spotlight with everyone asking to have their picture taken next to her and the torch.
I took some pictures in the underground walkway that leads from Princes park to the Sovereign swimming pool as I thought this would act as a nice frame.
I had a Nikon sb600 to my camera left on a light stand with a white umbrella and set to 1/2 power and 70mm.
I placed a Jessops 360 AFD behind sue on a light stand and with a yellow gel, this was to create a golden rim light around her hair to add to the olympic theme with the golden torch and writing on her clothing, this flashgun was set at 1/2 power.
Loads of people was walking past and watching so once again I was nervous and dying to come away with some good shots.
After the walkway we headed on to the beach to get some more pictures.
Sue and Steve gave me their blessing to use the shots so thanks guys for giving me the opportunity to take these and use them as well, hope you like them.
Taken With
►Nikon D300s
►Nikon 16-85 @28mm
►Handheld
►White Balance set to flash
►1 x Nikon SB600 + Lightstand and White Umbrella
►1 x Jessops 360 AFD with Lightstand + Yellow Gel
P.s I would like to thank my daughter who came along and acted as my assistant carrying things and holding stands and stuff.
Also I've just got a load of gels for my flashguns which is exciting, some bought but some homemade so will share the details of this with you soon.
Thanks for looking and please press 'L' on your keyboard to view on black
“Byartho praner aborjona puriyey fele
Agun jwalo, agun jwalo
Ekela raater ondhokar-ay
aami chai pother alo
Agun jwalo, agun jwalo”
~ Rabindranath Thakur , my towering hero.
There are things in me that prevent me from being myself. There are my horrendous failures, lofty ambitions and the utterly misplaced belief in my abilities. If there was one thing I could do to these litters of my soul… I would burn them all. I would burn the darkness within that often extends to my surroundings and dims my senses. I would light up all my failures and make enough light to keep me warm through another cold night. I would ignite all my ambitions to make myself a well-lit hermit’s hut. Most of all, I would burn the burning desire to be somebody I am not and never will be. Then may be… I will be me.
Audaciously, here are the ever meaningful words of the great poet translated to the best of my ability:
“To burn the litter of the failed soul
Torch the flame, torch the flame
In the melancholic darkness of the night
I want light for my path
Torch the flame, torch the flame... ”
285/365 - "Human Torch"
Last night I attempted to photograph the meteor shower at Cave Point Beach in Door County. Shooting falling stars is a lot like shooting lighting: you set up your camera, get your composition ready, open the shutter for a lengthy period of time, and hope something happens within your frame. Last night I saw around a dozen or so falling stars shoot through the sky, but unfortunately didn't capture any with my camera.
I'm perfectly fine with that. For one thing, it was absolutely a beautiful way to spend 3 or 4 hours on Saturday night/Sunday morning. There's barely any light pollution out there, so you can just see thousands of stars once your eyes adjust. I had a great time messing around with long exposures, photographing the Milky Way (images to come), and having some fun doing some light painting. For this shot, I decided to turn myself into a zombified version of the Fantastic Four's Human Torch. Even though this doesn't show the Milky Way or any shooting stars, this is my favorite shot of the night.
This was a 90 second exposure.
(And it seems like in a handful of my images, there's a subtle green glow just above the horizon. I'm not sure if these were faint northern lights or just the glow of the sky...)
Good times!
The universe is awesome.
(08/11/13)
Long exposure light painting with torches in a dark tunnel.
This is IkonN 5100 on the torches.
I think this is the movements he makes when he actually dances to music!
Some summer evenings we would wait until dusk on the valley floor with our torches to see what creatures would emerge. There were hundreds of bats flying about over our heads, and always a fox, and a heron would usually fly low towards the ponds making its loud, raucous call as it glided just above the small trees.
06.10 -- photo by SONJ -- Every year, law enforcement carry the Flame of Hope throughout New Jersey. This year, more than 3,000 officers cover some 750 miles in the garden state, joined by Special Olympics athletes, families, and students, helping to raise funds and awareness for Special Olympics New Jersey.
With all the rain we've been receiving, there's plenty of standing water. I'm watching out for mosquitoes this summer!
The Château de Chenonceau is a French château spanning the river Cher, near the small village of Chenonceaux, Indre-et-Loire, Centre-Val de Loire. It is one of the best-known châteaux of the Loire Valley.
The estate of Chenonceau is first mentioned in writing in the 11th century. The current château was built in 1514–1522 on the foundations of an old mill and was later extended to span the river. The bridge over the river was built (1556-1559) to designs by the French Renaissance architect Philibert de l'Orme, and the gallery on the bridge, built from 1570 to 1576 to designs by Jean Bullant.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. Other than the Royal Palace of Versailles, it is the most visited château in France.
The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction and in 2007 received around 800,000 visitors.
In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. He rebuilt a château and fortified mill on the site in the 1430s. Jean Marques' indebted heir Pierre Marques found it necessary to sell.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son [fr] by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river.[8] In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.
After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book Les plus excellents bastiments de France. If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."
On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.
In 1733 the estate was sold for 130,000 livres to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt, whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze [fr ], a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940.[20] It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.
In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
Chenonceaux is a commune in the French department of Indre-et-Loire, and the region of Centre-Val de Loire, France.
It is situated in the valley of the river Cher, a tributary of the Loire, about 26 km (16 mi) east of Tours and on the right bank of the Cher.
The population of permanent residents hovers about 350, but there is a large influx of tourists during the summer months because the village adjoins the former royal Château de Chenonceau, one of the most popular tourist destinations in France. The château is distinctive in being built across the river. The village is also situated in Touraine-Chenonceaux wine-growing area, and bordered on its northern edge by the Forest of Amboise.
Name
The difference in spelling between the Château's name (Chenonceau) and the village (Chenonceaux) is attributed to Louise Dupin de Francueil, owner of the château during the French Revolution, who is said to have dropped the "x" at the end of its name to differentiate what was a symbol of royalty from the Republic. As a result of her good relations with the village, the Château was spared the iconoclastic damage suffered by many other monuments during the Revolution. Although no official sources have been found to support this claim, the Château has ever since been referred to and spelled as Chenonceau.
Mme Dupin hosted the philosopher Jean-Jacques Rousseau in Chenonceau as tutor to her children, and among her descendants was the writer George Sand, born Aurore Dupin.
Philibert de l'Orme (pronounced [filibɛːʁ də lɔʁm]) (3-9 June 1514 – 8 January 1570) was a French architect and writer, and one of the great masters of French Renaissance architecture. His surname is also written De l'Orme, de L'Orme, or Delorme.
Biography
Early career
Philbert de l'Orme was born between 3 and 9 June 1514 in Lyon. His father was Jehan de L'Orme, a master mason and entrepreneur, who, in the 1530s, employed three hundred workers and built prestigious buildings for the elite of the city.[3] When Philibert was nineteen he departed Lyon for Italy, where he remained for three years, working on building projects for Pope Paul III. In Rome he was introduced to Cardinal Jean du Bellay, the Ambassador of King François I to the Vatican, who became his protector and client. Du Bellay was also the patron of his friend Francois Rabelais. In about 1540 de l'Orme moved to Paris, and was soon occupied with royal projects.
Royal architect of Henry II (1548-1559)
On April 3, 1548 he was a named architect of the King by Henry II. For a period of eleven years, he supervised all of the King's architectural projects, with the exception of changes to the Louvre, which were planned by another royal architect, Pierre Lescot. His major projects included the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley; the royal Château de Madrid in the Bois de Boulogne; the Château de Vincennes, and major modifications to the Palace of Fontainebleau.
He also made a reputation as a writer and theorist, and as an innovator in building techniques. He invented a new system for making the essential wooden frameworks for constructing stone buildings, called charpente à petits bois, which was quicker and less expensive than previous methods and used much less wood. He demonstrated it before the King in 1555, and put it to work in construction at the new royal Château de Montceaux and at the royal hunting lodge La Muette [fr] in the Forest of Saint-Germain-en-Laye.
Out of favor - architectural theorist (1559-1563)
The death of Henry II of France on July 10, 1559 suddenly left him without a patron and at the mercy of rival architects who resented his success and his style. Two days later, on 10 July, he was dismissed from his official posts, and replaced by an Italian artist and architect, Francesco Primaticcio, whose work was much in fashion. He had joined a religious order, and decided to turn his attention to meditation, scholarship and writing. He made another trip to Rome to inspect the new works of Michelangelo. Beginning in 1565 wrote the first volume of a work on architectural theory, which was scientific and philosophical. It was published in 1567, and was followed by new editions after his death in 1576, 1626 and 1648.
Royal architect again (1563-1570)
Under Charles IX and Catherine de Medici, he returned to royal favor. He was employed on the enlargement of the Chateau of Saint Maur (1563) and, along with Jean Bullant, on additions to the Tuileries Palace (1564). He died in Paris in 1570, while this project was underway.
Reputation
In the 17th century, during the period of Louis XIV style that followed his death, his reputation suffered. The grand stairway that he built at the Tuileries Palace was demolished in 1664, as was his Château de Saint-Léger in 1668, to make way for classical structures. In 1683, he was denounced by François Blondel of the Royal Academy for his "villainous Gothic ornaments" and his "petty manner". Nonetheless, his two major theoretical works on construction and design continued to be important textbooks, and were regularly republished and read.
His reputation rose again in the 18th century, through the writings of Dezallier d'Argenville, who wrote in 1787 that he had "abandoned the Gothic covering in order to redress French architecture in the style Ancient Greece." D'Argenville wrote the first biography and catalog of works. Though few of his building survived to be studied carefully, later important academic works on de l'Orme were written in the 19th and 20th centuries by art historians including H. Clouzot and Anthony Blunt.
One of De l'Orme's primary accomplishments was to change the way architects trained and studied. He insisted that architects needed formal education in classical architecture, as well as in geometry and astronomy and the sciences, but also needed practical experience in construction. He himself was an accomplished scholar of ancient Greek and Roman architecture, as well as a humanist scholar. He argued that architects needed to be able to design and manage every aspect of the building, from the volumes to the lambris to adding up the cost, making detailed three-dimensional drawings of vaults, judging if wood was dry enough, and knowing to stop digging the foundation when the first sand was encountered. He had scorn for those architects who could design a facade but had no knowledge actual construction. His opponents scorned him for his background as the son of a masonry contractor. He was referred to by Bernard Palissy as "The god of the stone masons", which deeply offended him.
His other major accomplishment was to resist the tendency to simply copy Italian architectural styles; he traveled and studied in Italy, and borrowed much, but he always added a distinctly French look to each of his projects.
The first major building of de l'Orme was the Château of Saint Maur (1541), built for the Cardinal Jean du Bellay, whom de l'Orme had met during his time in Rome. Its plan showed the influence of the Italian villas; and, like the Italian buildings, it was decorated with frescoes.
Much of his work has disappeared, but his fame remains. He was an ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Château d'Anet (1552–1559), built for Diane de Poitiers, the plans of which are preserved in Jacques Androuet du Cerceau's Plus excellens bastimens de France, though only part of the building remains. His designs for the Tuileries (also given by Androuet du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceau and other famous châteaux; and his tomb of Francis I at Saint Denis Basilica remains a perfect specimen of his art.
The most easily viewed work of de l'Orme in Paris is the court facade of the Chateau d'Anet, which was moved to Paris after a major portion of the chateau was demolished, to illustrate for students the major works of the French Renaissance. It is attached to the front wall of the chapel of the Ecole des Beaux-Arts, and is visible from Rue Bonaparte.
Partial list of works
Château de Saint-Maur (1541), demolished in 1796
Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547)
Château d'Anet (1547-1555), built for Diane de Poitiers. Only one wing remains.
Plans of the Chapel of Saint-Éloi, Paris (1550-1566), (Long attributed, but not documented. Only a portion of the facade remains)
Attribution du château d'Acquigny
Facade of the residence of the Vicomte of the Duchy of Uzès (attributed)
Completion of Sainte-Chapelle at the Château de Vincennes (1552)
Château de Villers-Cotterêts, southern portion( 1547-1559)
Chapel of the Château of Villers-Cotterêts (1552-1553)
Royal Château of Saint-Léger-en-Yvelines (demolished)
Château de Meudon (attributed)
Château de Montceaux
Château de Thoiry (1560s)
The bridge upon which the Château de Chenonceau is constructed
Portions of the Louvre
Portions of the new Chateau of Saint-Germain-en-Laye
Portal of Château d'Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau.
Roofs of the towers of the Château de Bonnemare.
Torch the Dragon alongside Playa Alchemist's Grand Pyramid
For more Burning Man images follow my decommodified feed at www.instagram.com/jamenpercy.burn
On 8/29/2014, I ran by the BNSF Topeka shops and found the nicely torched AC4400CW #5676 in the back, showing off a nice hybrid of torched, primered and untouched parts, though surely they'll all end up H3 soon enough.
This torch belongs to one of the official runners in San Francisco. Please no faves or invites, I don't want any protests on my stream...
Etlingera elatior (also known as Torch Ginger, Ginger Flower, Red Ginger Lily, Torch Lily, Wild Ginger, Combrang, Bunga Kantan, Philippine Wax Flower, Xiang Bao Jiaing, Indonesian Tall Ginger, Boca de Dragón, Rose de Porcelaine, Porcelain Rose) is a species of herbaceous perennial plant[citation needed]. Botanical synonyms include Nicolaia elatior, Phaeomeria magnifica, Nicolaia speciosa, Phaeomeria speciosa, Alpinia elatior, Alpinia magnifica.
The showy pink flowers are used in decorative arrangements while the flower buds are an important ingredient in the Nonya dish laksa. In North Sumatra, the flower buds are used for a dish called arsik ikan mas (Andaliman/Szechuan pepper Spiced Carp)
It is known in Indonesian as bunga kecombrang or honje, Malay as bunga kantan and Thai as ดาหลา daalaa. In Thailand it is eaten in a kind of Thai salad preparation.
In Karo, it is known as asam cekala (asam meaning 'sour'), and the flower buds, but more importantly the ripe seed pods, which are packed with small black seeds, are an essential ingredient of the Karo version of sayur asam, and are particularly suited to cooking fresh fish.
The Huntington Library and Botanic Gadens. San Marino. California.
Removed from the Statue of Liberty in 1985 and moved from its interim space in the statue pedastal to the new Statue of Liberty Museum in 2018. The replacement torch held high by the statue is covered in gold leaf and illuminated by spotlights.
The face to the right of the photo is a full-scale replica of that on the statue.
The gem I had been waiting for was the much modified former Malta route bus EBY528 now registered SKR801G and one of two being used to promote Lloyds TSB on the Olympic Torch Relay.
Seen in Crewe this morning