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I used to think “Oh no I need to perfectly split this torso by the seams to swap out limbs to get an articulated doll” but nowadays I find it’s much easier to cut the torso up and ensure the articulated limbs already fit well in their sockets.
I keep forgetting how ridiculous the Liv torso joint is but it’s super big and annoying but I managed to pry the body apart so that’s a thing now and glued it onto the mermaid tail stump.
It’s mostly a proof of concept with my rerooted PJ head but as you can see I want to put a Mod era head on this body and make cute little mod dresses and stuff for her.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, on this fine summer day, we are following Lettice as she and Gerald head south-west through the London streets in Gerald’s little Morris*. Taking the Brompton Road, they drive through Belgravia and then Chelsea as Brompton Road becomes Fulham Road. They drive past the Brompton Cemetery and through the historic centre of Walham Green before going on through Fulham, finally turning south along the Fulham High Street. Passing the Hurlingham Club along the banks of the Thames they continue to go south.
As Gerald drives his Morris over the Thames on Putney Bridge, Lettice glances around her. “I thought you were taking me to buy a new hat, Gerald.”
“I am Lettice darling.” he replies good naturedly.
“But this isn’t Bond Street. Far from it, in fact.” she counters as they reach the south side of the bridge, and she takes in a semi-circle of tall two and three storey Victorian and Edwardian brick buildings to their right and the crenelled tower of a stone church on their left. “Where are you taking me?”
“For a woman who has lived in London for nearly two years, you haven’t strayed far from Mayfair, have you Lettuce Leaf?” Gerald observes with a smirk.
“Don’t call me that Gerald! You know how I hate it! If you weren’t driving this car, “ scowls Lettice. “I’d hit you with my handbag.”
“Think of this like your own personal tour of Putney.”
“Putney?” Lettice’s eyes grow wide. “You’re taking me to a hatters in Putney?”
“Don’t be such an elitist Lettuce Leaf.”
Sulking in her seat, clutching her handbag with her arms folded across her chest she mutters, “That’s rich coming from you, the man who bemoans middle-class money paying for the acquisition of his frocks.”
“Just sit back, relax and enjoy the view, darling.” Gerald replies breezily as he turns off the Putney High Street and into a tree lined avenue which Lettice reads as being Hazlewell Road.
The pair drive in silence for a little while, Gerald concentrating on where they are going and Lettice looking at the view as Gerald suggested from her vantage point in the passenger seat alongside him.
“The houses seem awfully samey here, don’t you think?” she asks as they pass double storey Edwardian villa after double storey Edwardian villa made of red brick with bay windows, set in neat gardens behind privet hedges or low brick fences.
“No more than Pimlico,” Gerald observes. “Just newer is all.”
Gerald’s Morris finally pulls up in front of one such Edwardian villa. Lettice looks out of her door at it. The villa looks exactly the same as all the others on that side of the street: red brick with crenelled bay windows upstairs and down to either side of a porticoed door. In fact, the portico is one of the few differences that distinguish it from its neighbours either side. It has an arched portico which matches the arch in the lunette above the white painted front door, whereas its neighbours have square porticos with crenelling that matches that along the tops of the bay windows. Two banks of chimneypots at either side of the villa rise from the steeply hipped roof of shingles and a central attic balconette with French doors is flanked by oriel windows.
“Now, I want you to be good, Lettuce Leaf!” Gerald cautions his friend with a wagging finger encapsulated by his Dents driving glove**. “This is the home of Harriet Milford. Her father was a family solicitor. He died last year, leaving her an orphan. The house he left to her, but with no other real inheritance. With no income, so to speak, she has taken in lodgers.”
Lettice screws up her face in horror. “Lodgers! You’ve brought me to a lodging ho…”
“I said behave, Lettuce Leaf!” Gerald scolds her, arching his eyebrows. “I haven’t finished talking yet. Mr. Milford believed in education, but sadly only for boys. He wasn’t expecting to pass away before his daughter married, so without any employable skills, she’s turned her hand to what she can do.”
“And how did you come to meet this, Harriet Milford?” Lettice asks, her mouth a thin red lipsticked line of disapproval with turned down ends.
“She and I frequent the same haberdashers. After running into one another several times, I finally asked her what she did to buy so much ribbon and so many artificial flowers. And that was when she told me that having no real skill other than sewing, after her father died, as well as take in lodgers, she has turned her hand to millinery to make end meet.”
“I hope, my dear Gerald, that you aren’t expecting me to buy a hat from her out of pity.”
“Not at all, my dear. I’ve been here a number of times now, to take tea with Harriet, and I can assure you that her hat making skills rival that of Madame Gwendolyn. Already she has gained quite a reputation amongst the local ladies.”
Lettice snorts dismissively at the thought of the middle-class matrons of Putney and their choices of millinery.
Undeterred, Gerald continues, “Since Sadie has forbidden you to wear a hat from Selfridges to Leslie’s wedding, and I can’t say I disagree…”
“My hats from Sel…”
“I still haven’t finished!” Gerald interrupts his friend. “Since Sadie won’t let you wear a Selfridges hat to the wedding, and I won’t sit next to you at the wedding breakfast if you do, and you won’t go back to Madame Gwendolyn, I thought Harriet’s hat making skills would be the perfect solution. Now, come.” He puts his hand on the handle of his door and pushes it down, opening it slightly. He pauses just before getting out and turns back to his friend. “And remember to behave.”
“I always behave, Gerald!” Lettice defends herself as she opens her own door and steps out onto the sunny footpath.
Gerald walks around the front of the car and joins Lettice on the footpath. “Shall we?” he proffers his arm to his friend, which she accepts.
They step up to the black painted wrought iron gate flanked by two capped red brick pillars. Gerald opens the gate and together they walk in and up the garden path snaking across a well clipped lawn. Standing beneath the arched portico, Lettice can hear the notes of an oboe being played through one of the oriel windows open above. “That will be Cyril.” Gerald remarks as he depresses the doorbell next to the front door. The hollow ring that resounds through the hallway within is answered by a pair of scuttling footsteps as the front door is flung open exuberantly.
“Gerry darling!” gasps a young woman around Lettice’s age who throws her arms enthusiastically and perhaps a little overly familiarly around Gerald’s neck.
Lettice feels a momentary pang of jealousy in her stomach as she sees Gerald return Harriet’s enthusiastic embrace in a way that she thought only she and Gerald shared. With a quick flutter of her eyelashes, she dismisses the thought, but the pang in her stomach does not go away.
“Hullo Hattie darling!” He holds her at arm’s length. “My you do look well.”
“I sold another two hats yesterday, so I’m tickled pink, Gerry darling!” she gushes with a girlish giggle and a proud smile.
Lettice tries to force a cough. At the sound of Lettice gently clearing her throat, the spell between Gerald and Harriet is broken and Gerald quickly returns his attentions to Lettice. “Harriet, may I present my childhood chum, the Honourable Lettice Chetwynd. Lettice, Miss Harriet Milford.”
Lettice takes in Harriet’s appearance from the top of her head to the tip of her toes. Looking more closely at her Lettice decides that she is actually possibly a year or two younger than she and Gerald are, with mousy brown hair cut into a soft bob. Her floral cotton frock with its drop waist and side flounces must surely be home made, yet it is obviously made well as it sits on her slender figure every bit as smartly as Lettice’s outfit, which has been expertly cut for her by Gerald. Her shoes show the wear of a few years and her stockings have been carefully mended. She looks across at Lettice with a pretty face, free of makeup. Her brown eyes are like deep pools, clear and bright, and they are framed by naturally long lashes.
“How do you do, Miss Chetwynd.” Harriet says in a polite and well bred voice.
“How do you do, Miss Milford.” she replies, returning Harriet’s open smile with a polite one of her own.
“Tut, tut, Hattie!” Gerald says, reaching across and plucking a piece of red cotton off Harriet’s shoulder, which Lettice finds an uncomfortably intimate gesture. Holding it out in front of Harriet he continues, “You mustn’t be answering the door wearing loose threads.” He smiles cheekily.
“Oh I’m busy making a new hat to replenish my stocks.” Harriet replies, blushing as she lowers her lids, and holds out her hands to accept the trailing thread of red. “Please, come this way Miss Chetwynd,” she adds, ushering Lettice and Gerald into the house. “You know the way Gerry darling.”
“Gerry darling?” Lettice queries quietly with a cocked eyebrow and a mirthful smile as she slips past the blushing Gerald and follows her hostess across the threshold into the black and white tiled hallway stuffed with Edwardian vestibule furniture.
“Please make yourself comfortable in here, Miss Chetwynd,” Harriet says, flinging open the first door on the left side of the hallway and indicating with an extended arm for Lettice to enter. “I’ll be like Polly and pop the kettle on. Back in a jiffy*** my dears!” And with scuttling footsteps she disappears into the gloom of the house further down the hallway.
Walking into the room as she has been told, Lettice gazes around it. Noting the flouncy Edwardian settee an matching armchair by the fire she remarks, “This is obviously the parlour.” Noticing a sewing machine sitting in the bay window where it can get the best light she adds, “Or was.”
It is then, as Gerald indicates with an open gesture to what must once have been a tea table, that Lettice sees several beautifully fashioned hats propped on wooden hatstands basking in the diffused light coming through the lace scrim curtains of the bay window. She gasps at the sight of them and immediately walks up to scrutinise them more closely. Two are made of straw and one of felt. The felt hat is dyed a dramatic turquoise colour and is trimmed with fine braid, garlands of ribbons and feathers dyed to match the shade of the felt. One of the straw hats is dyed a romantic shade of soft mauve, whilst the other remains its natural colour. The mauve hat’s romance is added to by a mixture of artificial flowers and clusters of ribbons woven expertly around the brim. The other hat is plainer with less decoration, yet its restrained treatment makes it every bit as elegant as the mauve hat. None of them would look out of place at Ascot or a tea party at Buckingham Palace.
Lettice thumbs the may green ribbon of the plain straw hat thoughtfully. “These are exquisite, Gerald.”
“I knew you’d like Hattie’s work.” Gerald sighs with satisfaction.
*Morris Motors Limited was a privately owned British motor vehicle manufacturing company established in 1919. With a reputation for producing high-quality cars and a policy of cutting prices, Morris's business continued to grow and increase its share of the British market. By 1926 its production represented forty-two per cent of British car manufacturing. Amongst their more popular range was the Morris Cowley which included a four-seat tourer which was first released in 1920.
**Dents is a British company that crafts luxury leather gloves, handbags, small leather goods. Dents is known for its hand cutting, sewing, and stitching techniques, which are still practised today on some limited top end products, most merchandise being purchased from third-party factories. Dents was established in Worcester in 1777 as a manufacturer of fine leather gloves by John Dent (1751–1811). It is possibly Britain's oldest existing fashion manufacturer. Dent's sons, John and William, helped the company expand throughout the Eighteenth and Nineteenth Centuries. In 1845, mechanical sewing was introduced to the company to assist craftspeople. The company has a modern factory in Warminster, Wiltshire, having been present in the town since 1937.
***The expression in a jiffy was in use as early as 1780. It is a colloquial English expression for “in a short amount of time.” The origins of jiffy are unknown, though there are theories. One suggestion is that it comes from British thieves’ slang for “lightning,” hence very fast. An early instance appears in 1780 edition of Town and Country Magazine: “Most of the limbs of the law do every thing in a jiffy”.
Contrary to popular belief, fashion at the beginning of the Roaring 20s did not feature the iconic cloche hat as a commonly worn head covering. Although invented by French milliner Caroline Reboux in 1908, the cloche hat did not start to gain popularity until 1922, so even though this story is set in that year, picture hats, a hangover from the pre-war years, were still de rigueur in fashionable society and whilst Lettice is fashionable, she and many other fashionable women still wore the more romantic picture hat. Although nowhere near as wide, heavy, voluminous or as ornate as the hats worn by women between the turn of the Twentieth Century and the Great War, the picture hats of the 1920s were still wide brimmed, although they were generally made of straw or some lightweight fabric and were decorated with a more restrained touch.
This rather cluttered and chaotic scene of a drawing room cum workroom may look real to you, but believe it or not, it is made up entirely with pieces from my 1:12 miniatures collection, including pieces from my childhood.
Fun things to look for in this tableau include:
1:12 size miniature hats made to such exacting standards of quality and realism such as these are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The natural yellow straw hat with green trim and the mauve dyed straw hat with mauve and green trim were both made by the same unknown artisan in America. The aqua hat behind the two straw hats was made by an unknown British artisan. All three hats were acquired through auctions on E-Bay. The hat stands the hats rest on are all part of a larger collection I bought from an American miniature collector Marilyn Bickel. The multi coloured feathers in the earthenware vase on the table behind the hats also belonged to Marilyn Bickel.
The copies of Weldon’s Dressmaker and the Lady’s World Fancy Work Book are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, the magazines are non-opening, however what might amaze you is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The spools of ribbon, the tape measure, the silver sewing scissors in the shape of a stork and the box of embroidery threads I acquired from Kathleen Knight’s Dolls’ House in the United Kingdom.
The table on which all these items stand is a Queen Anne lamp table which I was given for my seventh birthday. It is one of the very first miniature pieces of furniture I was ever given as a child.
The sewing machine to the left of the photo, I bought from Melody Jane’s Doll House Suppliers in the United Kingdom. It is made with extreme attention to detail, complete with a painted black metal body, authentic sewing mechanisms and a worksurface “inlaid” with mother-of-pearl.
The round white metal sewing tin on the sewing machine’s surface is another artisan piece I have had since I was a young teenager. If you look closely you will see it contains a black velvet pin cushion, a pair of sewing scissors, needles, threads and two thimbles. Considering this is a 1:12 artisan miniature, imagine how minute the thimbles are! This I bought from a high street shop that specialised in dolls and doll house furnishings. It does have a lid which features artificial flowers and is trimmed with braid, but I wanted to show off the contents of the tin in this image, so it does not feature.
The spools of red, yellow, orange and blue cottons come from various online shops who sell dollhouse miniatures.
The salon chair drawn up to the sewing machine is part of a Marie Antionette suite with pretty floral upholstery which has been made by the high-end miniatures manufacturer, Creal.
Harriet’s family photos seen cluttering the mantlepiece and the bookshelf in the background are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each.
The porcelain clock on the mantlepiece is made by M.W. Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain miniatures.
The Edwardian mantlepiece is made of moulded plaster and was acquired from Kathleen Knight’s Doll’s House in the United Kingdom.
The bookshelf in the background comes from Babette’s Miniatures, who have been making miniature dolls’ furnishings since the late eighteenth century.
The paintings and prints on the walls all come from Kathleen Knight’s Doll’s House in the United Kingdom.
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© All rights reserved.
Bu fotoğrafı ya da herhangi bir fotoğrafımı iznim dışında kullanmayın, aksi yöndeki hareketiniz 5846 sayılı Fikir ve Sanat Eserleri Kanunu uyarınca suç teşkil etmektedir.
© Her hakkı saklıdır.
DEĞERLİ FLICKR ARKADAŞLARIM SİZLERDEN RİCAM FOTOĞRAFLARIMA SADECE YORUM VE FİKİRLERİNİZİ BELİRTEN ŞEYLER YAZINIZ. BANNER VE ÖDÜLLERİ SEVMİYORUM VE FOTOĞRAFLARIMIN ALT KISMINI KİRLETTİĞİNİ DÜŞÜNÜYORUM. EĞER Kİ BU YAZIYI ATLAYIP EKLEMENİZ DURUMUNDA İSE TARAFIMDAN SİLİNECEĞİNİ SAYGIYLA DUYURURUM.
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***** IF YOU DO SO YOUR COMMENT WILL BE DELETED ******
Astronomers using NASA’s Hubble Space Telescope have imaged the largest protoplanetary disk ever observed circling a young star. For the first time in visible light, Hubble has revealed the disk is unexpectedly chaotic and turbulent, with wisps of material stretching much farther above and below the disk than astronomers have seen in any similar system. Strangely, more extended filaments are only visible on one side of the disk. The findings, which published Tuesday in The Astrophysical Journal, mark a new milestone for Hubble and shed light on how planets may form in extreme environments, as NASA’s missions lead humanity’s exploration of the universe and our place in it.
Located roughly 1,000 light-years from Earth, IRAS 23077+6707, nicknamed “Dracula’s Chivito,” spans nearly 400 billion miles — 40 times the diameter of our solar system to the outer edge of the Kuiper Belt of cometary bodies. The disk obscures the young star within it, which scientists believe may be either a hot, massive star, or a pair of stars. And the enormous disk is not only the largest known planet-forming disk; it’s also shaping up to be one of the most unusual.
Credit: NASA, ESA, STScI, Kristina Monsch (CfA); Image Processing: Joseph DePasquale (STScI)
#NASAMarshall #NASA #NASAHubble #Hubble #NASAGoddard
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© Lyubov Love Photography. All rights reserved.
© All rights reserved 2012. Please do not use my images without my explicit permission.
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View down the River Thames at low tide shortly before sunrise during a vibrant blue hour, the Shard, Tower Bridge, Cannon Street Bridge and London Bridge can all be seen in this image.
Enjoy! :)
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If you are interested in purchasing any images of mine please email me at - olliesmalleyphotography@gmail.com for licensing details.
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...[ Camera ] ... Canon 5D Mark 2.
...[ Lens ] ... Canon 24-105mm f/4L IS USM @ 24mm.
...[ Settings ] ... 45" @ f/8, ISO 100.
...[ Editing ] ... Edited in Lightroom 5.
...[ Filters ] ... None.
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I used the Set plus some other parts to build a Modular building with the design of the building of the set. There is a ramen restaurant and a dojo located in it.
More pictures in the ALBUM.
more with my fav from Marina (i use underground set)
www.redheartphoto.com/underground.html
i should learn how to link to her set...!!! urrrgg!!
this was from the other fairy set... so cute had so many good shots... but not sure what to do with them as done the invite... blah... photos photos everywhere and not a wall spare!
Yes, I've used the 'Use Hearing Protection' title before but I couldn't resist using it again for this photo. I has to be said that the old, gypsy saxophone player isn't exactly Sonny Rollins -more annoying than musical. Just when I shot the photo, he interrupted his playing as the lady walked past.
Please use red/cyan anaglyph goggles, for anaglyph glasses ask your local optician.
Wat Phnom ("Mountain Pagoda") is a Buddhist temple (wat) located in Phnom Penh, Cambodia. It was built in 1372, and stands 27 metres (88.5 ft) above the ground. It is the tallest religious structure in the city. The pagoda was given the name of Wat Preah Chedey Borapaut. Wat Phnom is the central point of Phnom Penh.
Legend relates that a wealthy widow called Penh (commonly referred to as Daun Penh – Grandmother Penh – in Khmer) found a large koki tree in the river. Inside the tree she found four bronze statues of the Buddha. Penh constructed a small shrine on an artificial hill made by the people living in the village to protect the sacred statues. Eventually this became a sacred site and sanctuary where people would make blessings and pray.
Then it came to the year of the snake 1437 suggests King Ponhea Yat ordered His Excellency Decho Srei to raise the mount even higher when he finished building the new Royal Palace in the new city he then named Krong Chaktomok Mongkol or simply known as Phnom Penh. The prominent stupa immediately west of the sanctuary contains the ashes of the king and his royal family.
Wat Phnom is the center of celebration during Khmer New Year, and Pchum Ben.
Wat Phnom appeared on the Travel Channel documentary, 1,000 Places to See Before You Die. It also served as the Pit Stop for the 4th Leg of The Amazing Race 15.
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The Alfa Romeo 6C name was used on road, race, and sports cars produced between 1927 and 1954 by Alfa Romeo; the "6C" name refers to the six cylinders of the car's straight-six engine. Bodies for these cars were made by coachbuilders such as James Young, Zagato, Touring Superleggera, Castagna, and Pinin Farina. Beginning in 1933 there was also a 6C version with an Alfa factory body, built in Portello. In the early 1920s Vittorio Jano received a commission to create a lightweight, high performance vehicle to replace the Giuseppe Merosi designed RL and RM models. The car was introduced in April 1925 at the Salone dell' Automobile di Milano as the 6C 1500. It was based on Alfa's P2 Grand Prix car, using a single overhead cam 1,487 cc in-line six-cylinder engine, producing 44 horsepower. In 1928 the 1500 Sport was presented, which was the first Alfa Romeo road car with double overhead camshafts.
6C 1500 (1927–1929)
Alfa Romeo 6C 1500
1929 6C 1500 Super Sport, 1929, in the Louwman Collection
Overview
Production1927–1929
Powertrain
Engine1.5 L (1,487 cc) I6
1.5 L (1,487 cc) supercharged I6
Transmission4-speed manual
Dimensions
Wheelbase
2,900 mm (114.2 in) 4-seater[1]
3,100 mm (122.0 in) 6-str., Normale[1]
2,920 mm (115.0 in) Sport, S.S.[2]
In the mid-1920s, Alfa's RL was considered too large and heavy, so a new development began. The 2-litre formula that had led to Alfa Romeo winning the Automobile World Championship in 1925, changed to 1.5-litres for the 1926 season. The 6C 1500 was introduced in 1925 at the Milan Motor Show. Series production started in 1927,[3] with the P2 Grand Prix car as a starting point.The Alfa Romeo 6C-1500 Super Sport features a twin overhead cam six cylinder engine with a bore of 62 mm and stroke of 82 mm, giving a displacement of 1487 cc, as against the P2's 1,987 cc, while supercharging was dropped. First versions were bodied by James Young and Carrozzeria Touring.
In 1928, the 6C Sport model was released, with a dual overhead-camshaft engine. Its sport version won many races, including the 1928 Mille Miglia. Total production was 3,000 (200 with DOHC engines). Ten examples of a supercharged (compressore, compressor) Super Sport variant were also built. Wikipedia
Strikemaster 82A Jet G-SOAF 425 OAF Built in 1967 by BAC was used by the Omani Air Force with s/n 425
Strikemaster 417 G-RSAF painted in the colours of Sultan of Oman's Air Force
Strikemaster was a British Jet trainer and light attack aircraft It was a development of the Hunting Jet Provost
Air Festival Airshow
Photo taken at the Imperial War Museum Duxford Cambridgeshire UK
BAD_0672
I use GND filters even though I shoot digital.. How about you? While I was photographing the area, a fellow photographer said with digital, GND filters aren't needed.. I still like the result of balancing the exposure in a single frame. Also, for longer exposures, I believe the filters help capture more color & allow to capture motion/movement. Personally, I don't think it's wrong to use GND filters. Less to worry about in post processing.
Charon-lit-Pluto: The image shows the dark side of Pluto surrounded by a bright ring of sunlight scattered by haze in its atmosphere. But for a dark crescent zone to the left, the terrain is faintly illuminated by sunlight reflected by Pluto’s moon Charon. Researchers on the New Horizons team were able to generate this image using 360 images that New Horizons captured as it looked back on Pluto’s southern hemisphere. A large portion of the southern hemisphere was in seasonal darkness similar to winters in the Arctic and Antarctica on Earth, and was otherwise not visible to New Horizons during its 2015 flyby encounter of Pluto.
Image Credit: NASA/Johns Hopkins APL/Southwest Research Institute/NOIRLab
#NASA #NASAMarshall #NASAMarshallSpaceFlightCenter #MSFC #NewHorizons #SolarSystemandBeyond #Pluto #marshallspaceflightcenter #NewFrontiers #Charon
I used my lens cap to give a sense of how big the fungi was. There was fungi this size all over the park - very impressive!
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London | Architecture | Night Photography
The already popular sculpture by Anish Kapoor at the Royal Academy, London.
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Anish Kapoor (born 12 March 1954) is a sculptor, Born in Bombay (Mumbai), India. Kapoor has lived and worked in London since the early 1970s where he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He gained international acclaim with solo exhibits at venues such as the Tate Gallery and Hayward Gallery in London, Kunsthalle Basel, Haus der Kunst Munich, Deutsche Guggenheim in Berlin, Reina Sofia in Madrid, MAK Vienna, and the ICA Boston. He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize. Notable public sculptures include Cloud Gate, Millennium Park, Chicago, and Sky Mirror at the Rockefeller Center, New York.
Anish Kapoor is a Royal Academician and was made a Commander of the British Empire in 2003.
Kapoor's pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, producing awe through their size and simple beauty, evoking mystery through the works' dark cavities, tactility through their inviting surfaces, and fascination through their reflective facades. His early pieces rely on powder pigment to cover the works and the floor around them. Such use of pigment characterised his first high profile exhibit as part of the New Sculpture exhibition at the Hayward Gallery London in 1978. This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India. His later works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with, dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). His most recent works are mirror-like, reflecting or distorting the viewer and surroundings. The use of red wax is also part of his current repertoire, evocative of flesh, blood and transfiguration.
Kapoor has produced a number of large works, including Taratantara (1999), a 35 metre-tall piece installed in the Baltic Flour Mills in Gateshead, England before renovation began there and Marsyas (2002), a large work of steel and flesh-coloured PVC that reached end to end of the 3,400 square foot Turbine Hall of Tate Modern. A stone arch by Kapoor is permanently placed at the shore of a lake in Lødingen in northern Norway. In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London. In 2001, Sky Mirror, a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse. Since 2006, Cloud Gate, a 110-ton stainless steel sculpture with a mirror finish, has been permanently installed in Millennium Park in Chicago. Viewers are able to walk beneath the sculpture and look up into an omphalos or navel above them. In the autumn of 2006, a second Sky Mirror, was installed in Rockefeller Center, New York. Soon to be completed are a memorial to the British victims of 9/11 in New York,[8] and the design and construction of two subway stations in Naples.[9] Kapoor has also been commissioned to produce five pieces of public art by Tees Valley Regeneration (TVR)[10] collectively known as the "Tees Valley Giants"[11]
In 2007, he showed Svayambh (which can be roughly translated as 'self-generated'), a 1.5 metre carved block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus Der Kunst in Munich and in 2009 at the Royal Academy in London. Kapoor's recent work increasingly blurs the boundaries between architecture and art.
In 2008, the Institute of Contemporary Art in Boston exhibited Kapoor's first U.S. mid-career survey.[12] In the same year, Kapoor created the sculpture "Memory" in Berlin and New York for the Guggenheim Foundation.
In 2009 Anish Kapoor became the first Guest Artistic Director of Brighton Festival. As well as informing the content of the festival as a whole, Kapoor installed 4 significant sculptures for the duration of the festival; Sky Mirror at Brighton Pavilion gardens, C-Curve at The Chattri, Blood Relations (a collaboration with author Salman Rushdie) and 1000 Names, both at Fabrica. He also created 2 new works: a large site-specific work entitled ‘The Dismemberment of Jeanne d’Arc’ and a performance based installation entitled ‘Imagined Monochrome’. The public response was so overwhelming that police had to re-divert traffic around C Curve at the Chattri and exercise crowd control.
In 2010 a new Anish Kapoor sculpture called "Turning the World Upside Down, Jerusalem" was commissioned and installed at the Israel Museum in Jerusalem. The sculpture is described as a "16-foot tall polished-steel hourglass" and it "reflects and reverses the Jerusalem sky and the museum's landscape, a likely reference to the city's duality of celestial and earthly, holy and profane."[13]
Kapoor also designed the ArcelorMittal Orbit, a 115 metre spiral sculpture of the Olympic rings. Designed by Kapoor to commemorate the 2012 Olympic Games in London, the piece will be the largest example of public art in the UK when completed.[14]
When asked if engagement with people and places is the key to successful public art, Kapoor said,
“ I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.[15] ”
His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in Tilburg, Netherlands, and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
Kapoor's gallery representations include the Lisson Gallery, London and the Gladstone Gallery, New York.
Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor insists that this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include: (i) the recently announced Tees Valley (England) "Giants", the world's five largest sculptures in collaboration with Cecil Balmond of ARUP AGU, (ii) two subway stations in Naples in collaboration with Future Systems, (iii) an unrealised project for the Millennium Dome, London, (1995) in collaboration with Philip Gumuchdjian, (iv) a proposal for the Princess Diana Memorial Fountain and (v)"Building for a Void", created for Expo '92, Seville, in collaboration with David Connor. “Taratantara” (1999–2000) was installed at the Baltic Centre for Contemporary Art, Gateshead and later at Piazza Plebiscito, Naples. Kapoor has also completed the massive Dismemberment Stage 1, installed in New Zealand on the private "art park" known as "The Farm" and owned by New Zealand businessman and art patron Alan Gibbs.
Of his vision for the Cumana station in Monte Sant'Angelo, Naples, Italy currently under construction (as of June 2008), Kapoor has said:
“ It’s very vulva-like. The tradition of the Paris or Moscow metro is of palaces of light, underground. I wanted to do exactly the opposite – to acknowledge that we are going underground. So it’s dark, and what I’ve done is bring the tunnel up and roll it over as a form like a sock.[16] ”
[edit] Current and forthcoming exhibitions and projects
Kapoor was the first living British artist to take over the Royal Academy, London, from September 26 - December 11, 2009.[17]
“Shooting into the Corner”, MAK Vienna – 21 January-19 April 2009
"Blood Relations", Fabrica, Brighton 10 April - 24 May 2009
Brighton Festival, 2–23 May 2009
Royal Academy, London - 19 September-11 December 2009
“Memory”, Guggenheim, New York – 9 October 2009
Minini Gallery - Brescia, Italy 26 May 2010
"ArcelorMittal Orbit" - a Giant red tower designed by Kapoor is proposed for the London Olympics in 2012 [18][19]
Solo exhibition Guggenheim Bilbao February - October 2010
[edit] Awards
Kapoor represented Britain at the Venice Biennale, 1990, where he was awarded the Premio Duemila. The following year, he won the prestigious Turner Prize.
Solo exhibitions of his work have been held in the Tate, Royal Academy and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery in Ottawa, Musee des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux and at the Centro Cultural Banco do Brasil in Brazil. His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in the Netherlands and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
en.wikipedia.org/wiki/Anish_Kapoor
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Anish Kapoor's towering new sculpture, Tall Tree and the Eye, has gone up in the courtyard of The Royal Academy of Arts ready for an official unveiling on Tuesday as a major exhibition of the artist's work opens in the London gallery.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
My View on Anish Kapoor's Art World | Anish Kapoor Art World
Anish Kapoor Art World
I used to watch CHiPs as a child and have been looking forward to building them and their motorcycles ever since I started building vehicles from movies and TV series.
using my car as a tripod I wedged my camera between the mirror and side pillar and balanced it until it started raining.
My fellow storm chaser Brett is in his van shooting through the window
used mostly japanese scraps, most of them from my lovely online friends.:) Mixed up with some vintage scraps.
Used the square in a square pattern.
Measures abt 22" x 17" so it's tiny.
tks my dear friends! yr gifts have been put to good use! I hope :S
Using a macro lens for this shot of the old Casino DVD I bought in my high school years. I kept it as someone that is a stickler for bonus content, this one has its theatrical trailer while later releases did not.
It was tricky to get focused, so Sharon Stone is a little out of focus.
I remember when I was a kid looking through one of the magazines you used to get at video stores & seeing this poster on one of the pages.
I was a huge fan of the Home Alone movies & loved Joe Pesci, so seeing his name got me interested.
Thankfully, I didn't ask my parents if I could see it, as the violence & language would have been to brutal for me at that time.
I've also just started reading the book by Nicholas Pileggi, which is a great read so far. I've also read Wise Guy, which was adapted into Goodfellas.
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Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Spanish
El Templo de Debod es un conjunto edilicio del antiguo Egipto localizado actualmente en Madrid (España). Está situado al oeste de la Plaza de España, junto al Paseo del Pintor Rosales (Parque del Oeste), en un alto donde se encontraba el Cuartel de la Montaña (en el que se produjo un sangriento episodio de la Guerra Civil Española). Al ser trasladado a España, se situó de manera que conservase aproximadamente la misma orientación que en su lugar de origen, de este a oeste.
El Templo de Debod fue un regalo de Egipto a España (año 1968), en compensación por la ayuda española, tras el llamamiento internacional realizado por la Unesco para salvar los templos de Nubia, principalmente el de Abu Simbel, en peligro de desaparición debido a la construcción de la presa de Asuán. Egipto donó cuatro de los templos salvados a distintas naciones colaboradoras: Dendur a los Estados Unidos (se encuentra actualmente en el Metropolitan Museum de Nueva York), Ellesiya a Italia (Museo Egipcio de Turín), Taffa a Holanda (Rijksmuseum van Oudheden de Leiden) y Debod a España.
Tiene una antigüedad de unos 2.200 años. Su núcleo más antiguo fue quizás erigido bajo el faraón Ptolomeo IV Filópator, y decorado posteriormente por el rey nubio Adikhalamani de Meroe hacia 200-180 a. C., siendo dedicado a Amón de Debod ("Amani", en idioma kushita) e Isis (hay investigadores que piensan que su erección fue obra de Adikhalamani, interviniendo posteriormente Ptolomeo IV en él). Posee importantes añadidos de época ptolemaica y romano-imperial (del siglo I a. C. al II d. C.).
English
The Temple of Debod (Spanish: Templo de Debod) is an ancient Egyptian temple which was rebuilt in Madrid, Spain.
The temple was built originally 15 kilometres (9.3 mi) south of Aswan in southern Egypt very close to the first cataract of the Nile and to the great religious center dedicated to the goddess Isis, in Philae. In the early 2nd century BC, Adikhalamani (Tabriqo), the Kushite king of Meroë, started its construction by building a small single room chapel dedicated to the god Amun. It was built and decorated on a similar design to the later Meroitic chapel on which the Temple of Dakka is based. Later, during the reigns of Ptolemy VI, Ptolemy VIII and Ptolemy XII of the Ptolemaic dynasty, it was extended on all four sides to form a small temple, 12 by 15 metres (39 ft × 49 ft), which was dedicated to Isis of Philae. The Roman emperors Augustus and Tiberius completed its decorations.
From the quay there is a long processional way leading to the stone-built enclosure wall, through three stone pylon gateways and finally to the temple itself. The pronaos, which had four columns with composite capitals collapsed in 1868, and is now lost. Behind it lay the original sanctuary of Amun, the offering table room and a later sanctuary with several side-rooms and stairs to the roof.
In 1960, due to the construction of the Great Dam of Aswan and the consequent threat posed to several monuments and archeological sites, UNESCO made an international call to save this rich historical legacy. As a sign of gratitude for the help provided by Spain in saving the temples of Abu Simbel, the Egyptian state donated the temple of Debod to Spain in 1968.
The temple was rebuilt in one of Madrid's parks, the Parque del Oeste, near the Royal Palace of Madrid, and opened to the public in 1972. The reassembled gateways appear to have been placed in a different order than when originally erected. Compared to a photo of the original site, the gateway topped by a serpent flanked sun appears not to have been the closest gateway to the temple proper. It constitutes one of the few works of ancient Egyptian architecture which can be seen outside Egypt and the only one of its kind in Spain.
Wikipedia
Astronomers have used NASA’s Chandra X-ray Observatory to show that, multiple eruptions from a supermassive black hole over 50 million years have rearranged the cosmic landscape at the center of a group of galaxies.
Scientists discovered this history of black hole eruptions by studying NGC 5813, a group of galaxies about 105 million light years from Earth. These Chandra observations are the longest ever obtained of a galaxy group, lasting for just over a week. The Chandra data are shown in this new composite image where the X-rays from Chandra (purple) have been combined with visible light data (red, green and blue).
Galaxy groups are like their larger cousins, galaxy clusters, but instead of containing hundreds or even thousands of galaxies like clusters do, galaxy groups are typically comprised of 50 or fewer galaxies. Like galaxy clusters, groups of galaxies are enveloped by giant amounts of hot gas that emit X-rays.
Read Full Article: www.nasa.gov/mission_pages/chandra/chandra-finds-evidence...
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
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These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
i used this recipe here with some of my friend's honey.
we're off to the zoo today! happy thursday, friends.
All textures used are my own. Same policy applies.
Meshes by milasimsworld.forumbb.ru is included. The rose gold necklace recolor is included as well as the clutch and the Blazer. ENJOY All!! Lots more to come.
Don't forget to ❤if you Download. ^_^
I used some other shots from the sleep photoshoot and decided to post this one also... :)
I still have a print giveaway where you can choose 1 or 2 pictures. march 12th I'll pick some of the people participating (don't know how many yet) and give them the print(s) they chose for free!
check it out! :)
Some prints can be bought here (also iPhone cases etc) : society6.com/marevanardelli
Using a speedlight for a portrait shoot during a sunset at the beach can create some wonderful image!
Personal Photos now on sale on Etsy
This image was taken way back on 12th June 2015.
Today - (20th Nov 2019) - is the very first time I've attempted to process it !
The lovely lady was actually cutting that loaf to toast me a slice in front the open coal fire ... butter and homemade jam too !
😋
Image taken at the Blaenavon Heritage Railway Re-enactment