Folded by me using a 30x30cm sheet of elephant paper.

 

Check the time-lapse here! youtu.be/EmYCnS78Jak

 

Diagrams available in the "22th Origami Tanteidan Convention" or "The Elegance of Origami by Makoto Yamaguchi" books.

 

IG: www.instagram.com/origamitor_/

 

YouTube: www.youtube.com/c/origamitor

 

Facebook: www.facebook.com/origamitor

After using the placemat as a rug (thanks to Call of the Small for her genius), I decided to use it again in a new scene but as wallpaper. I think the scale is pretty cool with it. The back wall is just plain scrapbook paper.

 

When I first started making scenes in the roombox, I pulled out all of my cool papers including a stack of origami sheets. I thought I would use them on the walls but I decided to steal another idea from Call of the Small -- flooring! She had used one piece as a rug I think. I needed to cover the whole space so I cut it into squares and glued it down to a piece of paper and made a tile floor from it. I will definitely do that again.

 

See the other shots for more information.

These were my brothers

Used on heavy haulage some years ago.

Used a charm pack of Ruby by Bonnie and Camille for Moda, Kona aqua and white. Measures approx 42x34.

Chinon 1.7 55 + bague 13mm

Üse Junger

Bryan Pfister

Dani Bucher

Andreas Neisser

Kata Bucher

Thomas Fretz

Francesco Gasparini

www.crazydiamond.ch

 

_AR33680-72cg

Free to use in your Art only, not for Sale on a Collage Sheet or a CD

IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

 

For your Art only, not for Sale on a CD

My friend Tim Isaacson owns this great original painting by artist Shannon Stirnweis. We both think it was probably one of the paintings Stirnweis did for a men's adventure magazine, but we don't know for sure what it was used in. Does anyone out there know?

© All rights reserved

Please don't use this image on websites, blogs or other media without my explicit permission. MANU CRUZ. www.manucruz.net

 

Large version / versión ampliada:

farm3.static.flickr.com/2675/3909250337_f3e89454f9_o.jpg

 

Porque el creador, es el que controla en todo momento , los movimientos de sus manos.Hay personajes que por su fuerza atraen y cautivan, Picasso, Lorca, Machado... y muchos otros mas.

Y en flickr, desde hace poco mas de un año, he tenido el placer de contemplar, del arte y buen hacer fotográfico de algunos, otros me inspiran, por su técnica, y sus fotografias.

Mostrar el verdadero potencial que cada uno tiene me parece una genial idea, no para compararnos a otros, sino mas bien para compartirlo, y aprender de otros.

Y aunque queda un largo camino, por aprender, por andar... pienso que es un buen momento para decir estas palabras... permitanme.

Yo creo, que el reconocimiento, de los demás, es el mejor alago o el mejor premio.

Y hago mención de algunos;

 

ALVAR ASTULEZ, es como un mago, ARTISTA, UN MAESTRO, lo tiene todo

stéph and the ocean, lo llamo , el Angel de las puestas de sol

JOSE BENITEZ RUIZ, "MAESTRO de MAESTROS", me inspiran sus fotos

DIEGO LOPEZ, Magnifico, fotografo d naturaleza, igualmente me inspiro en el

NICK LITTLE, Amigo, y fiel compañero en los circuitos, un inglés con mucho arte

PEPE PACO, mi MAESTRO,me ha enseñado casi todo lo que se de esto.

Paulo Ramalho, un artista brazileño, con mucho arte

ALONSO DIAZ, Sobresaliente, sus obras me impactan

JESÚS CARBALLO, Un hermano , y gran MAESTRO después,insustituible

Sunrise@dawn, genialidad, y artista

Guillermo E / Guillermo Armenteros, amante de la naturaleza, un artista

JOSE MARIA TORTOSA, Grandisima persona, amigo,UN GRAN MAESTRO

Rafa ISO100, RAFA, Sus fotos , son bellas obras de arte, Maestro donde los haya

EVARISTO CUESTA, buen gusto con sus fotos, y un gran fotógrafo

MAR CAMINO, gran persona, tiene algo especial, me encantan sus obras

ODELOT, notabilisimo

Wiffsmiff23 , gran fotografo y muy buen gusto sobre los colores

JOSERRA IRUSTA, un artista y un Maestro

MARIO RUBIO, El genio de las nocturnas, UN MAESTRO

ANRAPU, Sus obras me cautivan, buen gusto, Maestrisimo!

isabelitagarcia77 , Fiel compañera en flickr, genial persona

LA VIEJA SIRENA, GENIAL

JAVI INDY, Un grandioso ARTISTA

KF STUDIOS, me impactan sus fotos

VICTOR MAIA, espero cada dia sus creaciones, muy bueno

JUAN VICENTE MUÑOZ, notable fotografo

JAVI RAMOS, gran persona, y muy bueno con lo que hace

Barbara Sledzinski , Sus retratos son dulzura

SANFRANCYSCO, igualemnte me apasiona es un Maestro

Samantha Nicol Art Photography , GENIAL

HOJA VIVA, Una artista de otra galaxia

Pete Souza, El gran fotografo de la CASA BLANCA, Un gran Maestro

EL YUYU, es como Dios, está en todas partes, muy bueno

CESILLAR, Gran amigo, muy bueno con sus fotos

GUSTAVO MULEEY, Increible fotografo

J.RAMON GAHER, Sus fotos muy buenas, para mi gusto tiene el arte del fotógrafo

Perkins McQuail , Que decir... Superb

CARLO, Increible con sus obras

DAVID ROJAS, Es un maestro, un gran amigo, de lo mejor ,COMPLETISIMO

SANDROG, muy bueno

ANTONIO/NOVO59, sus encuadres , composiciones, Un MAESTRO

RAKEL ELKE, Super, una magnifica fotógrafo

phili_n, buenisimo

KEIMAGEN, un gran amigo, y con un gusto por las fotos cada vez mejor

A CAEIRO, Sus pajaros me apasionan

Cilest, Increibles creaciones

♥ Sabrina Dacos ♥ , El erotismo personificado en mujer,Icreibles fotos

MARIA MARTIN BAU , buenisimo, en sus fotos , notable

Ortiz Q , que fotos... son increibles sus macros

MAIKA777......... sus fotos no tienen molde! es unica en su especie

me dejo en el tintero algunos más..

 

Esta foto , va dedicada a todos ellos. Y a todo aquel, que con sus manos tiene, el poder crear belleza, sentimientos, reflexión... etc.

Seas un artista, o no, va dedicada a tí, tú que sientes en tus manos tu creación.

 

MANU CRUZ

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Have a great day! - Andrew G Thomas.

Main Office Building.

Now on facebook too!!! XD

 

So here I am again after a long and intense weekend in Bielsko-Biała (Poland). There were the "Hungarian days" between crochet installations, my exhibition of crochet clothes, (not only) Hungarian painter's pictures exhibition via Art Stúdió Galéria ( agaleria.hu/ ), different types of music from M.C.S Blues Band ( mcsbluesband.com/ ), Plum Is Fallin' ( www.myspace.com/plumisfallin ), Lajos (who is a great "street-singer" and played Hungarian pop/rock songs and some well known american hits) and two incredible Italian/Austrian djs... And many more! I still need to collect all of the links to show! @;)

The crochet light pole is in front of Vagina Cafe ( www.vaginacafe.pl/ ) in the city center of Bielsko-Biała. Yes, this is the real name of it! XD Made of 38 different coloured spiderwebs in rainbow order (as I do nearly always), recycled from the crochet tree I've made in May in Hungary (and had to take off because someone has cut out a huge part of it and ruined the whole project with his stupidity!).

It's a very very very tall lamp and I'm very very very scared of altitude. And when I was up on the top a pigeon came to see what I was doing and I had fear to get pecked or being used as his own personal toilet! XD In Hungary (and in Poland too) they say it brings fortune... Thanks a lot, I do feel lucky enough, I don't need pigeon's help! LOL

Other pictures from Poland are coming soon! @;)

- Used a texture from Emma Cox here at Flickr

- Earth as photographed from the moon by the Apollo 11 people

- Photograph of mannequin in box + window + goggles are mine

 

Day 572- This pressed flower was in one of the used books we bought on Sunday. We always find interesting things stuck between pages of books. One time we even found a map of ghost towns in New Mexico. So many things that people put in books and then they are forgotten. Handwritten notes, photos. I wonder what the story behind this flower was, it was obviously important enough that the person wanted to save it. But in the time it took to flatten the flower it was forgotten. Then the person either donated books they didn't read or the owner passed away and books were donated. I can't bring myself to throw things like this away. They may be lost to one but they are found to me.

used the hydrangea and these two

heroarts.com/products/productInfo.cfm?ItemNo=K5354&su...

heroarts.com/products/productInfo.cfm?ItemNo=K5375&su...

i was not going to use my tipsy tuesday photo for my 365 BUT i want to be sure to mark this day because, for me, it is sort of large!!!! i am out sick and after i felt better i started fooling around with elements and the photo before this one was my very first one that i uploaded to flickr that was all done in elements. and this one is a raw photo processed in elements!!! so this one not only celebrates that BUT it is also a photo of this old bottle that means so much to us! what better day to take a photo of it!!!! i am still so confused by all the stuff i have to learn and i am hoping i have done these correctly. but do and learn, right? and i have so many wonderful friends out there to ask!!! that is the amazing and wonderful part of it all!!!!!

 

i hope everyone is having a splendid day! i raise my coffee cup to you all!!!

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Used a Cokin ND Grad and two solid ND filters to be able to use a slow shutter speed.

S Methode

 

Pause und Präsentation

  

5S (methodology)

en.wikipedia.org/wiki/5S_(methodology)

 

• 5S Kaizen

 

Es ist eine Idee aus dem japanischen Toyota-Produktionssystem.

Just in time Prozess Steuerung

5S was developed in Japan and was identified as one of the techniques that enabled Just in Time manufacturing.

 

.. verbessert durch Philip Effinger an Hand von Mercedes Benz just in time Produktions-Steuerung

(Promotions-Arbeit)

Philip Effinger, Visualization of business process models, Dissertation thesis, 208 pages, Eberhard Karls Universitä Tübingen, 2013

Arbeitsbereich Paralleles Rechnen

Wilhelm-Schickard-Institut für Informatik

Fakultät für Informations- und Kognitionswissenschaften

Eberhard-Karls-Universität Tübingen

Zum letzten sprachlichen Feinschliff haben noch Johannes Spielmann

und Kristina Abels beigetragen.

Wurde bei der Toyota PKW Prozesssteuerung entwickelt.

 

Das Automobilwerk in Tichy (Polen) - Fiat und andere Marken werden dort gebaut - orientiert sich daran, weshalb der Panda I und II so erfolgreich waren.

 

Panda II wird wieder in Italien gebaut im skandalbekannten Alfa-Sud Werk.

Deshalb hat der Ford Fiesta (2016) den Fiat Panda erstmals in Europa überflügelt, bezogen auf die Verkaufszahlen.

  

• S – Sortieren

•• S – Systematisieren

••• S – Saubermachen

•••• S – Standardisieren

••••• S – Selbstdisziplin

-

Als sechstes S wird zumeist noch • SHUKAN • genannt. Als Shukan wird der Zustand betitelt bei dem die ständige Beachtung und Optimierung der 5 S Methode zur Gewohnheit wird.

-

  

5. Shitsuke = Selbstdisziplin - Sustain

Die vorgestellten Methoden werden tagtäglich konsequent eingehalten.

Das nächste Level der 5S Methode wird erreicht, indem ein weiterer Durchlauf der 5S angestoßen wird, bei dem ein noch höheres Niveau des zu erreichenden Zustandes erreicht werden wird.

- ständige Verbesserung (Kaizen).

 

ps

Logikfehler:

(... führt zum absurdum!)

  

Ohne Selbstdisziplin wird schnell wieder das altbekannte und vertraute Chaos in der Arbeitsumgebung herrschen.

 

Für dauerhafte Erfolge ist daher Selbstdisziplin unabdingbar.

 

Präsentieren Sie Ihre Ergebnisse und Fortschritte vielleicht in einer Fotodokumentation.

 

Für Chaos Begabte braucht es keine Regeln!

Aber ein eidetisches Gedächtnis („Fotografisches Gedächtnis“) ist von Vorteil!

- auch "Ikonisches Gedächtnis" genannt - und ein Langzeit-Gedächtnis.

 

„Die Fähigkeit ein genaues, detailliertes, visuelles Bild einer komplexen Szenerie oder ein Muster zu behalten (umgangssprachlich manchmal als ‚fotografisches Gedächtnis‘ bezeichnet), oder die nur bei einer Minderheit existierende Fähigkeit ein Bild (gedanklich) zu ‚sehen‘, das eine exakte Kopie der ursprünglichen sensorischen Information darstellt.“

Das ikonische Gedächtnis hat eine weitaus größere Kapazität als das Kurzzeitgedächtnis

 

Ganz gemäß Arthur Brisbane (1911):

"Use a picture. It's worth a thousand words."

  

Zweck der 5S Methode

 

Was soll vermieden werden?

Verschwendung von kostbarer Zeit durch:

• Warten

• Suchen

• Ablegen

• Nachdenken

• Doppelarbeit

• Stapeln von Teilen

Abolished, now used by a furniture maker. Tohbetsu, Hokkaido.

Pentax SP, TEBC Fujinon 55mm F1.8, negative ISO 100 from Fuji expired 12 years ago, exposed as ISO 80, developed with reversal processing as described before ( 1st Dev: Korectol at normal conc. + Hydroquinone 8g/500ml + KSCN 0.5g/500ml , 3 min. 30 sec. at 30 deg.C. ), scanned with Plustek OpticFilm 120 + VueScan, edited with GIMP. Next time I will shorten time. Bigger sizes: www.flickr.com/photos/threepinner/51169481779/sizes/ up to 7402 × 4894 pixels compatible. Learn DIY development and upgrade to film !

This image may not be used in any way without prior permission

© All rights reserved 2016

 

Mississauga, Ontario, Canada

Toronto Pearson International Airport CYYZ

  

D-AIHF

Lufthansa

Airbus A340-642

543

  

Twitter: @TomPodolec

 

The Easter Parade terminated outside my apartment block but as my windows face away from Bolton Street I was afraid that I might not be able to get any usable photographs of the parade but things did work out too bad even though members of the public did frequently block my view of the event.

 

Since Ireland joined the United Nations in 1955, the Army has been deployed on many peacekeeping missions. The first of these took place in 1958, when a small number of observers were sent to Lebanon. A total of 86 Irish soldiers have died in the service of the United Nations since 1960

 

As of 1 December 2015, 493 Defence Force personnel are serving in 12 different missions throughout the world including Lebanon (UNIFIL), Syria (UNDOF), Middle East (UNTSO), Kosovo (KFOR), German-led Battle Group 2016 and other observer and staff appointments to UN, EU, OSCE and PfP posts. The largest deployments include:

Lebanon (UNIFIL) 51 Infantry Group, Syria (UNDOF) 50 Infantry Group.

 

The Army has historically purchased and used weapons and equipment from other western countries, mainly from European nations. Ireland has a very limited arms industry and rarely produces its own armaments.

 

From its establishment the Army used the British-made Lee–Enfield .303 rifle, which would be the mainstay for many decades. In the 1960s some modernisation came with the introduction of the Belgian-made FN FAL 7.62 mm assault rifle. Since 1989 the service rifle for the Army is the Austrian-made Steyr AUG 5.56 mm assault rifle (used by all branches of the Defence Forces).

 

Other weapons in use by the Army include the USP 9mm pistol, FN MAG machine gun, M2 Browning machine gun, Accuracy International Arctic Warfare sniper rifles, AT4 SRAAW, FGM-148 Javelin Anti-tank guided missile, L118 105mm Howitzer, RBS 70 Surface to Air Missile system.

 

The Army has purchased 80 Swiss made Mowag Piranha Armoured personnel carriers which have become the Army's primary vehicle in the Mechanised infantry role. These are equipped with 12.7 mm HMGs, or the Oto Melara 30 mm Autocannon. The army also has 27 RG Outrider light tactical armoured vehicles. The Army has no tanks, but does have a variant of the FV101 Scorpion light armoured reconnaissance vehicle, with a 76.2 mm main gun.

I made this tea towel using the new SS patterns --- it was a lot of fun creating something with "real" women, although I did slim their midsections just a wee bit. I gave the blonde a tattoo as well :-)

Folkloric

- Root used as efficient emmenagogue.

- Infusion of fresh stems and leaves in cold water is a demulcent and used in gonorrhea.

- In Ayurveda, used for chronic dysfunctional uterine bleeding.

- In Bangladesh, leaves and stems used for menstrual disorders and diseases of the uterus; bark and roots for leucorrhea and menstrual problems. Also, used for stomachaches, diabetes, dermatitis, and whitish urinary discharge in men.

- In India, used for dysmenorrhea. Fresh and dried root bark used as uterine tonic and emmenagogue.

- In Indonesia, used for scabies.

- Fresh viscid sap is useful in congestive and neuralgic varieties of dysmenorrhea. Used as a regulator of menstrual flow and as uterine tonic.

Others

- Fiber: Bast fiber is silky and valued for its strength. In the Philippines, used for making rope, twine, fish-lines, pouches, etc. A favorite clothes-line material because it does not stain.

 

source: stuart xchange

 

For your Art only, not for Sale on a CD or Collage Sheet

Used a theme idea of "up". Processed in high contrast to play up the feeling of being in a hole.

Need some dirt

Merci beaucoup to xavnco2 for allowing me to use his excellence picture of this WW II, U.S. Army Air Compressor truck as the subject for this “digital illustration”. Xavnco2s’ original picture can be viewed here

 

Hope you enjoy......... (my madness)

 

US Army in World War II

Engineers and Logistics

by Rich Anderson

 

Engineers

 

It was perhaps fitting that the U.S. Army, with an officer corps heavily influenced by the teachings of the United States Military Academy (which was the first engineering school in the United States), should be lavishly equipped with engineer troops and equipment. The divisional combat engineer battalions were capable of performing most engineering tasks (including demolitions, obstacle emplacement, fortification, and light bridge building) for the division. Additional battalions from corps or army augmented divisional engineers for more extensive tasks. Corps battalions were assigned to the command of an engineer group headquarters, which consisted of an H&H Company and an engineer light equipment company. Normally there were between three and six battalions in an engineer group and one or two groups per corps or army.

 

Combat engineer battalions tended to have high esprit de corps; they rightly considered themselves to be elite specialists. In a pinch, combat engineers also could act as infantry and did so frequently. In the Battle of the Bulge, a handful of engineer battalions proved to be a vital asset to the beleaguered American Army.

In addition to the combat engineer battalions there were in the Army a number of other general engineer units. The Engineer Amphibian Brigade was designed to support amphibious operations and included an H&H Company, three boat-and-shore regiments, a boat maintenance battalion, a medical battalion, and a quartermaster, ordnance, and a signal company. A single amphibian brigade (with naval support) was capable of transporting and landing an infantry division. Later, the brigade was strengthened and re-designated as the Engineer Special Brigade. Six Engineer Special Brigades, numbered 1st to 6th, were eventually formed. The 1st served in the MTO, ETO and PTO, the 5th and 6th served in the ETO, the others all served in the PTO.

 

Engineer aviation regiments and battalions were designed to construct and maintain air bases. Aviation engineers included engineer airborne aviation battalions, which were designed to be air transportable; so as to repair airfields captured by airborne forces.

 

Engineer bridging units included heavy ponton (the word pontoon is properly pronounced ponton, and beginning in World War II, that is the way it has been spelled by U.S. Army Engineers) battalions (nineteen formed, allotted usually one to three per army), light ponton companies (usually one per engineer group), and treadway bridge companies (usually one per armored division, but held at corps).

Engineer general service regiments and battalions performed construction, repair, and maintenance duties of all kinds behind the front lines. Many general service battalions were formed as pools of unskilled labor troops and later were organized as regiments.

 

Engineer special service regiments (seven formed) contained highly skilled construction personnel and had a large allotment of heavy equipment. The remainder of the engineer corps was made up of various specialist units, topographic, water supply, railway, oil field, railway operating, and camouflage battalions. In addition, there were large numbers of separate companies and even specialist engineer detachments consisting of a few officers and men. Over 600 battalion-size engineer units were formed during the war.

 

Curiously, only the engineer combat regiments were broken up into separate battalions as a part of the pool concept in 1943. The H&H Company of the engineer combat regiments were re-designated as engineer combat groups in 1943. The other specialized engineer regiments were retained to the end of the war.

 

Source: www.militaryhistoryonline.com/wwii/usarmy/engineers.aspx

 

* Can you identify the various tools / items included in this image?

 

(used in Yahoo! Profiles)

The stairs between Tavastgatan and Bastugatan at Mariaberget on Södermalm.

© All rights reserved. Use without permission is illegal.

"hear the sighing of the forest . . . buried 'neath the city streets . . ."

Nearly extinct now, once the great longleaf pine/wiregrass ecosystem covered the southeastern United States. The timber barons of the 1800's and early 1900's became rich, as they nearly exterminated this beautiful variety of great pine, along with the soft wiregrass groundcover beneath it which is host to bobwhite quail, the giant gopher tortoise and many other creatures. Commercial forestry replaced the slow-growing longleaf pines with sterile rows of fast-growing yellow and slash pines. The fires that were once key to survival of the wiregrass/longleaf ecosystem were mistakenly squelched. Now, there are only a few stands of longleafs and wiregrass, where you hear a constant soft moan in the canopy high above. Thanks to the Tall Timbers Research Station just south of Thomasville, GA, the ecosystem and the need for prescribed periodic controlled fires is understood. This was taken at the Doerun Pitcher Plant Bog near Doerun, GA. The Barber family of Moultrie generously donated this stand to preserve a bit of wiregrass/longleaf, along with a bog full of rare indigenous pitcher plants.

Crews use cranes to remove the first girder of the R.H. Thomson "Ramps to Nowhere" during the weekend closure on Saturday, Oct. 18.

 

Construction crews were busy along the SR 520 corridor during the Oct. 17-20 weekend closure. Critical work activities included beginning stages of the demolition of the R.H. Thomson “Ramps to Nowhere” and installation of piles on Foster Island for the SR 520 West Approach Bridge North Project. Crews working on the SR 520 floating bridge installed toll gantries and crews working on the Eastside Transit and HOV Project continued permanent highway lane striping activities and paving on local streets. Find out more about the new SR 520 on our website.

 

The SR 520 West Approach Bridge North Project is the next construction phase of the SR 520 Program. When complete in summer 2017, WABN will be built to modern earthquake standards and connect westbound-traveling vehicles, transit/HOV, bicycles and pedestrians from the new floating bridge to the Montlake area.

Used the MagMod "Scatter" stencil with the grid flash modifier which really made the light pattern "pop."

 

Cosplayer: @scarletjewelcosplay

Using HP5 on a F70. Some obvious composition flaws, due to the fact it was an instinctive shoot in manual mode (thanks to the blessy ones who teach me how to point and shot with a reflex), but there's something in this picture fashinating (well, at least for me).

Used natural window light

  

So, after a month where I ended up using over 6 pounds(!) of butter in the kitchen, I figured I should bake something with a lean dough, and I haven't made bagels in a while. Up until my kids were about 2 years old, I used to make a dozen bagels just about every weekend, but now it's not quite so frequent.

 

It was a gorgeous morning, too, so I just moved the cooling rack out onto the shade of the front porch and grabbed a few photos, and I liked this one so much I thought I'd post it.

 

This recipe started life as the bagel recipe in The Best Recipe from the folks at Cooks Illustrated, then modified to suit my tastes a bit (really should get around to that web site someday), and finally converted into the weights you see here, which is essentially a 60% hydration dough (or a 5:3 ratio of flour:liquid).

 

Ingredients

 

30 oz. high-protein flour (about 6 c.—I use the Sir Lancelot variety from King Arthur Baking)

15 oz. water (1 7/8 c.) at about 110°F

3 oz. barley malt syrup (3/8 c.)

2 1/4 tsp. active dry yeast (1 packet)

1 tbl. kosher salt

 

Directions

 

Combine the dry ingredients in the work bowl of a standing mixer fitted with the dough hook. Combine the malt syrup and water in a measuring cup and stir to combine.

 

Mix the dry ingredients on low speed until the yeast is mixed in well, then pour in the liquid. Continue mixing until a dough ball forms, then mix at low-medium speed for 10 minutes in the stand mixer. This is a real workout for my stand mixer, so keep an eye on yours to avoid it walking or overheating. When done, the dough will be smooth, only very slightly tacky, and easily pass the windowpane test. Remove from the mixer, form into a ball, cover with plastic wrap, and let rest for 5-10 minutes.

 

Cut dough into quarters, then cut each quarter into thirds (12 pieces total). Shape each into a bagel by rolling into a smooth ball, then poking your finger down through the middle and stretching out like an elastic band. Arrange the shaped dough on two half-sheet pans dusted with cornmeal, cover lightly with plastic wrap and a kitchen towel, and place in the refrigerator overnight to proof. They won't appear to rise much in the fridge; that's expected.

 

In the morning, preheat your oven to 450°F. In a large, deep skillet or a dutch oven, bring 2 quarts of water plus 2 tbl. of sugar or malt syrup to a boil (for darker bagels, as seen here, add a teaspoon or so of baking soda to the boil as well.)

 

Working with about 3 bagels at a time, gently stretch the bagels out so the hole is at least an inch in diameter, then boil for about 1 minute on each side. The bagels will puff up almost to their final size while being boiled. Return them to the sheet pan (with a little more cornmeal to prevent sticking).

 

If you want to put some sort of topping on your bagel, now's the time. The outside of the bagel is usually sticky enough for seeds and the like, but a little egg white can be used as glue if you want more insurance.

 

Put the sheet pans into your preheated oven in the upper-middle and lower-middle positions, and spray the inside of your oven with water to make a good amount of steam (or, leave a heavy skillet on the floor of the oven during your preheat, and pour in a half cup or so of ice water.) Bake 18-20 minutes until nicely browned, rotating the pans halfway through.

 

Transfer to a cooling rack. These are great still warm from the oven, and, once completely cool, will keep well stored in a plastic bag for 4-5 days, particularly if you're toasting them. They also freeze nicely.

A little something to remember the summer from.

 

Non-commercial use allowed when name of photographer is mentioned. No derivative works allowed.

_______________

Creative Commons BY-NC-ND 2.0

_______________

 

If you find my work worth using, please humor me and read my About section!

 

Unfortunately many people take using photos they found online very lightly and disregard (or are unaware of) the fact that most of it is copyright protected and using it may have conditions or be completely disallowed. Before you use my photos, I ask that you read my About page so that we're both on the same page and avoid all the headaches that result from license violations and copyright infringements.

For your Art only, not for Sale on a Collage Sheet or CD

Use for Threadless submissions.

 

DISCLAIMER: PLEASE READ BEFORE USING THIS PHOTO

 

If you would like to use this photo for a site other than Threadless, please contact me via flickrmail or e-mail me at randyaquilizan (at) yahoo (dot) com. Thanks.

For your Art only, not for Sale on a CD

For your Art only, not for Sale on a CD

On Explore! #99 @ 491.

 

Please don't use this image on websites, blogs or other media without my explicit permission. If you wish to use this image, please, contact me through flickrmail or at vicenc.feliu@gmail.com. © All rights reserved...

 

St. George Episcopal, founded 1720, Fredericksburg, Virginia, George Washington's church. The present St. George’s Church building was built in 1849. It was the third to be constructed on this site. The first was a wooden structure built in the 1730s; the second, a more substantial brick building, was erected in 1815.

 

It was during the earliest period in St. George’s history (1738) that the family of George Washington moved to the area. In time, they, as well as friends and relations famous in the founding of this country, attended services here.

 

Throughout the more than 285 years of its existence, St. George’s Church has been an active force in the community. During the Colonial Period, the Church was responsible by law for the welfare of orphans, widows, the sick and the needy in the community. From 1795 to 1802, the Church established male and female charity schools. Before the War Between the States, it operated Sunday Schools for black children. During the same war, it was used as a hospital and for revival meetings.

 

The current St George’s Church building stands as a fine example of the Romanesque Revival style of architecture popular in the mid-19th century. It was designed and built by Robert Cary Long and H.R. Reynold of Baltimore.

 

The exterior focal points are the three main round-arched doors and windows. The central tower and steeple, long familiar city landmarks, have survived the ravages of time and war. The clock in the tower was set in place in 1851 (and restored in 1854 after fire damage) by the City of Fredericksburg, which is still responsible for its maintenance.

 

Inside, the plan follows the ancient basilica layout, with the nave and columns forming court-like space on three sides, and supporting a rear gallery.

 

The original “basic box” simplicity was first altered in 1876, with the removal of the high pulpit from the center of the east wall (where it stood above the Holy Table and reading desk). This opened the altar wall, allowing for the addition of the chancel. The lectern was placed on the left, the pulpit on the right. The lectern is in the shape of an eagle, the symbol of St. John the Evangelist and his Gospel of Love. In 1925, the choir and the organ were added to a newly expanded chancel area.

 

The side galleries were added in 1854, and the plain glass windows began to be replaced by stained glass with the dawning of the 20th Century.

 

The Lamp is part of the portico of the Fredericksburg Presbyterian Church. Dedicated in 1833, the Presbyterian church is now the oldest house of worship in Fredericksburg. It was built using the temple form. The Civil War years brought turmoil and destruction to the church. The church bell was given to the Confederacy to be melted down for guns. During the Battle of Fredericksburg, the church was heavily damaged by Union artillery.

 

The Presbyterian church was used as a hospital when the federals occupied the town after the bloody battles of the Wilderness and Spotsylvania Courthouse. Clara Barton, founder of the American Red Cross, nursed soldiers here, as did Walt Whitman. The wooden pews were used for coffins. The interior was damaged during the four-year conflict, but later restored to its antebellum state. The church features a distinctive bell tower. The belfry entablature is one of only two in Virginia depicting the Baths of Diocletian in Rome.

 

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Using some watercolor texture ideas from my favorite watercolorist Anne Blockley: