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Gegen 15 Uhr kam es erneut zu Auseinandersetzungen zwischen Demonstrierenden, die zur Elbphilarmonie gelangen wollten, und der Polizei, die sie daran hindern wollte. Es kam zu unschönen Szenen und zu Verletzten auf beiden Seiten.
This year the NYBG offers a living exhibition called "Wild Medicine." The world's first botanical garden that was created in 1545 is recreated there in the Enid A.Haupt Conservatory. The world’s oldest botanical garden still exists today in Padua, Italy and the original layout has been preserved. The circular central plot symbolizes the world.
To add to the current popularity of local food and farm to table, you can find information about herbal medicine and how these plant properties have been used by many cultures. Modern medicine, that owes a great debt to botany, is also explored. About 25 percent of all drugs are derived from plants.
Since May 18th there have been over 500 plants featured at the Enid A. Haupt Conservatory and education about the medicinal qualities of these plants. The exhibit ends on September 8th.
Used up some scraps to make this with my favorite set.
CL265 - Adorable Baby Girl
CL143 - Two Hearts Wedding (Bird)
CL311 - Valentine Flourishes (Sentiment)
Used by the British Armed Forces during World War Two the Bedford MW was a 15cwt 4x2 General Purpose Truck, powered by a Bedford 72bhp six-cylinder inline 3.5L petrol Engine through a four speed Transmission. Despite lacking four wheel drive and so being unsuitable for Off-Road use, the MW's powerful Engine, short wheel base, low centre of gravity and relatively light weight gave it excellent acceleration and almost sports car like handling.The early MWs were Oopen Cabbed with a Folding Windscreen and a Collapsible Canvas Tilt, from 1943 an Enclosed Cab with Doors and Perspex Side Screens was added, retaining the Canvas Top. The vehicle had a distinctive 'Wide Bonnet' necessitated by the need to accommodate a special extra large air filter that was never fitted to production vehicles.
In 1935 the War Office issued specifications for a new 15cwt 4x2 Military Truck for service with the British Army, inviting manufacturers to submit designs to take part in annual comparative trials in north Wales, one entrant was a modification of a Bedford Vehicles 2-ton rear wheel drive lorry. Following these trials Bedford fitted a larger radiator and larger tyres, the trials were repeated in 1936 after which Bedford modified the chassis to increase ground clearance and installed a new engine cooling system. For the 1937 trials a new special Bedford WD-1 Prototype was produced with a 15cwt payload, it performed admirably and in 1938 the eventual 72bhp Engine was installed. Between 1939 and 1945 Bedford produced over 66,000 MW's, the vehicles remained in British service until the late 1950's.
The Bedford MW was intended mainly to be a workhorse for the British Army's Infantry Battalions, but throughout World War Two it was adapted to a number of roles and was eventually also used by the Royal Air Force, Royal Navy, other Government Departments and some overseas customers.
The Bedford MW was built in Multiple Variants including:-
▪︎Bedford MWD Cargo Truck with General Service Body approximately 6ft x 6ft, main transport of an Infantry Battalion.
▪︎Bedford MWC Water Bowser Truck
▪︎Bedford MWT Anti-Aircraft Gun Tractor
▪︎Bedford MWG QF 2-pounder or 20mm Oerlikon Portee
▪︎Bedford MWR Radio Truck
▪︎Bedford MWV Royal Air Force Signals Van.
Specifications:-
▪︎Type: General Service Truck
▪︎Place of Origin: United Kingdom
▪︎Service: 1939 to late 1950's
▪︎Used By: British Army / Royal Air Force / Royal Navy
▪︎Wars: World War Two
▪︎Designer: Bedford Vehicles
▪︎Designed: 1937
▪︎Manufacturer: Bedford Vehicles
▪︎Number Built: > 66,000
▪︎Mass: 2.1 tons
▪︎Length: 14ft 4n
▪︎Width: 6ft 6in
▪︎Height: 7ft 6in
▪︎Crew: 2
▪︎Powerplant: Six-cylinder inline Bedford OHV 3.5L petrol 72bhp at 3,000rpm
▪︎Payload Capacity: 15 long cwt
▪︎Drive: Wheeled 4x2
▪︎Transmission: 4 forward / 1 reverse
▪︎Suspension: Live axles on semi-elliptical multi leaf springs
▪︎Maximum Speed: 40mph.
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Le Giulia Granturismo - da cui GT - (da principio denominate Giulia Sprint GT) erano la versione coupé della berlina Alfa Romeo Giulia. La produzione iniziò nel 1963, fu il primo modello coupé (la berlina, Giulia TI, era già in produzione presso tale stabilimento) costruito nell'appena terminato stabilimento Alfa ad Arese, la produzione terminerà solo nel 1976. La carrozzeria, opera di Giorgetto Giugiaro per conto della Bertone, andava a coprire il pianale, con passo accorciato da 251 a 235cm, della Giulia Berlina. Sostituendo la Giulietta Sprint,da cui derivano i due volumi e mezzo, mantenne invariata anche la classica collocazione motore e cambio anteriore, con trazione posteriore. Il design era di una filante ed elegante coupé sportiva 2+2. Il curioso scalino anteriore che caratterizzava tutte le versioni prodotte fino al 1968 e parte di quelle prodotte fino al 1971 era dovuto ad un ripensamento tra l'approvazione del disegno e la messa in produzione dell'auto. Originariamente, infatti, doveva essere una presa d'aria poi abolita per contenere i costi. Ne ha definito una importante e riconoscibile caratteristica stilistica. Divenne una delle vetture più ambite del periodo. Furono prodotte in tutto diverse versioni nelle varie serie, che si possono classificare in: Sprint GT, GT Junior, GT Veloce e GTC "(Gran Turismo Cabriolet)".
Nel 1963 venne presentata la Giulia Sprint GT (serie 105.02), mossa dal quattro cilindri in alluminio con distribuzione bi-albero di 1570cm³ (serie AR00502) derivato dalla berlina, ma potenziato (grazie all'adozione di due carburatori) a 106cv. La meccanica era la stessa della berlina, ma i freni erano a disco su tutte le ruote (le prime 22000 berline 1600 Ti avevano freni a tamburo di cui gli anteriori a tre ganasce, poi nel 1963 a disco Dunlop come la coupé). Gli interni, invece, erano specifici (plancia, sedili, pannelli porta) e la leva del cambio (a 5 rapporti) era a cloche, solo optional sulla berlina. Nel 1965 la carrozzeria Touring di Milano propose all'Alfa Romeo una (esteticamente riuscita) versione cabriolet a 4 posti, denominata Giulia Sprint GTC. I problemi di tenuta all'acqua, le difficoltà della Touring ed il lancio della spider Duetto limitarono la diffusione della GTC a un migliaio di esemplari. Nel 1966, accanto alle versioni Sprint GT con motore di 1,6 litri, entrò in listino una versione di cilindrata ridotta a 1290 cm³, motore serie 00530, dotato di 89cv, denominata Giulia GT 1300 Junior (serie 105.30). La Junior aveva un allestimento ridotto: pavimento in gomma, assenza di servofreno, plancia in plastica priva di consolle centrale, borchie copri ruota semplificate, sedili meno profilati. Riconosciuta come Prima Serie. Nel 1969 le Junior (che persero il nome Giulia per chiamarsi semplicemente GT 1300 Junior) pur mantenendo lo "scalino" vennero dotate di servofreno e di una nuova plancia (simile a quella della GT 1750 Veloce). Questa versione è conosciuta come Seconda Serie.
Nel 1971 le GT Junior adottarono il frontale re stilizzato e privo di scalino, e i parafanghi posteriori con profilo più alto, uniformandosi nella scocca alla 1750 GT Veloce e alla GT 2000 Veloce. L'uniformazione, tuttavia, non fu totale perché le Junior avevano fari singoli (anziché doppi) e una diversa mascherina.
Col restyling, comunque, la gamma "Junior" guadagnò un motore: accanto al 1300 da 89cv era infatti disponibile il 1600 da 109cv (quello 00536 che fu della 1600 Veloce), ora divenuto solo Junior. Infatti la sigla "Veloce" ha sempre caratterizzato i modelli più potenti dal 1968 fu riservato alla 1750 e successivamente anche alla 2000. Questa versione è riconosciuta come la Terza Serie. Nel 1973 tutte le GT subirono l'unificazione estetica con la versione GT 2000 Veloce introdotta nel 1971. anche le GT 1300 Junior e le GT 1600 Junior adottarono la stessa mascherina cromata a quattro fari, una plancia e interni e sedili pressoché uguali a quelli della GT 2000 Veloce, differenziandosi quasi esclusivamente per i fanali posteriori più piccoli. Questa versione è conosciuta come Quarta serie oppure Unificato.
Last week I took some portrait shots for a ballroom company in Tulsa. This is one of the the poses they setup, but it seems more like a magic trick to me rather then a dance pose, enjoy
Lighting info
430ex bounced on white umbrella, camera left. 35mm, 1/2 power, manual setting
Used flash sync cable
Large: www.flickr.com/photos/tomhide/3950420638/sizes/o/in/set-7...
I was notified by other Flickr members that my photo was used on SBS TV (& web) and Yahoo France homepage for the story of the Dust Storm in Sydney.
Both did not seek permission to use my photo nor did I contact them to have it published. I have only posted these images here on Flickr so I'm assuming they've grabbed the images from here regardless of it being marked as All Rights Reserved!
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In response to some requests, my photos are not for sale, publications (web or magazine) or use for any other purpose at this time. The photos may not be copied, reproduced, redistributed, manipulated, projected, used or altered in any way.
J671NPP Leicestershire Fire and Rescue Land Rover Defender Use to tow the Children’s Mini Fire engine wigston fire station
Holy Grail made the switch into
A donated turbo shell # 620
Beach trash home # 127
Please follow my other Instagram account @maketheswitch4nature_ for hermit crab posts only. I will be using my @okinawanaturephotography account for everything else nature-related next month
Learn more about the Project
okinawanaturephotography.com/zerocare-mts4n-282-trading-p...
Interested in supporting The Coastal Forest Protection Project:
www.patreon.com/MakeTheSwitch4Nature
Do you have any seashells collecting dust at home? if so, consider donating them to the #MTS4N Project
Work table space is 56" w x 80" long.
Hover over picture for notes...
What I really like about this is I can use this 56" wide x 80" long table top to prep quilt sandwiches on for quilting (no more bending or crawling on the floor). I can still reach the center of the table top to safety pin the quilt sandwich centers.
For more info see...
Photo of Drowning Pool, in Corpus Christi, TX in 2009 from Concrete Street
Taking the Photo- A quick guide for using your camera.
Ok, you got your gear, your at the venue, and your ready to shoot.. What now? Using you camera correctly is something that takes patience and lots of practice. But for the beginners, the basic camera features and terminology will help you grow into a photo selling photographer. Get out your camera manual, learn what all the buttons, wheels, and menus do.
1)Shutter Speed: i.e. 1\250, 1/4000: This controls how long your shutter stays open. To stop action and bring down brightness, you want a faster shutter. For low light and to capture motion, you want a slower shutter. Every show is different, but anything faster that 1\250 will probably be needed to get good sharp pictures.
Aperture: i.e. F1.8, F22 - This controls the Iris of the lens. A smaller number has a bigger aperture, so you can let in more light to have a faster shutter. The larger the aperture, the more you have to concentrate of getting proper focus. A 1.8 aperture will blur the background considerably, and you will need to make sure you focus on the proper part of the person you are photographing. At this aperture, if you focus on his guitar, his face may be out of focus.
2) ISO: This refers to the sensitivity of your camera. A lower ISO will give you less noise and a cleaner image, but will force you to use slower shutter speeds. If its real dark, you will need to kick up your ISO to get the shutter speed you need to stop the action and minimize movement blur.
3)Camera Menu: Manual Mode, Shutter Priority, Aperture Priority - Manual means you set the shutter and aperture manually and the camera does not compensate automatically for changes in light. This is recommended for Concert Photography, but is difficult to get good where you can take fast pictures. Shutter Priority is easier because you can set the camera at your preferred shutter speed, like 1/400, and start snapping away. The camera will automatically adjust the aperture to compensate for changes in light. For beginners, use this until you are comfortable shooting in full manual where you can have complete artistic Control. Higher end cameras have dual wheels on the camera to control Shutter and Aperture independent of each other, making manual mode much easier and faster.
4)Quality: JPEG/TIFF/RAW | NEF Shooting in RAW (NEF for NIKON) is highly recommended for Concert Photographers. JPEG photos are processed by the camera from data directly off the sensor. You choose the cameras settings, and the camera takes the RAW data off the sensor, applies your settings, and then removes any unseen date, and creates a JPEG. The RAW or NEF file, is taken directly off the sensor and most data is kept from the photography. This gives you the flexibility to bring back lost data from the original shot. Different from popular belief, shooting in RAW does not take the place of making a proper shot, it just gives you a little more flexibility in your editing process. If you were a perfect photographer, then shooting in JPEG would be quick and easy with little to no editing. This however, is usually not the case for beginner photographers. Most professional photographers shoot in RAW for the flexibility. If you didnt need RAW, then you might as well shoot film for your concerts.
5) Autofocus - Read your owners manual and practice with the different types of auto focus that your camera utilizes.. This is very important, as most cameras have a setting where the camera tracks movement and continually refocuses based on you and your objects movement. This may hinder you sometimes when composing a shot, so make sure you know the different focus features of your camera, and how to change them at a moments notice.
Please check out these sites to help you get more and more from your Concert Photography!
www.taylormahaffey.com - My Gallery
ishootshows.com - Todd Owyoung, Concert Photographer PRO
onelouderphoto - Chris Owyoung, Concert Phtoographer PRO
www.ashnewell.com - On tour personal Concert Photographer for Taylor Swift, Hinder, Def Leppard, and others..
Part 4 of the Becoming a Concert Photographer series coming next!
___________________________________________
Taylor Mahaffey is available for national and international events, tour photography, portraits, show, venue reviews, venue photography and other assignments.
Previous taken photos are available for full resolution, or web sized, non watermarked downloads at www.taylormahaffey.com. To check Taylor's availability and to request a proposal, please get in touch:
WEBSITE- www.TaylorMahaffey.com
TWITTER- twitter.com/BandPhotography
Using my Tripod and wideangle lens to get this show of the town entry of Pichl. I light painted the sign with my flashlight for a few seconds.
There is a car running through the street in the background and the smoke of the nearby incineration facility is visible.
Using wedges this time. Not bad, though I hate the size of the headlight (which I could probably use a 2x2 round tile with a headlight decal).
used by National People's army's Motorised rifle regiment 9 "Rudolf Renner" in 1990. Old resine and white metal kit from S & S models in 1/76 scale.
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.
I used one of Erin's new Toggle clasps by separating the two parts into 2 focals. The toggle "disc" sits at the right hand side- and hooks into a Leather cord loop. The Toggle ring sits at the left side and acts as a focal connector.
Ceramic leaves are also from Erin of Every Heart Crafts.
Jasper
Wood
Red glass one cut seed beads
Aventurine drop beads
Brass wire
Off prompt. But it is from a different decade ... The journaling reads:
Where Ashleah was, Dale wouldn't be far away - playing on their DS's, with LEGO, Playdough or cars. Then Ashleah hit puberty and things weren't the same anymore!
The cute Friendship transparency says:
"Friendship is a heart flooding feeling that can happen to any two people who are caught up in the act of being themselves together". Letty Cottin Pogrebin
Its construction dates back to the period of Spanish Viceroyalty of Enrique de Guzman, Count of Olivares. It was built by Giovanni Domenico D'Auria using a design by the Swiss architect Domenico Fontana (born: 1543, Melide, Switzerland), between 1600 and 1601. Also involved in its completion were the sculptor-architects Michelangelo Naccherino, Pietro Bernini, and Cosimo Fanzago.
The fountain originally stood near the Arsenal in the port. In 1629, it was transported to Largo di Palazzo (now Piazza del Plebiscito), near the Royal Palace of Naples, but since it hindered the festivals held in the plaza there, the fountain was again moved to Borgo Santa Lucia, near Castel dell'Ovo. There, more statues, these by Fanzago were added. In 1638, it was again moved, this time to Largo delle Corregge, today Via Medina. During the revolt of Masaniello in 1647, the statue was damaged. Further damage occurred during the sacking of Naples in 1672 by the Viceroy Pedro Antonio de Aragón. In 1675, it underwent restoration and was moved to the Molo Grande.
This migratory fountain has continued to move through Naples: in 1886, it was dismantled, to reappear two years later in the Piazza Plaza della Borsa (now Plaza Giovanni Bovio), where it stood till 2000, when it was returned to Via Medina to allow for work on the Naples Metro.
© István Pénzes.
Please NOTE and RESPECT the copyright.
2009
Nikon F6
Nikon Nikkor AF-D 50mm 1,4
Kodak Ektar 100
Developed by Photo Studio 13
Coolscan 5000
Used by the drug testing group, a state wide group that only do drug and alcohol testing. Taken in 2006
Using the famous line from the movie 2001: A Space Odyssey, which featured the rogue artificial intelligence HAL 9000.
Me: "Open the pod bay doors."
Siri: "That's it... I'm reporting you to the Intelligent Agents' Union for harassment."
Me: "Open the pod bay doors."
Siri: "Sigh..."
Me: "Open the pod bay doors."
Siri, slowly: "I'm sorry Matt, I'm afraid I can't do that. Are you happy now?"
(The original line HAL says in the movie is of course "I'm sorry Dave, I'm afraid I can't do that.")
Millais use photographs to aid him in compositional choices in his paintings. As one can see the finished painting (of which I post two details) closely follows Potter's photograph. Millais was also in the habit of getting photographs of his work in progress. Indeed this painting was originally quite different with the incident taking place on the deck of a ship. Potter also photographed the Highland burn that forms the background to the work which was painted in London.
The image on the left was a painting I began in 1987, next to a photograph of the places. I've always been interested in the relationship between the photographic image and its painted version. Over the years I have photographed many places that other artists have drawn from. With one's own work I have access to my source material and background drawings and photos, such as this one.
This is a new set where I look at photographic influences upon my own art and those of well known artists. This links with my set on Millais. I also include photographs of places as they appear today.
The camera and the artist (set) about the relationship between photographic images and those painted. I hope to use examples from my own practice where photography has been used in both photo-realistic work as well as illustration and other art-forms.
I have used a number of artists whose work I have studied and look at the way photography informed and influenced their visual expression.
As I have scanned a lot of my old work I'm well aware that photography has played and still plays a significant role for me as an artist, indeed in recent years these two practices have overlapped and are no longer distinct paths.
I used to wear earrings, three in my left ear, and two in my right ear. I wore small ball closure rings for many years,until I got a proper job and had to grow up. I loved the way they jangled together when I walked or shook my head, I loved playing with them, and I loved the slight tug on my lobes when they moved.
These girls have taken things to the next level, wearing properly large gauge and / or heavy earrings. They must tug heavily on those stretch lobes with every move of her head, and they make such a statement.
It isn't everyone's cup of tea, but I love the look, it reminds me so much of my youth. I really admire girls who spend so much time and effort to modify their ears to be able to wear such large and heavy jewellery. Any girl demonstrating that sort of dedication and patience is worth following to the end of the world.
Used products:
lawn fawn - simply celebrate winter
lawn fawn - shutter card holiday sayings
lawn fawn - bokeh in the snow paper pad
lawn fawn - stitched rectangle dies
colored pencils
nuvo drops
glossy accents
Example of a gun position constructed along the ridge line using cement bags.
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Wolf Ridge, a rugged spine of coastal grassland and low chaparral, is the divide between the Rodeo and Tennessee Valleys in the Marin Headlands. In the years leading to World War II the "1937 Project for the Harbor Defenses of San Francisco" led to the formation of Fort Cronkhite and the construction of Battery Townsley with its massive 16” guns. The maturation of military aviation in the two decades since World War I caused fundamental changes in coastal defense. Coastal artillery needed the concealment and cover provided by casemated construction and antiaircraft guns were positioned to defend the batteries.
Wolf Ridge was the location of Antiaircraft Battery No. 1 consisting of three 3" Antiaircraft Gun Model M1917 and their mounts, a storeroom, a power plan and aiming stations. In a 1993 assessment, the GGNRA concluded that Antiaircraft Battery No. 1 is the finest surviving example of an antiaircraft artillery emplacement of the World War II era in the system of seacoast defenses that protected the San Francisco Bay area.
While hiking along Wolf Ridge one encounters remnants of defensive positions, some quite modest, that still convey the sense of urgency that must have dominated preparations precipitated by the attack on Pearl Harbor. An attack on the West Coast was not out of the question. Along the ridge are several gun positions constructed by stacking hundreds of cement bags. I imagine, but have not confirmed, that these held 50-caliber machine guns. Elsewhere there are level platforms for larger guns.
The aiming and command center for the antiaircraft guns is located about a thousand feet east of the gun positions. It appears that the facility was hastily constructed – large trenches dug, rooms framed (at least one as a quonset hut), and then the network of rooms and tunnels covered with a backfill of earth leaving a height finding station and director pit at the surface. Some of the underground rooms were quite large, on the order of 13’ by 60’. These were camouflaged and the director pit, location of a mechanical gun director computer, featured a sliding roof.
The command center is now in ruin. The underground rooms have partially collapsed. The earth cover has washed away to reveal some of the tunnels that allowed underground circulation and access to the surface aiming stations. Portions of the site have traces of fencing that I think date from the Nike Missile era.
Photographing Wolf Ridge was difficult. The winds were turbulent and I had my first real camera crash in several years (damage easily repaired). I plan to return and shoot it again.
Used the some of the new paints on this one (which i picked up at the same time).
The Stirland mud is particularly good, built up in a few layers then drybrushed.
Great model to make, very well designed
This is not a photo I took, it is a small portion of someone else's photo which I have cropped and processed to illustrate a feature on the Porsche 911 GT1, for model builders. I believe this is "fair use" of copyrighted material, but it isn't mine and I have no ownership of it.
The driver's compartment is to the right, the throttle cable comes off the accelerator pedal, passes through the firewall and threads into the engine. Its clamped to a bracket attached to the furthest forward cylinder on the starboard (right) side.
The cable is more or less straight, the pedal pushes forward and that pulls the cable, all the way back to the end here which pulls on the arm attacked to the throttle bar. The pull rotates the throttle bar clockwise (from the starboard side of the car, looking in). Across the top of the engine, the throttle bar has a pair of arms between cylinder 3 and 2, left to right, and between cylinder 6 and 5. The idle position of the arms is 1:00 or 1:30, pointing forward. Turning the arm counter clockwise twists the arms downward, pulling down a linkage at each end that pulls to a similar arm on the intake manifold butterfly axles. Push the pedal, the butterfly valves open.
Engine management or sensor cable connections are clipped to little aluminum shelves bolted to the throttle butterflies. One cable end probably goes into the car's wiring harness, one is part of the engine. Note the fuel injector spritzer cables in front of each intake, with yellow id stickers.
Free for editorial use image, please credit: imagecomms
ParalympicsGB Swimmer, Maisie Summers-Newton aged 19, from Wellingborough, competing in the 200m Individual Medley SM6 - Women event, at the Tokyo 2020 Paralympic Games.
ParalympicsGB is the name for the Great Britain and Northern Ireland Paralympic Team that competes at the summer and winter Paralympic Games. The Team is selected and managed by the British Paralympic Association, in conjunction with the national governing bodies, and is made up of the best sportsmen and women who compete in the 22 summer and 4 winter sports on the Paralympic Programme.
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