ESO has utilised the innovative technology of 3D printing to manufacture moulds for the casting of two new components required for the MUSE instrument on ESO's Very Large Telescope (VLT) in Chile. This technique offers great promise in the manufacture of complex custom items, which are often needed in astronomical instrumentation, delivering the components more quickly and cheaply and with greater flexibility. The component, the structural body of a new sensor arm, appears in the centre of the picture and is the mounting point for three mirrors.

More information: www.eso.org/public/images/ann14011a/

Credit:

ESO

Photo recadrée et utilisée par Wikipedia Brest contre ma volonté exprimée, sous prétexte que l’œuvre est dans le domaine public. Comparez l’EXIF :

commons.wikimedia.org/wiki/File:Michel_Bouquet_1861c_Le_V...

Michel BOUQUET

(Lorient, 1807 - Paris, 1870)

Le Vétéran entrant à Concarneau en 1806

vers 1861

Huile sur toile, 82 × 117 cm

Dépôt de l'Etat en 1875 (don de l'Empereur Napoléon III)

BREST Musée des Beaux-Arts

25/06/2022 : nouveau tirage d'après le même fichier RAW

Peintre originaire de Lorient, Michel Bouquet (1807-1890) commence sa carrière dans l'administration de la Marine. Élève de Théodore Gudin, ses peintures ont, dans leur composition, un caractère classique.

Peu après la défaite de Trafalgar (1805), le blocus maritime instauré par Napoléon s'amplifie contre l'Angleterre. Le 26 août 1806, alors que le conflit naval est à son comble, les habitants de Concarneau assistent à l'arrivée du vaisseau « le Vétéran » qui cherche à échapper à une croisière anglaise. La joie de voir un navire français berner les Anglais et réussir une manœuvre particulièrement risquée fut portée à son comble, et devint une fierté locale, lorsque les habitants de Concarneau apprirent qu'un enfant du pays effectuait la manœuvre. Concarneau continue toujours à commémorer la prouesse de ce marin nommé Jean-Marie Furic.

Fiche de visite du Musée

LA recette de

PAILLES AU FROMAGE

LES INGREDIENTS :

(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)

2 tasses de farine

2 c. à thé de poudre à pâte

1 c. à thé de sel (je ne la met plus)

2 c. à table de beurre

2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)

1 tasse d'eau froide (on n'utilise pas toute cette quantité)

1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).

LES ÉTAPES

•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).

•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.

•Mélanger la farine, le sel et la poudre à pâte.

•Ajouter le Crisco et le beurre et couper avec deux couteaux.

(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).

•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains

(on n'utilise donc pas toute l'eau).

•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.

•Séparer la pâte en quatre boules égales.

•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.

•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.

•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)

•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.

•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.

(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).

•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.

•Entreposer les pailles dans une boîte métallique hermétique.

LES TRUCS:

Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».

Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)

Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.

Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.

Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).

Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.

Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...

Rédaction: Jean-Pierre Bonin.

Mes remerciements à Catherine Morrissette.

Texte modifié en décembre 2019

Ze Cheese Straws recipe

ZE INGREDIENTS :

(sorry but my old aunt Catherine didn’t cook metric)

2 cups flour

2 tea spoons baking soda

1 tea spoons salt (I don't add salt anymore)

2 table spoons butter

2 table spoons Crisco (Shortening)

1 cup cold water (we do NOT use all this quantity)

1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).

Ze steps

•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).

•Finely shred the cheese and spread it on wax paper so it can loose some humidity.

•Mix the flour, salt and baking soda.

•Add the Crisco and butter and cut with two knives.

(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).

•Progressively add just enough water to get a non sticky dough while kneading with your hands

(thus we do NOT use all the water).

•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.

•Separate the dough into four « equal » balls.

•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.

•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.

•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.

•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.

•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.

(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).

•Slide straws from the parchment paper then place them on a grill to let them cool down.

•Keep the straws in an hermetic metal box

ZE TRICKS:

This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.

It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)

To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.

To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.

One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).

Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).

Use a pastry wheel crimper is for aesthetics...

Redaction: Jean-Pierre Bonin.

My thanks to Catherine Morrissette.

Modified on December 20th 2019

Petit autoportrait ce soir, ca faisait longtemps que j'avais pas utilisé mes flashs sur moi même :p

Small self-portrait that night, it's been a long time I had not used my flash on myself :p

My shot :

Location : Grenoble

Time & Date : Wednesday 5 of October

Camera : Nikon D300s

Lens : AF-S Nikkor 50mm f/1.4 G

Exif : ƒ/2.5 | ISO 100 | 1/200s |

Flash/Strobist info : SB-900 behind, at the right at 1/128 power and 28mm for the rim light; Cactus KF36 behind, directly on the wall with full CTB gel at 1/16 power; triggered by cactus trigger V4

Tripod : Manfrotto 190XPRO + head 804RC2

Filter(s) : —

Postraitement : aperture / photoshop CS5 + Color EFex Pro : Levels, pro and tonal contrast, saturation of blue tones and desaturation of the rest

Toutes vos critiques, commentaires et fav sont les bienvenus !

All criticisms, comments, and fav are welcome !

Merci / Thanks

My facebook : Thibault Bevilacqua Photography

FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

DRUNK SOULS at Portail Coucou - Salon-de-Provence, FR 2007

--- See more portraits HERE ---

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contact : ylfaure@hotmail.fr

www.facebook.com/ylfaure.photo

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All images in my gallery may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission.

© All rights reserved to Yoan-Loïc Faure.

Les photos de cette galerie ne sont pas libres de droit. Toute utilisation sans accord écrit du photographe est interdite.

Droit de reproduction et de diffusion reservé © Yoan-Loïc Faure.

OTHER CONCERT PHOTOS :

Ange, Baba Zula, Badila, BaZaZa, Boa Fe, Cyril Benhamou, Dee Dee Bridgewater,

John Butler Trio, the Dirteez, Drunk Souls, Electric Ducks, Fantazio, Peter Gabriel, Gwayav, the Hatepinks,

In & Out, Joke, Kabbalah, Keden, Lazuli, Lura, Marilyn Manson, Miliz Quintet, Monalisa, Nationale 7, Ninmah, Popa Chubby, Quidam, Riddim Colony, Rosa, Samenakoa, Eric Sardinas,

Sergent Garcia, Shanbehzadeh Ensemble, Shrink, Smoof, Soma, Sons of Gaïa, Tchalé

♫ More informations about the band here : drunksouls.com ♫

Agenda et chroniques des concerts sur Live In Marseille

Un ninja (忍者, ninja celui qui pratique le ninjutsu) ou shinobi (忍び, shinobi) était un guerrier-espion dans le Japon médiéval. Le terme utilisé pour désigner une femme ninja est kunoichi (くノ一, kunoichi).

Dans l'imaginaire des Occidentaux et même des Japonais, image d'ailleurs largement colportée par les films ou bandes dessinées, on représente les ninjas comme des guerriers vêtus de noir, une cagoule masquant leur visage, accomplissant des exploits physiques en combat, des acrobaties, et experts dans les techniques de dissimulation, d'empoisonnement, et surtout de diversion. Leurs atouts principaux était leur furtivité et leur discrétion.

Origine :

Cette image romantique, et le terme même de ninja, sont relativement récents (vers 1780). Les termes utilisés pour désigner ces guerriers-espions étaient plutôt shinobi ou shinobu, parfois rappa (乱破, rappa), suppa (素破, 水破 ou 出抜, suppa) ou kagimono-hiki, ou encore kusa (草, kusa les herbes, une des techniques consistant à attendre tapis dans l'herbe et à attaquer les troupes de dos après leur passage). En raison de leur origine géographique probable, les ninjas sont aussi parfois nommés hommes d'Iga (Iga no mono) ou de Kōga, ou encore troupe d'Iga (Iga shu) ou de Kōga.

Les ninjas étaient en effet probablement issus de ces deux provinces voisines situées à côté de Kyōto. Ces provinces étant indépendantes, ils n'étaient redevables d'aucune taxe et jouissaient d'une liberté de mouvement que n'avaient pas les bushi (ou samouraïs), qui étaient eux inféodés aux daimyō (seigneurs féodaux) ; ils n'étaient pas non plus soumis au bushidō (武士道, bushidō code de l'honneur du bushi), et pouvaient donc pratiquer des techniques de guerre non-orthodoxe (espionnage, guérilla, embuscades, assassinats). N'étant pas subordonnés aux grandes familles, celles-ci les utilisaient pour leurs besognes (pillages, assassinats). Une de leurs grandes spécialités était de s'introduire de nuit dans les châteaux et camps militaires et d'allumer un incendie, afin de faciliter l'assaut par des troupes classiques ; ils se déguisaient en général pour porter la même tenue que leurs victimes (ils n'étaient donc pas forcément vêtus de noir) afin de semer la confusion.

Par ailleurs, les familles nobles commencèrent à faire appels à des mercenaires dès le règne du premier empereur du Japon : Jinmu Tennō (sans doute des ninjas). Mais c'est lors de la période Kamakura (1192-1333), période marquée par de nombreux conflits entre familles et assassinats, que ces pratiques, même si elles ne correspondaient pas au code du bushido, ont été le plus utilisées par le pouvoir et les seigneurs féodaux. Ceux qui donnèrent par la suite les ninjas avaient établi leurs demeures souvent dans les montagnes où ils côtoyèrent les pratiquants de shugendō : les yamabushi qui souvent furent leurs maîtres d'armes. On voit souvent des documents anciens montrant des guerriers aux prises avec des tengu, dieux de la montagne, en réalité des yamabushi.

La séparation entre samouraï et ninja est difficile à établir comme le montre la vie de du célèbre guerrier Jūbei Mitsuyoshi Yagyū qui fut un samouraï et un ninja hors pair. Il rédigea des traités de stratégie militaire, nommés les Carnets de la Lune (月の諸, Tsuki-no-shō).

Aux yeux de la population, les ninjas, par leur activité criminelle et leurs méthodes peu orthodoxes, faisaient partie des classes sociales eta (穢多, eta paria) ou hinin (非人, hinin non-humain). Ces castes comprenaient les criminels, mendiants, vagabonds et tanneurs, métiers indésirables de la société japonaise, aujourd'hui regroupés sous le terme burakumin.

Une explication possible de l'étymologie de kunoichi, le terme désignant une femme ninja, est que chacun des caractères qui composent ce mot — le hiragana ku (く, ku), le katakana no (ノ, no) et le kanji ichi (一, ichi) — constituent les traits du kanji onna (女, onna) qui signifie femme.

.

________________________________________________ __ _

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Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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Matériels utilisés :

Boitier: Nikon D7000

Objectif: Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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Karelle

S'il vous plaît ne pas utiliser cette image sur des sites Web, blogs ou tout autre support sans ma permission explicite. © Tous droits réservés à Jules Marchetti.

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved to Jules Marchetti

Page Facebook: www.facebook.com/pages/Jules-Marchetti-Photographie/12246...

Cette maison située au 2355 boulevard Ste-Rose a Laval est presque invisible du reste du quartier. Elle est entourée d’une haute végétation ainsi que d’autres résidences.

La maison tire son nom de la pierre utilisée pour sa construction (la Dolomie de Beekmantown).

Concernant sa construction…

Même si les études en possession de la SHGIJ (Société d’Histoire et de Généalogie de l’Ile Jésus) et du site d’évaluation foncière de Ville de Laval, ont des dates de construction différentes. (Certaines études faites dans les années ’70 par le ministère des affaires culturelles évaluent la construction vers 1898 tandis que la fiche d’évaluation foncière de la ville indique 1770).

Selon le Registre foncier du Québec, la première concession de la terre fut en 1759. C’est le 14 février 1759 que J.-B. Angers, représentant du Séminaire du Québec, concède à Simon Sureau dit Blondin et Élisabeth cardinal, une terre de trois arpents de front par une quarantaine d’arpents de profond au nord de l’Ile Jésus, tenant au nord-ouest à la rivière Jésus et sud-ouest au milieu de l’ile.

Le 13 décembre 1819, devant le notaire F.-L. Bellefeuille, que Sureau donne a son fils, la terre. Sur cet acte notarié on retrouve le premier indice de la construction d’une première maison. Car il est indiqué qu’il y a « une maison de bois de 40pi. de long sur 18pi. de largeur, peinturée en rouge et couverte de planches et bardeaux ».

Le marché de construction (contrat) n’ayant pu être retracé, il est difficile d’établir l’année de construction. Cependant, nous savons qu’elle n’était pas là en 1819. Mais des détails architecturaux laissent présager qu’elle était construite en 1855 quand un certain Eusèbe Boileau est devenu propriétaire.

Depuis ce temps, la terre et la maison changea de propriétaires maintes et maintes fois jusqu’à aujourd’hui. D’ailleurs dans les 15 dernières années, il y eu trois différents propriétaires.

Source: SHGIJ (Société d'Histoire et de Généalogie de l'Ile Jésus).

Extrait du bulletin de Juin-Septembre 2014.

Photo recadrée et utilisée par Wikipedia Brest contre ma volonté exprimée, sous prétexte que l’œuvre est dans le domaine public. Comparez l’EXIF :

commons.wikimedia.org/wiki/File:Francesco_de_Mura_1740c_L...

Francesco de MURA

(Naples, 1696 - id., 1782)

Le départ d'Énée

vers 1740

Huile sur toile, 102 × 129 cm

Acquisition 1969

BREST Musée des Beaux-Arts

12/06/2016 : nouvelle photo

Ce tableau compte parmi les meilleures productions de cet élève de Solimène, le plus grand peintre napolitain de sa génération avec Corrado Giaquinto. Le tableau de Brest est à rapprocher des fresques avec l'Histoire de Thésée du Palais Royal de Turin peintes vers 1741-42, des Scènes de la vie de César et d'Alexandre envoyées par l'artiste de Naples à Turin en 1758 et du Moïse sauvé des eaux (inédit) de la cathédrale de Grenoble. Peint au moment de la pleine maturité de l'artiste, dans cette gamme de couleurs à la fois pâles et vives propre à l'artiste, dominée par les bleus, les roses et les verts, le tableau de Brest est un bel exemple de cet art, dont l'harmonie à la fois lyrique et classique est une réponse napolitaine aux compositions mythologiques d'un Boucher. L'Allégorie des Arts, récemment entrée au Louvre, est le chef-d’œuvre absolu du maître.

Nicola Spinosa a bien voulu nous signaler une autre version postérieure en date et plus grande que celle de Brest, au Castello Sforesco de Milan.

Catalogue "Renaissance du Musée de Brest" : bibliotheque.idbe.bzh/data/cle_140/Renaissance_du_MusAe_d...

Artiste napolitain, Francesco de Mura (1696-1782) fut l'élève de Solimena et connu un grand succès.

Mura traite ici du départ d'Énée de Carthage, un thème tiré de L'Énéide de Virgile. Jupiter s'opposant aux amours de Didon et d'Énée, ce dernier doit quitter le rivage africain. Se découvrant abandonnée, Didon se donnera la mort. Peint au moment de sa pleine maturité, dans une gamme de couleurs à la fois pâle et vive, propre à l'artiste, le Départ d'Énée compte parmi les meilleures productions de cet artiste. C'est un bel exempte de la réponse napolitaine aux compositions mythologiques de Boucher. Ce thème mythologique a souvent été abordé par les artistes italiens du 18ème siècle. (cf. Didon et Énée de Ludwig Stern, également conservé au Musée des Beaux-arts de Brest).

Fiche de visite du Musée

Avec cet instant représentant en couleurs vives et pâles une scène de l'Énéide de Virgile consacrée aux amours entre Didon et Énée, Mura apporte son génie propre à la tradition napolitaine du XVIIIe siècle. Il accorde une vibrante sensualité aux figures féminines indiquant au prince troyen le chemin de son exil dicté par Jupiter, qui s'oppose à ses amours avec Didon. Le casque ailé que celui-ci porte montre que le peintre a choisi de l'assimiler à Hermès, le dieu grec messager de l'injonction de Jupiter à quitter Carthage pour aller fonder Rome, tant son obéissance aux dieux est absolue.

Obtenu par un vaste répertoire de gestes de mains, le drame s'accommode de la perfection des formes et des contours purs du dessin. Le modelé ferme mis en valeur par un éclairage clair et stable ayant valeur de lumière éternelle, favorise l'expression d'une beauté idéale résumée dans des visages particulièrement ressemblants.

Les couleurs participent au récit avec des tons clairs et lumineux pour évoquer l'état d'esprit des femmes qu'agite la décision d'Énée, et un rouge pour traduire la puissance du héros, malgré ses déconvenues.

Dossier pédagogique pour l'exposition "Les maîtres italiens du musée de Brest" (avril 2014 - janvier 2015)

musee.brest.fr/fileadmin/imported_for_brest/fileadmin/Sit...

L'utilisation sans ma permission est illégale./Use of my images without my permission is illegal.

www.facebook.com/michel.guerin.792

Merci beaucoup pour vos visites et commentaires, thank you so much for the visit and kind comments!

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Accessoires: Grip Phottix BG-D7000,

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________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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-- - All rights reserved / Tous droits réservés - --

Utilising a vast array of spectacular special effects, including fountains, fireworks, HD pixel-mapping projections, fire, water screens, multi-coloured lasers and a bright "Second Star to the Right" atop Sleeping Beauty Castle itself, this new signature show for Disneyland Paris will be presented every single night.

As the Second Star to the Right shines brightly in the skies above, Peter Pan flies onto the scene with Wendy following close behind. "What a perfect night for dreaming!" he proclaims, calling out for Tinker Bell to help them fly off to the star with her special pixie dust. Suddenly, Peter Pan's shadow jumps free and runs across the façade of the castle, Pan chasing behind. He grabs a hold of his feet, but the shadow pulls away only to smash right into the star, knocking its light -- and its dreams -- out!

They pour out across the castle, engulfing Peter's shadow and leading him on an epic journey through the greatest Disney Dreams ever wished upon a star. He dances with Lumière to "Be Our Guest" from Beauty and the Beast, flies on a magic carpet with Genie from Aladdin for the spectacular "Friend Like Me", meets Remy from Ratatouille in Paris and dances across the chimney tops with Bert from Mary Poppins to "Step in Time". Quasimodo, The Hunchback of Notre Dame, dreams of going "Out There" while Rapunzel dreams of seeing the mystical lights in "I See the Light" from Tangled.

Things turn sour as Dr Facilier from The Princess and Frog teaches Shadow a thing or two about be careful what you wish for. The tentacles of Ursula from The Little Mermaid twist and pull Peter's Shadow, before a fiery blast from the dragon of Maleficent from Sleeping Beauty erupts.

Finally, Captain Hook arrives on the scene, grabbing Shadow by his hook and turfing him into the waters where his ticking crocodile lies. Will Peter Pan be able to find Tinkerbell, save his Shadow and restore the magic to the Second Star to the Right, making it shine brightly in the night sky again, for dreamers around the world to wish upon?

Disney Dreams! at Disneyland Paris is an epic tale that teaches you: always believe in your dreams. Anyone can fly, and everyone can soar beyond the stars. If only you dream your dream.

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________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

________________________________________________ __ _

Other page:

Facebook | Twitter

________________________________________________ __ _

© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

-- - All rights reserved / Tous droits réservés - --

FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

LA recette de

PAILLES AU FROMAGE

LES INGREDIENTS :

(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)

2 tasses de farine

2 c. à thé de poudre à pâte

1 c. à thé de sel (je ne la met plus)

2 c. à table de beurre

2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)

1 tasse d'eau froide (on n'utilise pas toute cette quantité)

1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).

LES ÉTAPES

•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).

•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.

•Mélanger la farine, le sel et la poudre à pâte.

•Ajouter le Crisco et le beurre et couper avec deux couteaux.

(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).

•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains

(on n'utilise donc pas toute l'eau).

•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.

•Séparer la pâte en quatre boules égales.

•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.

•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.

•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)

•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.

•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.

(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).

•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.

•Entreposer les pailles dans une boîte métallique hermétique.

LES TRUCS:

Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».

Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)

Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.

Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.

Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).

Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.

Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...

Rédaction: Jean-Pierre Bonin.

Mes remerciements à Catherine Morrissette.

Texte modifié en décembre 2019

Ze Cheese Straws recipe

ZE INGREDIENTS :

(sorry but my old aunt Catherine didn’t cook metric)

2 cups flour

2 tea spoons baking soda

1 tea spoons salt (I don't add salt anymore)

2 table spoons butter

2 table spoons Crisco (Shortening)

1 cup cold water (we do NOT use all this quantity)

1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).

Ze steps

•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).

•Finely shred the cheese and spread it on wax paper so it can loose some humidity.

•Mix the flour, salt and baking soda.

•Add the Crisco and butter and cut with two knives.

(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).

•Progressively add just enough water to get a non sticky dough while kneading with your hands

(thus we do NOT use all the water).

•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.

•Separate the dough into four « equal » balls.

•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.

•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.

•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.

•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.

•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.

(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).

•Slide straws from the parchment paper then place them on a grill to let them cool down.

•Keep the straws in an hermetic metal box

ZE TRICKS:

This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.

It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)

To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.

To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.

One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).

Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).

Use a pastry wheel crimper is for aesthetics...

Redaction: Jean-Pierre Bonin.

My thanks to Catherine Morrissette.

Modified on December 20th 2019

(04/05/08)

© All rights reserved. Use without permission is illegal

**************************************************

© Copyright.. You can not use!

© Copyright .. Você não pode usar!

© Derecho de Autor .. . No se puede usar!

© Copyright .. Sie dürfen es nicht kopieren

© Copyright : "Vous ne pouvez pas utiliser cette photo"

© حقوق النشر محفوظة. لا يمكنك استخدام الصورة

**************************************************

The enormously successful British propaganda campaign known as "Careless Talk Costs Lives" utilised these cartoon style posters developed by Fougasse aka Cyril Kenneth Bird who was a well-known commercial artist of the period. The various posters show differing situations and were designed to show how passing information might end up in the wrong hands. The posters were commissioned by the Ministry of Information and were deliberately intended to be humorous. This is one of the sketches that appeared as a vignette in the booklet the posters appeared in.

Canon EOS 5 & 55 being lined up for cleaning ahead of listing on ebay. In the end, I decided to keep them since, even in near mint condition, such cameras do not fetch good prices. The 28mm f/2.8 lens on the EOS 55 is worth more than the two camera bodies it seems! The EOS 5 sports a Sigma 24-70mm f/4-5.6 DC lens which actually performed very well but is not digital compatible.

From Wikipedia with additions from me:

The Canon EOS 50 (also known as the ELAN II in the USA and the EOS 55 in Japan) is an autofocus, auto-exposure 35mm SLR camera. It was aimed at the advanced amateur market, and featured a rear command dial, support for custom functions, and an optional BP-50 battery grip, with a dedicated portrait shutter release. The body was constructed of plastic, with the lens mount and top deck enclosed in an aluminium cover.

Three variants of the camera were produced, each of which was available with a quartz date imprint back. The basic model was the EOS 50. The EOS 50E variant introduced an enhanced version of the 3-zone eye-controlled autofocus system that was first seen on the EOS 5 camera. The Japan-only EOS 55 was available in an all-black version rather than the standard black and silver colour scheme and included a panorama option. Sliding the button at the bottom of the rear of the camera causes panels to mask off all of the negative except for a 13 mm x 36mm strip in the middle.

The EOS 50 was also the first camera to implement Canon's E-TTL flash system. Canon's previous TTL system metered light reflected from the film onto a sensor during the actual exposure. E-TTL on the other hand fires a low-intensity pre-flash before exposure, and meters the reflected light through the camera's normal metering system.

Sales of the EOS 50 began in September 1995, and ended after the introduction of the replacement model, the EOS 30 in October 2000.

The EOS 55 pictured was made available in the UK via Jessops and in very limited numbers. I bought it as I liked to play with the optional crop panorama feature which was switchable mid-roll. In my humble opinions, it remains a very beautiful camera for the era and was probably my favourite SLR film camera.

The Canon EOS 5 (sold as the EOS A2 and A2e in the USA) is a semi-professional autofocus, autoexposure 35 mm SLR film camera. It was sold from November 1992 onwards, and was replaced in late 1998 by the Canon EOS 3. As part of the EOS line of cameras, the EOS 5 utilised Canon's EF bayonet lens mount, first introduced in 1987.

The EOS 5 featured a built-in zoom flash, AF assist light, fast motor drives and several pre-set auto-exposure modes. Although marketed towards the "prosumer" user, the EOS 5 were popular among professional photographers. The camera was powered by a 6-volt lithium 2CR5 battery. The Canon VG-10 Vertical Grip (pictured) added a shutter release, control wheel, AE Lock button and Focus Point Selection button to the bottom of the camera for portrait orientation use and held 2x 2CR5 batteries but did not add AA batteries as a power source.

The camera had many operational modes available, selected by the dial on the left-hand side of the camera. These modes selected whether the exposure settings were set automatically, semi-automatically or fully manually. This dial also doubled as an on/off switch.

The Canon EOS 5 had three built-in metering modes: evaluative, centre-weighted average and spot. These were user-selectable by means of a button on the back of the camera and the command dial.

The EOS 5 featured eye-controlled focusing, which allowed the user to select from one of five focus points by looking at it through the viewfinder as well as activating depth-of-field preview by looking at a sixth point marked in the top-left corner of the viewfinder. At the time, this feature was unique to Canon. Although the EOS 5 had an optional vertical grip (pictured), the VG-10, the eye-controlled focusing feature only worked when the camera was held in horizontal orientation.

The EOS 5 has two dials to control exposure, one over the shutter button and one on the back of the camera. The dial above the shutter button will adjust the shutter speed in shutter priority TV/Time value mode, but in aperture priority Av/Aperture value mode this same dial will adjust the lens aperture. In full manual mode, the dial above the shutter reverts to adjusting the shutter speed, and the back dial controls the aperture.

Photographed with a Sony Cyber-shot DSC-HX9V, available fluorescent lighting.

LA recette de

PAILLES AU FROMAGE

LES INGREDIENTS :

(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)

2 tasses de farine

2 c. à thé de poudre à pâte

1 c. à thé de sel (je ne la met plus)

2 c. à table de beurre

2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)

1 tasse d'eau froide (on n'utilise pas toute cette quantité)

1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).

LES ÉTAPES

•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).

•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.

•Mélanger la farine, le sel et la poudre à pâte.

•Ajouter le Crisco et le beurre et couper avec deux couteaux.

(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).

•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains

(on n'utilise donc pas toute l'eau).

•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.

•Séparer la pâte en quatre boules égales.

•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.

•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.

•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)

•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.

•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.

(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).

•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.

•Entreposer les pailles dans une boîte métallique hermétique.

LES TRUCS:

Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».

Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)

Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.

Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.

Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).

Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.

Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...

Rédaction: Jean-Pierre Bonin.

Mes remerciements à Catherine Morrissette.

Texte modifié en décembre 2019

Ze Cheese Straws recipe

ZE INGREDIENTS :

(sorry but my old aunt Catherine didn’t cook metric)

2 cups flour

2 tea spoons baking soda

1 tea spoons salt (I don't add salt anymore)

2 table spoons butter

2 table spoons Crisco (Shortening)

1 cup cold water (we do NOT use all this quantity)

1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).

Ze steps

•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).

•Finely shred the cheese and spread it on wax paper so it can loose some humidity.

•Mix the flour, salt and baking soda.

•Add the Crisco and butter and cut with two knives.

(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).

•Progressively add just enough water to get a non sticky dough while kneading with your hands

(thus we do NOT use all the water).

•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.

•Separate the dough into four « equal » balls.

•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.

•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.

•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.

•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.

•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.

(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).

•Slide straws from the parchment paper then place them on a grill to let them cool down.

•Keep the straws in an hermetic metal box

ZE TRICKS:

This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.

It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)

To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.

To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.

One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).

Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).

Use a pastry wheel crimper is for aesthetics...

Redaction: Jean-Pierre Bonin.

My thanks to Catherine Morrissette.

Modified on December 20th 2019

Utilise la Force !

FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

Total Recall 2012 panel

WARNING :

MY IMAGES ARE - ALL RIGHTS RESERVED TO ME

( COPYRIGHTS )

© All rights reserved.

Use without permission is illegal

© Copyright.. You can not use!

© Copyright .. Você não pode usar!

© Derecho de Autor .. . No se puede usar!

© Copyright .. Sie dürfen es nicht kopieren

© Copyright : "Vous ne pouvez pas utiliser cette photo"

© حقوق النشر محفوظة. لا يمكنك استخدام الصورة

******************************************

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

________________________________________________ __ _

Other page:

Facebook | Twitter

________________________________________________ __ _

© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

-- - All rights reserved / Tous droits réservés - --

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

________________________________________________ __ _

Other page:

Facebook | Twitter

________________________________________________ __ _

© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

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Presentata al Salone dell'Automobile di Francoforte del 1951, la 220 era chiamata a sostituire la 230 W153, con la quale condivideva in pratica la stessa struttura telaistica, ad X con tubi a sezione ovale, utilizzata tra l'altro anche sulle più piccole 170V e 170S. Di questi modelli, tra l'altro, la 220 riprende anche l'impostazione stilistica decisamente retrò, tipica dei modelli del periodo immediatamente antecedente la Seconda guerra mondiale. La differenza estetica principale stava nel frontale, dove trovavano posto nuovi fari dal design più moderno, inglobati nei parafanghi.

La 220 è stata prodotta in tre varianti di carrozzeria, ancora separata dal telaio: berlina, cabriolet (a 2 o a 4 posti) e coupé. La berlina è stata di gran lunga la preferita dal pubblico, con 16.066 esemplari prodotti, mentre le cabriolet hanno totalizzato 2.275 esemplari e le coupé solamente 85 esemplari, anche a causa del fatto che la coupé è stata introdotta solo nel 1954, quando già mancava poco alla cessazione della produzione e quando la berlina non era più in produzione.

Le vere novità stavano nel motore M180 da 2.2 litri, primo 6 cilindri Mercedes-Benz del dopoguerra e primo superquadro della Casa tedesca, un motore di tipo monoalbero in testa, contrariamente al 2.3 litri della sua antenata, che era ad asse a camme laterale e valvole laterali. Con una potenza massima di 80 CV, questo motore spingeva la 220 ad una velocità massima di 140 km/h.

Il cambio era a 4 marce con frizione monodisco a secco, l'impianto frenante era idraulico a 4 tamburi e le sospensioni erano a ruote indipendenti con avantreno a triangoli trasversali e retrotreno a semiassi oscillanti.

La 220 proponeva anche alcune chicche per l'epoca, come la serratura di sicurezza per evitare l'apertura accidentale delle portiere, ed l'impianto di riscaldamento ottenibile a richiesta.

I prezzi di vendita delle 200 W187 erano di 11.925 marchi per la berlina, di 15.160 e 18.860 marchi per le due varianti di cabriolet previste e di ben 20.850 marchi per la coupé.

Tra il 1952 ed il 1953 venne realizzata una serie speciale di 220 (41 esemplari) con carrozzeria torpedo, destinate alle forze di polizia.

Nel 1954, come già detto, la berlina è stata tolta di produzione, sostituita dal modello 220S Ponton. Rimase in produzione solo la coupé, equipaggiata dal 2.2 litri M180 in versione leggermente più potente (85CV), montato sulle prime 220S berlina. La 220 Coupé W187 è stata tolta di produzione l'anno seguente, a sua volta rimpiazzata dalla versione coupé della 220S.

Durante la produzione del modello, vennero realizzati anche 47 telai nudi, destinati ad altre carrozzerie.

The Mercedes-Benz W187 is a luxury car produced by Mercedes-Benz from 1951 to 1955. Introduced at the Frankfurt Motor Show in April 1951, the W187 was powered by a single overhead camshaft inline six-cylinder M180 engine and available as a saloon, coupé, and cabriolet, all designated with the 220 model name. Despite its pre-World War II reputation as a manufacturer of luxury cars, in the immediate post-war years Mercedes-Benz produced only four-cylinder-engined passenger cars. The W187 Mercedes-Benz 220 and flagship W186 Mercedes-Benz 300 Adenauer introduced together in 1951 were the first Mercedes to once again feature six-cylinder engines.

The styling was similar to that of the Mercedes-Benz 170S except that the 170's freestanding headlights were for the 220 integrated into the fenders for a slightly more modern look. Two different cabriolet models were built, conceived as exclusive sporting cars of exclusive character, but these only sold 1,278 and 997 for the "A" (2-door, 2/3-seat) and "B" (2-door, 4-seat) versions, respectively.

In December 1953, just as the saloon and cabriolet "B" models were about to be replaced, a "Cabriolet A" derived W187 Coupé was announced for 1954. The Mercedes-Benz sales department let it be known that this development was a direct response to pressing requests from leading celebrities of the time.

During 1953 the manufacturer replaced the conventionally flat windscreen on the 2/3 seater "Cabriolet A" with a slightly curved screen, which also found its way on to the new coupé: this was a way of highlighting the sporting nature of both models. Nevertheless, the coupé once fitted, as many were, with a steel sunroof, was at the end of 1953 offered for 22,000 Marks which was nearly twice the price for the standard W187 "Limousine", and only 85 of the W187 coupés were actually sold. Between August 1952 and May 1953, 41 special soft top "OTP" bodied W187 220s were produced for the police.

All 220s used newly developed M180 six cylinder 2195cc engine producing 80 hp DIN (86 SAE) (59 kW). In contrast with the rather old fashioned look of the car's body, the new engines attracted much attention in the motoring press, being the first new engine presented by Mercedes-Benz in more than ten years.

The valves were operated by short rocker arms from an overhead camshaft. The engine was unusual in Europe at this time in having oversquare cylinder dimensions with a bore of 80.0mm and a stroke of only 72.8mm, which facilitated the design of an efficient cylinder head. The manufacturer claimed a top speed of 140 km/h (87 mph) for the saloons and 145 km/h (90 mph) for the cabriolets which was faster than the 52 PS (38 kW) powered 170S Cabriolet which the cabriolet version of the W187 replaced and from which its bodywork was derived. The new six-cylinder engine would form the basis, repeatedly enlarged and upgraded as the years went on, for a long line of six-cylinder engines powering mainstream Mercedes-Benz models including the six-cylinder version of the early S-Class models in the 1970s. Because of the extra power in what was, by modern standards, a heavy car, the W187 was equipped with Duplex drum brakes.

With the sedan/saloon bodied cars about to be delisted by the manufacturer in May 1954, in April 1954 the "Cabriolet A" and its Coupé derivative were fitted with a new higher compression 85 PS (63 kW) engine that had been developed for the soon to be announced Ponton bodied Mercedes-Benz W180. These faster sporting versions of the W187 continued in production for a further year. The 220 saloon was replaced by the W105/W180 line in 1953. The coupé and cabriolet continued until August 1955.

The saloon went out of production in May, 1954; the Cabriolet models continued for another 15 months until August 1955. The body of the W187 saloon was closely modelled on the 1938 Mercedes-Benz W153, and despite the modern engine that powered it, already looked old fashioned to many observers on the day it was introduced. Two years earlier, in 1949, the Borgward Hansa had served notice that car design had moved on since the 1930s, and the manufacturer's own 1953 W120 confirmed that "modern" European cars were following the North American trend to lower wider bodied designs. This has been seen as an explanation for the W187's own unusually short production run of slightly above three years for the saloon and less than five years for the longest lived of the Cabriolet models.

The W187 was immediately replaced with the Ponton bodied six cylinder Mercedes-Benz 220a (W180). When the cabriolet was withdrawn in 1955 there was no direct successor. However, slightly more than a year later the all-new Mercedes-Benz 220S Cabriolet and Coupé appeared, respectively in July and October 1956, using, like the saloon on which they were based, a modern ponton style body.

Paul en pleine pose

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Français - photo 3/3 -

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Nom : Wizard (Sorcier) - version 2

Difficulté : 19/20

Nombre total d'étapes : 190

Papier utilisé : papier métallisé 35x35 centimètres

Auteur du diagramme : Satoshi Kamiya

Titre du livre : Works of Satoshi Kamiya

Description :

Une chose qui surprend souvent : tout le modèle a été fait à partir d'un carré de papier, sans découper ou coller. Même le bâton du Sorcier fait parti du carré initial !

Le fait que ce modèle ne soit pas symétrique (ce qui est souvent le cas pour les autres) a certainement dû donner beaucoup de fil à retordre à Satoshi Kamiya. Une chose à rajouter que je n'ai pas mis dans la description du précédent modèle en violet : ce qui rend aussi ce modèle spécial est le fait qu'il nécessite particulièrement beaucoup de "final shaping", c'est à dire de mise en forme une fois la structure finale atteinte, surtout pour le visage, le chapeau, les bras et les mains.

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English - picture 3/3 -

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Name: Wizard - version 2

Difficulty: 19/20

Total number of steps: 190

Paper used: metallized paper 13.8x13.8 inches

Diagram author: Satoshi Kamiya

Book title: Works of Satoshi Kamiya

Description:

One thing that often surprises: all the model was made from a square of paper, without cutting or pasting. Even the Wizard's staff is part of the initial square!

The fact that this model is not symmetrical (it is often the case with others ones) has certainly given a lot of trouble to Satoshi Kamiya.

One thing to add that I did not put in the description of the previous model in purple: what also makes this model special is that it requires an important "final shaping", I mean we need to give form once the final structure is reached especially for the face, hat, arms and hands.

Utilising a vast array of spectacular special effects, including fountains, fireworks, HD pixel-mapping projections, fire, water screens, multi-coloured lasers and a bright "Second Star to the Right" atop Sleeping Beauty Castle itself, this new signature show for Disneyland Paris will be presented every single night.

As the Second Star to the Right shines brightly in the skies above, Peter Pan flies onto the scene with Wendy following close behind. "What a perfect night for dreaming!" he proclaims, calling out for Tinker Bell to help them fly off to the star with her special pixie dust. Suddenly, Peter Pan's shadow jumps free and runs across the façade of the castle, Pan chasing behind. He grabs a hold of his feet, but the shadow pulls away only to smash right into the star, knocking its light -- and its dreams -- out!

They pour out across the castle, engulfing Peter's shadow and leading him on an epic journey through the greatest Disney Dreams ever wished upon a star. He dances with Lumière to "Be Our Guest" from Beauty and the Beast, flies on a magic carpet with Genie from Aladdin for the spectacular "Friend Like Me", meets Remy from Ratatouille in Paris and dances across the chimney tops with Bert from Mary Poppins to "Step in Time". Quasimodo, The Hunchback of Notre Dame, dreams of going "Out There" while Rapunzel dreams of seeing the mystical lights in "I See the Light" from Tangled.

Things turn sour as Dr Facilier from The Princess and Frog teaches Shadow a thing or two about be careful what you wish for. The tentacles of Ursula from The Little Mermaid twist and pull Peter's Shadow, before a fiery blast from the dragon of Maleficent from Sleeping Beauty erupts.

Finally, Captain Hook arrives on the scene, grabbing Shadow by his hook and turfing him into the waters where his ticking crocodile lies. Will Peter Pan be able to find Tinkerbell, save his Shadow and restore the magic to the Second Star to the Right, making it shine brightly in the night sky again, for dreamers around the world to wish upon?

Disney Dreams! at Disneyland Paris is an epic tale that teaches you: always believe in your dreams. Anyone can fly, and everyone can soar beyond the stars. If only you dream your dream.

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FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

LA recette de

PAILLES AU FROMAGE

LES INGREDIENTS :

(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)

2 tasses de farine

2 c. à thé de poudre à pâte

1 c. à thé de sel (je ne la met plus)

2 c. à table de beurre

2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)

1 tasse d'eau froide (on n'utilise pas toute cette quantité)

1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).

LES ÉTAPES

•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).

•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.

•Mélanger la farine, le sel et la poudre à pâte.

•Ajouter le Crisco et le beurre et couper avec deux couteaux.

(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).

•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains

(on n'utilise donc pas toute l'eau).

•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.

•Séparer la pâte en quatre boules égales.

•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.

•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.

•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)

•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.

•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.

(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).

•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.

•Entreposer les pailles dans une boîte métallique hermétique.

LES TRUCS:

Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».

Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)

Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.

Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.

Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).

Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.

Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...

Rédaction: Jean-Pierre Bonin.

Mes remerciements à Catherine Morrissette.

Texte modifié en décembre 2019

Ze Cheese Straws recipe

ZE INGREDIENTS :

(sorry but my old aunt Catherine didn’t cook metric)

2 cups flour

2 tea spoons baking soda

1 tea spoons salt (I don't add salt anymore)

2 table spoons butter

2 table spoons Crisco (Shortening)

1 cup cold water (we do NOT use all this quantity)

1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).

Ze steps

•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).

•Finely shred the cheese and spread it on wax paper so it can loose some humidity.

•Mix the flour, salt and baking soda.

•Add the Crisco and butter and cut with two knives.

(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).

•Progressively add just enough water to get a non sticky dough while kneading with your hands

(thus we do NOT use all the water).

•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.

•Separate the dough into four « equal » balls.

•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.

•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.

•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.

•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.

•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.

(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).

•Slide straws from the parchment paper then place them on a grill to let them cool down.

•Keep the straws in an hermetic metal box

ZE TRICKS:

This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.

It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)

To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.

To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.

One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).

Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).

Use a pastry wheel crimper is for aesthetics...

Redaction: Jean-Pierre Bonin.

My thanks to Catherine Morrissette.

Modified on December 20th 2019

Temple du ciel

Temple du ciel

Un article de Wikipédia, l'encyclopédie libre.

Aller à : Navigation, rechercher Le Temple du Ciel (chinois traditionnel : 天壇; chinois simplifié : 天坛; pinyin : Tiān Tán) est situé dans la ville chinoise, un quartier historique du sud de Pékin, dans le district de Xuanwu.

Dans l'ancienne Chine, l'empereur était considéré comme le « fils du Ciel », qui préservait le bon ordre sur terre en faisant le lien avec l'autorité céleste. Afin de montrer son respect au Ciel, les cérémonies de sacrifice étaient très importantes.

Le Temple du Ciel a été inscrit par l'UNESCO à la liste du patrimoine mondial en 1998.

Il s'agit en réalité d'un important complexe au cœur de la ville, de 1,5 km du nord au sud et de 1 (minimum) à 1,7 km (maximum) d'est en ouest. Il est délimité par deux murs au nord et un seul au sud. Il contient de nombreux temples dont :

La Salle des prières pour la récolte (Qi Nian Dian 祈年殿), pavillon en forme de rotonde dans le nord du complexe

La Demeure du seigneur du Ciel (Huang Qiong Yu 皇穹宇), pavillon en forme de rotonde construit sur un tertre de marbre ; on y remisait les autels lorsqu'ils n'étaient pas utilisés.

La Salle de l'abstinence (Zhai Gong 齋宮), palais situé dans la partie ouest du complexe

L'Autel du Ciel (Yuan Qiu Tan 圜丘壇), espace ressemblant à la terrasse de la Salle des prières pour la récolte, mais sans bâtiment en rotonde. Il est situé sur le même axe que la salle mais au sud du complexe.

L'architecture des différents bâtiments orientés nord/sud reprend la thématique du ciel et de la terre :

enceintes carrées avec des tuiles de couleur verte qui symbolisent la terre

bâtiments ronds avec des tuiles de couleur bleue qui symbolisent le ciel.

Initialement appelé Monument du Ciel et de la Terre, il a été construit de 1406 à 1420 pendant le règne de l'Empereur Yongle, qui était aussi responsable de le construction de la Cité Interdite. Le temple fut agrandi et renommé Temple du Ciel pendant le règne de l'Empereur Jiajing au seizième siècle. Le Temple du Ciel a été rénové au dix-huitième siècle sous l'Empereur Qianlong. Début 2005, une rénovation d'un montant de 47 millions de yuan (à peu près 4'318'000 €) du monument est entreprise en vue des Jeux Olympiques de 2008 à Pékin, mais les rénovations ont été terminées le 1er mai 2006.

Two Hino / McNeilus rear loaders were imported from Europe to Melbourne Australia. Eventually one of these Hino / McNeilus combos made its way upto Sydney to be utilised by Cozens Paper Recycling. Originally this truck was on a Manual Hino and the compactor had no bin lifter on it so it was dedicated to Cardboard Bale collections. Sometime around 2021 the McNeilus body was taken off the Hino and fitted ontop of a new 8x4 Isuzu FYH and the body was refurbished and given a fresh coat of paint and signage aswell as having a custom bin lifter made to tuck under the bowl which is essential for jobs which require backing upto loading docks. The Original Hino was kept and has had a hook lift frame fitted to service the company’s growing compactor work. I actually had the pleasure of working on this truck for around 3 months and was very impressed with the packing capability’s and strength of the hydraulics essentially eating 220kg+ cardboard bales like they where nothing and packing on excellent loads (Around 10T from memory). There was only 4 somewhat down falls I could mention about this truck being; 1 - Hard to source parts for in Australia, 2 - While having a large 8x4 is good for weight and packing ability it also has some limitations and difficulties on where you can take it, Some places we serviced would of been much easier and less narrow in a 6x4. 3 - The Isuzu had sufficient horse power and could pull a good load but once you started to reach the full / packed out stage the truck would start to struggle abit particularly up hill. It’d be nice if it had that extra little boost to it but overall it isnt to big of an issue. 4 - The thing that annoyed me most about this truck is the custom bin lifter. While it was good that the lifter tucked under the body it was as also frustrating getting used the lifter control buttons which at the time where set abit to fast so bins would often go up or down to fast and slam against the top of the hopper this was particularly annoying at night when trying to be quite, Also that when putting 240L bins on the lifter they didn’t sit on the teeth like a 240L normally would ( People who have used Urbins, JP5, Spaks, Garwoods know what I’m talking about ) which was rather annoying to cause when you go to raise the lifter abit they’d sometimes kick back. I would have loved to have the lifter slowed down abit or have a leaver to manually control it instead of buttons and it would have been a perfect set up. Overall it was a great truck to use hopefully I can manage to grab a video of this truck eating some bales one day.

FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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Photo recadrée et utilisée par Wikipedia Brest contre ma volonté exprimée, sous prétexte que l’œuvre est dans le domaine public. Comparez l’EXIF :

commons.wikimedia.org/wiki/File:Jean_Raoux_1723_All%C3%A9...

Jean RAOUX

(Montpellier, 1677 - Paris, 1734)

anciennement attribué à Claudio Francesco BEAUMONT (Turin, 1694 - id., 1766)

Allégorie de la peinture

1723

Huile sur toile, 141 x 120 cm

Acquistion 1968

BREST Musée des Beaux-Arts

19/05/2013 : nouveau tirage d'après le même fichier RAW

Attribué au Turinois Beaumont par Andreina Griseri et Anthony Clark, qui le date après 1740 (comm. écrite), ce tableau offre des liens étroits avec la toile fameuse de même sujet du maître romain de Beaumont, Francesco Trevisani (1656-1746). A son tour, Beaumont influencera son cadet Carle Van Loo (cf. ici nos 37 et 38) qui participe (1732-34) à Turin, avec Beaumont et de nombreux artistes napolitains, romains ou vénitiens, à la décoration du Palais Royal. L'ampleur des formes, la fierté grave du modèle - la muse de la peinture, « satisfaite » de son talent -, le coloris aux nombreux cangiante rendent cette œuvre attachante. La comparaison avec l'immense Serment d'Amilcar du musée de Chambéry rend l'attribution convaincante.

Catalogue "Renaissance du Musée de Brest" : bibliotheque.idbe.bzh/data/cle_140/Renaissance_du_MusAe_d...

FRENCHL'agent orange est le surnom donné au plus utilisé des herbicides employés par l'armée des États-Unis lors de la guerre du Viêt Nam, en particulier entre 1961 et 1971. Notamment en raison de la présence de dioxine, ce défoliant chimique est responsable de plusieurs maladies chez les personnes ayant eu affaire à cet herbicide. En raison de la stabilité de la dioxine, les générations suivantes au Viêt Nam vivent encore en présence de ce produit cancérogène et tératogène, occasionnant des maladies diverses, des cancers et des malformations à la naissance.ENGLISHAgent Orange is the code name for a powerful herbicide and defoliant used by the U.S. military in its Herbicidal Warfare program during the Vietnam War. During the Vietnam War, an estimated 80 000 m³ of Agent Orange was sprayed across South Vietnam.Agent Orange's usage from 1961 to 1971 was by far the most used of the so-called "Rainbow Herbicides" used during the program. Degradation of Agent Orange (as well as Agents Purple, Pink, and Green) released dioxins, which have caused health problems for those exposed during the Vietnam War. Agents Blue and White were part of the same program but did not contain dioxins. During the Vietnam war, between 1962 and 1971, the United States military sprayed 77 million litres of chemical defoliants in South Vietnam as part of a defoliant program. The first objective was to reduce the dense jungle foliage so that Communist forces might not use it for cover and to deny them use of crops needed for subsistence.The second objective was spot clearing in sensitive areas such as around base perimeters.According to Vietnamese Ministry of Foreign Affairs, 4.8 million Vietnamese people were exposed to agent orange, resulting in 400,000 deaths and disabilities, and 500,000 children born with birth defects. The most affected zones are the mountainous area along Truong Son (Long Mountains) and the border between Vietnam and Cambodia. The affected residents are living in sub-standard conditions with many genetic diseases. The use of Agent Orange still has an affect on the citizens of Vietnam, poisoning their food chain and creating concern about its affect on human beings. This chemical has been reported to cause serious skin diseases as well as a vast variety of cancers in the lungs, larynx, and prostate. Children in the areas where Agent Orange was used have been affected and have multiple health problems including cleft palate, mental retardation, hernias, and extra fingers and toes.Much of the information on the effects of Agent Orange in Vietnam until the 21st century, were compiled by Vietnamese scientists in Vietnamese and largely unavailable to the worldwide English reader. However, general public perception in Vietnam is that the effects are severe and clearly visible in children of veterans and people in affected areas. Veterans have become increasingly concerned about the effects of Agent Orange to humans. While in Vietnam, the veterans were told not to worry, and were persuaded that the chemical was harmless. In the last few years, this opinion has changed, and studies show the true effects Agent Orange has on humans.

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

________________________________________________ __ _

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© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

-- - All rights reserved / Tous droits réservés - --

Wat Xieng Thong (« Temple de la ville d'or ») est un temple bouddhiste (wat), situé à l'extrémité nord de la péninsule de Luang Prabang, au Laos, Il a été construit en 1560 par le roi Setthathirath et était sous le patronage royal du Royaume du Laos. Comme le palais royal, le temple est situé dans un beau jardin sur la rive de la rivière Mékong, où la Nam Khan, une petite rivière, la croise. Le croisement de la Nam Khan avec le Mékong est également connu comme la maison de deux Nagas (Esprits de l'eau sous forme de grands serpents), les gardiens de la rivière. En 1880, la bibliothèque Tripitaka a été ajoutée, puis la tour du tambour en 1961. Ce temple, ainsi que Wat Suwannaphumaham, a été épargné par les dommages pendant le pillage de la ville en 1887 puisque le chef des Pavillons Noirs, Deo Van Tri, a étudié ici comme moine dans sa jeunesse, et l'a utilisé comme quartier général pendant la mise à sac de Luang Prabang. D'un côté du Sim, il y a plusieurs petites salles et des stupas qui contiennent des images de Bouddha. Il y a un sanctuaire (Chapelle rouge) avec un Bouddha couché avec une robe qui courbe aux chevilles particulièrement rare qui date de la construction du temple. En 1931, l'image a été apportée à Paris et présentée à l'exposition de Paris puis conservé à Vientiane jusqu'en 1964, et est revenue à Luang Prabang. Près de la porte est s’élève la Maison royale funéraire qui abrite une voiture funéraire de 12 mètres de haut et de nombreuses urnes des membres de la famille royale. Il ya plus de vingt structures sur le site notamment des sanctuaires, des pavillons et résidences, en plus de ses jardins de fleurs, arbres et arbustes ornementaux. Beaucoup de structures sont notables, en plus du Sim magnifique, plusieurs méritent une attention particulière. A l'extérieur de la Chapelle Rouge est une peinture murale intéressante qui montre la vie rurale au Laos.

Wat Xieng Thong (“Temple of the Golden City “) is a Buddhist temple (wat), located on the northern tip of the peninsula of Luang Phrabang, Laos It was built in 1560 by King Setthathirath and was under royal patronage during the Kingdom of Laos. Like the royal palace, the temple is located in a beautiful garden on the bank of the Mekong River where the Nam Khan, a smaller river runs into it. The union of the Nam Khan with the Mekong is also said to be the home of two nagas (water spirits in the form of large snakes), the guardians of the river. In 1880, the Tripitaka library was added and then the drum tower in 1961. This temple, along with Wat Suwannaphumaham, was spared by any damage during the sacking of the city in 1887. This was because the Black Flag Haw leader, Deo Van Tri, had studied here as a monk in his early life, and used it as his headquarters during the sacking of Luang Phrabang. On one side of the sim, there are several small halls and stupas that contain Buddha images of the period. There is a reclining Buddha sanctuary (Red Chapel), which contains a especially unique reclining Buddha image with the robe curling outward at the ankle that dates from the construction of the temple. In 1931, the image was taken to Paris and displayed at the Paris Exhibition and was kept in Vientiane until 1964, where it returned to Luang Phrabang. In the near compound's eastern gate stands the royal funerary carriage house, where it houses the funeral carriage, which stands 12 meters high and there are various urns for the members of the royal family. There are over twenty structures on the grounds including shrines, pavilions and residences, in addition to its gardens of various flowers, ornamental shrubs and trees. Many of the structures are notable, in addition to the magnificent sim, several deserve special attention. On the outside of the Red Chapel is an interesting mural showing rural life in Laos.

20090827

BIG 5. Elephant. Madikwe Game Reserve. South Africa. Nov/2020

Elephant

Elephants are large mammals of the family Elephantidae and the order Proboscidea. Three species are currently recognised: the African bush elephant (Loxodonta africana), the African forest elephant (L. cyclotis), and the Asian elephant (Elephas maximus). Elephants are scattered throughout sub-Saharan Africa, South Asia, and Southeast Asia. Elephantidae is the only surviving family of the order Proboscidea; other, now extinct, members of the order include deinotheres, gomphotheres, mammoths, and mastodons.

All elephants have several distinctive features, the most notable of which is a long trunk (also called a proboscis), used for many purposes, particularly breathing, lifting water, and grasping objects. Their incisors grow into tusks, which can serve as weapons and as tools for moving objects and digging. Elephants' large ear flaps help to control their body temperature. Their pillar-like legs can carry their great weight. African elephants have larger ears and concave backs while Asian elephants have smaller ears and convex or level backs.

Elephants are herbivorous and can be found in different habitats including savannahs, forests, deserts, and marshes. They prefer to stay near water. They are considered to be a keystone species due to their impact on their environments. Other animals tend to keep their distance from elephants while predators, such as lions, tigers, hyenas, and any wild dogs, usually target only young elephants (or "calves"). Elephants have a fission–fusion society in which multiple family groups come together to socialise. Females ("cows") tend to live in family groups, which can consist of one female with her calves or several related females with offspring. The groups are led by an individual known as the matriarch, often the oldest cow.

Males ("bulls") leave their family groups when they reach puberty and may live alone or with other males. Adult bulls mostly interact with family groups when looking for a mate and enter a state of increased testosterone and aggression known as musth, which helps them gain dominance and reproductive success. Calves are the centre of attention in their family groups and rely on their mothers for as long as three years. Elephants can live up to 70 years in the wild. They communicate by touch, sight, smell, and sound; elephants use infrasound, and seismic communication over long distances. Elephant intelligence has been compared with that of primates and cetaceans. They appear to have self-awareness and show empathyfor dying or dead individuals of their kind.

Source: Wikipedia

Elefante

Os elefantes são animais herbívoros, alimentando-se de ervas, gramíneas, frutas e folhas de árvores. Dado o seu tamanho, um elefante adulto pode ingerir entre 70 a 150 kg de alimentos por dia. As fêmeas vivem em manadas de 10 a 15 animais, lideradas por uma matriarca, compostas por várias reprodutoras e crias de variadas idades. O período de gestação das fêmeas é longo (20 a 22 meses), assim como o desenvolvimento do animal que leva anos a atingir a idade adulta. Os filhotes podem nascer com 90 kg. Os machos adolescentes tendem a viver em pequenos bandos e os machos adultos isolados, encontrando-se com as fêmeas apenas no período reprodutivo.

Devido ao seu porte, os elefantes têm poucos predadores. Exercem uma forte influência sobre as savanas, pois mantêm árvores e arbustos sob controle, permitindo que pastagens dominem o ambiente. Eles vivem cerca de 60 anos e morrem quando seus molares caem, impedindo que se alimentem de plantas.

Os elefantes-africanos são maiores que as variedades asiáticas e têm orelhas mais desenvolvidas, uma adaptação que permite libertar calor em condições de altas temperaturas. Outra diferença importante é a ausência de presas de marfim nas fêmeas dos elefantes asiáticos.

Durante a época de acasalamento, o aumento da produção de testosterona deixa os elefantes extremamente agressivos, fazendo-os atacar até humanos. Acidentes com elefantes utilizados em rituais geralmente são causados por esse motivo. Cerca de 400 humanos são mortos por elefantes a cada ano.

Elefante é o termo genérico e popular pelo qual são denominados os membros da família Elephantidae, um grupo de mamíferos proboscídeoselefantídeos, de grande porte, do qual há três espécies no mundo atual, duas africanas (Loxodonta sp.) e uma asiática (Elephas sp.). Há ainda os mamutes (Mammuthus sp.), hoje extintos. Até recentemente, acreditava-se que havia apenas duas espécies vivas de elefantes, o elefante-africano e o elefante-asiático, uma espécie menor. Entretanto, estudos recentes de DNA sugerem que havia, na verdade, duas espécies de elefante-africano: Loxodonta africana, da savana, e Loxodonta cyclotis, que vive nas florestas. Os elefantes são os maiores animais terrestres da actualidade, com a massa entre 4 a 6 toneladas e medindo em média quatro metros de altura, podem levantar até 10.000 kg. As suas características mais distintivas são as presas de marfim

Fonte: Wikipedia

Madikwe Game Reserve

The Madikwe Game Reserve is a protected area in South Africa, part of the latest park developments in the country. Named after the Madikwe or Marico River, on whose basin it is located, it was opened in 1991 and comprises 750 km2 of bushland north of the small town Groot-Marico up to the Botswana border.

Madikwe Game Reserve lies 90 km north of Zeerust on what used to be farm land, but owing to the poor soil type, farming was not that successful. After extensive research, the South African Government found that this land would best be utilised as a provincial park, to economically uplift this otherwise rather poor area.

The process reintroducing wildlife to the area began in 1992 under the codename Operation Phoenix which relocated entire breeding herds of elephants, Cape buffaloes, south-central black rhinos and southern white rhinos along with various species of antelopes. Following Operation Phoenix, Madikwe has also successfully reintroduce rarer predatory species such as lions, cheetahs, spotted hyenas and Cape wild dogs bringing the total large mammal population of the reserve to over 10 000. There are currently more than 60 species of mammal in the park.

Source: Wikipedia

Reserva do Madikwe

A Madikwe Game Reserve é uma área protegida na África do Sul, parte dos mais recentes desenvolvimentos de parques no país. Batizado em homenagem ao rio Madikwe ou Marico, em cuja bacia está localizado, foi inaugurado em 1991 e compreende 750 km2 de mata nativa ao norte da pequena cidade de Groot-Marico até a fronteira com o Botswana.

A Madikwe Game Reserve fica 90 km ao norte de Zeerust, no que costumava ser terras agrícolas, mas devido ao tipo de solo pobre, a agricultura não teve tanto sucesso. Após uma extensa pesquisa, o governo sul-africano descobriu que esta terra seria melhor utilizada como um parque provincial, para elevar economicamente esta área bastante pobre.

O processo de reintrodução da vida selvagem na área começou em 1992 sob o codinome Operação Fênix, que realocou rebanhos inteiros de elefantes, búfalos do Cabo, rinocerontes-negros do centro-sul e rinocerontes brancos do sul junto com várias espécies de antílopes. Após a Operação Phoenix, Madikwe também reintroduziu com sucesso espécies predatórias mais raras, como leões, chitas, hienas-pintadas e cahorros do mato, elevando a população total de grandes mamíferos da reserva para mais de 10.000. Atualmente, existem mais de 60 espécies de mamíferos no parque

Fonte: Wikipedia (traduçao livre)

Impodimo Game Lodge

Impodimo Game Lodge is set on a rocky ridge overlooking the vistas within the magnificent malaria-free Madikwe Game Reserve of the North West Province of South Africa. The air-conditioned suites at Impodimo Game Lodge are decorated in neutral tones and offer a fireplace and private bathroom with additional outdoor shower.

Our passion has always been to bring the most amazing experiences to our guests and with that in mind the Elephant Hide was born. Merging ultra luxury with incredible game viewing right on your doorstep.

Our guests get to enjoy a fully stocked bar, Italian coffee and air-conditioned comfort whilst they soak up the wildlife just meters away. It is the perfect spot to watch wildlife, big and small, up close with minimum disturbance to their natural behaviour. The hide is a photographers dream, offering an excellent vantage point in complete comfort and safety to get that award-winning shot or just to marvel at the unfolding drama of the waterhole

Source: Impodimo Game Lodge website

Impodimo Game Lodge

O Impodimo Game Lodge está situado em uma crista rochosa com vista para a magnífica Reserva Madikwe, livre de malária, na Província Noroeste da África do Sul. As suítes com ar-condicionado do Impodimo Game Lodge são decoradas em tons neutros e oferecem lareira e banheiro privativo com chuveiro adicional ao ar livre.

Nossa paixão sempre foi levar as experiências mais incríveis aos nossos hóspedes e foi pensando nisso que nasceu o Esconderijo de Elefante. Combinando ultra luxo com incrível visualização de animais bem na sua porta.

Nossos hóspedes podem desfrutar de um bar totalmente abastecido, café italiano e conforto do ar-condicionado, enquanto absorvem a vida selvagem a poucos metros de distância. É o local perfeito para observar animais selvagens, grandes e pequenos, de perto com o mínimo de perturbação ao seu comportamento natural. O hide é o sonho dos fotógrafos, oferecendo um excelente ponto de vista com total conforto e segurança para obter aquela foto premiada ou simplesmente para se maravilhar com o drama que se desenrola no poço

Source: Impodimo Game Lodge website (tradução livre)

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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Bagad Sonerien Bro Dreger (Perros-Guirec)

Page Facebook : www.facebook.com/erminig.gwenn.photo

Pour voir les précisions sur les droits d'auteur et les conditions d'utilisation, c'est ici : www.flickr.com/people/etienne_valois/

Retrouvez ma page Erminig Gwenn sur Facebook !

Entre les rénovations, prendre du temps pour moi!

Michel Guérin.

L'utilisation sans ma permission est illégale./Use of my images without my permission is illegal.

www.facebook.com/michel.guerin.792

Un grand MERCI à tous ceux qui laissent un commentaire et visite.

A big THANK YOU to everyone who left a comment and visit.

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Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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-- - All rights reserved / Tous droits réservés - --

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Sigma 135-400mm f4-5-5-6 APO DG

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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Other page:

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© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

-- - All rights reserved / Tous droits réservés - --

L'utilisation sans ma permission est illégale./Use of my images without my permission is illegal.

www.facebook.com/michel.guerin.792

Merci beaucoup pour vos visites et commentaires, thank you so much for the visit and kind comments!

________________________________________________ __ _

Matériels utilisés :

Boitier: Nikon D7000

Objectif: Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Accessoires: Grip Phottix BG-D7000,

Logiciel: Lightroom 3.0

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© Josselin Dutheil - Merci de me contacter pour toute utilisation de la photographie.

-- - All rights reserved / Tous droits réservés - --