View allAll Photos Tagged value
“Whether you approach your dreams on soft feet or in a breathless run,
just so long as you acknowledge that your dreams are valuable and worthy of pursuing,
then you’ve made it.” D Monk
f(x) - Diamond
"I am a strong, unbreakable Diamond, my valued heart and essence fire with ability of one billion."
www.youtube.com/watch?v=39EUV9Q0LLo
TRACKLIST:
4 Walls: www.flickr.com/photos/91200485@N05/22500510995
Glitter: www.flickr.com/photos/91200485@N05/22553652526
Deja Vu: www.flickr.com/photos/91200485@N05/22402832980
X: www.flickr.com/photos/91200485@N05/22598343882
Rude Love: www.flickr.com/photos/91200485@N05/21931771194
Diamond: www.flickr.com/photos/91200485@N05/22690637225
Traveler: www.flickr.com/photos/91200485@N05/22477233990
Papi: www.flickr.com/photos/91200485@N05/22019615813
Cash Me Out: www.flickr.com/photos/91200485@N05/22710340341
When I'm Alone: www.flickr.com/photos/91200485@N05/22103146014
The 1924 Azzorre Crisis proved to Montefalco the value of a fast cruiser fleet. In that war, Montefalco relied on two heavy cruiser classes, the two Lusa-class cruisers and the upgraded Omerta-class. A decade after the war, the mass-produced Omertas were beginning to show their age, so the Principale Marina commissioned an update to remain competitive with the newest Valparaisan designs. Naval planners quickly decided to disregard the tonnage limitations of the Eiswald Naval treaty, lengthening the ship by roughly 15 meters for greater seakeeping and speed.
The designers retained the hullform and the below-decks protected torpedo launchers from the Omerta, but replaced the tripod masts with more modern superstructures. They replaced the 4x2 8" turrets with updated 3x3 8" main armament, enabling an extra gun to fire broadside. An alternate design featured a fourth turret in the rear, for a total of 12 main guns, but this caused the ship to sit too low in the water, so the fourth turret was removed and replaced with a spacious seaplane hanger. The rear turret can rotate 360 degrees in order to improve its firing arcs and traverse. Aramaic engineers who visited the shipyard during construction also noted a beneficial side effect of this design: the turret serves as a stable base to rotate the ship's crane. The crane can thus lift scout planes from the hanger to the catapult and from the water to the hanger, as well as easily handling dinghies and lifeboats. Finally, the new design has greatly increased AA armament, incorporating ten quadruple 40mm turrets and 3x2 3" heavy AA according to Oyashimese designs. The Principale Marina named the class Puglia, after a province of southern Montefalco known for its combative inhabitants. The first Puglia-class launched in 1936, to great acclaim.
Former Value Giant Drug and Discount Store located at 2558 Mission St. in San Francisco,CA. The building which is now quite neglected reused the letters to rename the store Giant Value. When I took this photo it seemed as if the store might have closed, but I cannot confirm any such closure. This store is arguably an institution on Mission Street showing up on many photos I have come across...
the ladies have decided
that Randy the Rooster's
cock-a-doodle doo
is nothing to crow about :)
seen earlier today at Value Village
Fair use for the 21st century: if it adds value, it's fair; if it substitutes, it's not - Boing Boing Cory Doctorow over at Boing Boing points us to a debate between Tim Wu and NBC's chief general counsel about the need to redefine what constitutes fair use for a new digital world.
"That’s why it is time to recognize a simpler principle for fair use: work that adds to the value of the original, as opposed to substituting for the original, is fair use. In my view that’s a principle already behind the traditional lines: no one (well, nearly no one) would watch Mel Brook’s Spaceballs as a substitute for Star Wars; a book review is no substitute for reading The Naked and the Dead. They are complements to the original work, not substitutes, and that makes all the difference."
Which is all very true and all.
As a photographer, producer and publisher of content I probably, pretty much, technically, in a round about way violate copyright every single day.
I've got a set of images called Starbucky where I publish images of Starbucks (Starbuck's doesn't allow photographers to shoot in their stores by the way). I've also got a set of images up of paintings (go ahead and click through, I've got a great painting of a naked woman by artist Mel Ramos) -- someday there will be over 20,000 photographs in this set alone. Are some of these paintings over 75 years old and in the public domain? Probably. Are others less than 75 years old and under some kind of obscure, tucked away, undermined secret copyright. Probably.
Sometimes the world calls for permission based photography. It's mostly sort of a whim on a case by case basis. Like this woman in New York. I asked her if I could take her portrait and she said yes (just kidding, I didn't really ask her for permission, I ask some people though). Most of the time permission from Coca Cola and Chuck Close and the estate of Andy Warhol and some painter whose image captured your attention a few years ago and whose name you've long since forgotten is unnecessary duplication of effort. Redistribution. Retribution. Reincarnation.
I shoot billboards. I shoot the Coca Cola sign. I shoot mannequins and dogs and squirrels and security guards and angels and iPod ads. I shoot architecture and night scenes and rain and silhouettes. I shoot stamps and album covers and neon signs and car shows and Donald Trump with paint splattered all over his face and the Jack Kerouac On the Road scroll (even when I'm not allowed to). I have a set of images up containing photographs of Santa Claus and Jesus Christ. Sets can be powerful, very powerful.
Sometimes I'll publish a photograph of a copyrighted painting (like this painting by a cat named Pablo) and somebody else will come along and offer their own interpretation. Thank you the marquise de sade, you're the best -- love your shot of Big Pussy.
Sometimes I violate copyright. Sometimes I don't. Sometimes I publish these shots to Flickr and Zooomr and Pownce and my blog -- where I make money selling ads -- and sometimes I don't. There's a photograph on Bloomberg.com this morning of Ben Bernanke. He's rubbing his closed eyes with a look of doom. He could be about to cry. There's a little button next to it that says enlarge/details. Maybe we should blow this image up big and publish it on a billboard on Hollywood Boulevard.
As the waves of light find my eye and find my Canon 5D, I snap. Crackle. Pop. Bamm. Bamm again. Bamm a third time.
Fair use? Who the hell cares. The images need to be captured. And they need to be presented to the world in new and exciting and fun ways. Certainly a culture that gave us a talking Pontiac Firebird named Kitt could understand that. Whatcha selling this week? Ron Paul?
Andy Warhol probably would have thought it was more important to be famous than rich even though he was both. Andy ripped off Campbell's soup -- may he rest in peace. Richard Prince rips off people all the time. God bless the devil that is Richard Prince. Do unto others as you'd have them do unto you. Art is more important than commerce. Your camera is your friend, not your enemy. Never apologize for your art. Power to the people. The best photographs in the world have yet to be taken.
Thank you for taking the time to view, comment or fave...value your support. Have a wonderful day!
These little ones are only 12 inches in length...amazing flyers, but terrible with landing.
listening to all the things you can't hear, and not bothering :-)
Pooh's Little Instruction Book, inspired by A.A. Milne
prunus mume, Japanese flowering apricot, 'Josephine', j c raulston arboretum, ncsu, Raleigh, north carolina
Our valued customers can enjoy peace of mind that Karl Knudsen Automotive is a genuine dealership alternative for new car maintenance. www.karlknudsen.com.au
Brownie Hawkeye, Flip Lens, Fuji Acros Film
Image ©Philip Krayna, BoxxCarr, all rights reserved. This image is not in the public domain. Please contact me for permission to download, license, reproduce, or otherwise use this image, or to just say "hello". I value your input and comments. See more at www.boxxcarr.com.
In reality the mitigation of moral laws—to the extent it is not illusory—can represent an intrinsic superiority only on two conditions: first, that it confers a concrete advantage on society; and second, that it is not obtained at the cost of what gives meaning to life; respect for the human person must not open the door to a dictatorship of error and baseness, to the crushing of quality by quantity, to general corruption and the loss of cultural values, for if it does so it is, in relation to the ancient tyrannies, merely an opposite extreme and not the norm. When humanitarianism is no more than the expression of an over-valuation of the human at the expense of what is divine or the crude fact at the expense of truth, it cannot possibly be counted as a positive acquisition; it is easy to criticize the “fanaticism” of our ancestors when one has lost the very notion of saving truth, or to be “tolerant” when one derides religion. Whatever the morality of the Babylonians may have been, it must not be forgotten that certain kinds of behavior depend largely on circumstances and that collective man always remains a sort of wild animal, at least in the “Iron Age”: the conquerors of Peru and Mexico were no better than Nebuchadnezzar, Cambyses, or Antiochus Epiphanus, and one could find analogous examples in the most recent history. Religions can reform the individual man with his consent—and it is never the function of religion to make up for the absence of this consent—but no one can bring about a fundamental
change in that “thousand-headed hydra” which is collective
man, and this is why nothing of the kind has ever been the aim of any religion; all that a revealed Law can do is curb the egoism and ferocity of society by channeling its tendencies more or less effectively.
The goal of religion is to transmit to man a symbolic, yet adequate, image of the reality that concerns him, according to his real needs and ultimate interests, and to provide him with the means of surpassing himself and realizing his highest destiny; this destiny can never be of this world, given the nature of our spirit. The secondary goal of religion—with a view to the principal goal—is to make possible a sufficient equilibrium in the life of the collectivity or to safeguard within the framework of the natural malice of men a maximum of spiritual opportunities; if society must be protected against the individual, the individual for his part must be protected against society. There is endless talk about “human dignity”, but it is rather too often forgotten that “noblesse oblige”; dignity is invoked in a world that is doing everything to empty it of its content and thus to abolish it. In the name of an indeterminate and unconditional “human dignity”, unlimited rights are conceded to the basest of men, including the right to destroy everything that goes to make our real dignity, that is to say, everything on every plane that attaches us in one way or another to the Absolute. Of course truth obliges us to condemn the excesses of the aristocracy, but we can see no reason at all why it should not also confer a right to judge contrary excesses.
---
Frithjof Schuon: Light on The Ancient Worlds
When existence starts, life provides us all with an empty bag - just waiting to be filled. We value it with a great sense of duty when we carry it around because unconsciously, we understand the importance of its content. And so, over time, it begins to define who we are and who everyone thinks to be.
While we are creating the plot of this customized story, we already assess its value.
We treat it with the utmost caution as we are aware of the risk we take when revealing its content. But living frequently means that one day the concealing is doomed to failure. And eventually, a reflection of this fragile inside - what forms us, you and me - sees the light of day.
Often, it is this exposure that we fear the most. We tend to uglify the experiences that made us who we are. But in the course of a lifetime, no one is safe from getting scratched. Yet we feel ashamed for parts of our identity.
And though it is our unique narrative, we like to sell it at less than fair value.
In the end, the extraordinary beauty of life consistently lies in the unexpected. Hence, it might be that the value of our imperfection caused us to find common ground in the first place.
Derby 'Lightweight' DMU makes a stop at Sellafield in June 1964.
It would seem this is almost certainly a railtour or charter given the number of people milling around.
There is no mention on the SixBellsJuction site but perhaps this is not surprising. An era when all sorts of organisations were organising trips.
Part of the Tom Derringon Collection with photographer unknown.
It is interesting that Value City is still left intact on this sign. It appears that "Value City" is being used for the furniture store that still exists in this shopping center. It appears that this may have been a Schottenstein (once parent company of Value City) developed shopping center.
Eureka and Telegraph Roads - Taylor, Michigan
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CC Most Versatile: Leading Line
At Winco discount supermarket, they don't advertise special sales. Instead, the Wall of Values showcases sale items as it leads into the store.
© Saira Bhatti
"Cada valor positivo tiene su precio en términos negativos. El genio de Einstein conduce a Hiroshima"
"Every positive value has its price in negative terms... the genius of Einstein leads to Hiroshima" ~Pablo Picasso
Montserrat is a multi-peaked rocky range which is part of the Catalan Pre-Coastal. This landscape is situated 60 to 70km outside of Barcelona. The travel to this location offers a nice drive via car on the A-2 and C-55 route, however, for those without a car, there is an option to take the public transit using special train service #Canon #Landscape #Espana #Photography #Montserrat #Spain