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One of the most... unusually decorated buildings I've seen in a while. This is the Visual Arts Institute on Key Highway in Baltimore City. I did two U-turns and parked next to a fire hydrant to get a closer look at this... thing of beauty? Eye-sore? Bizarrely decorated museum. Kind of reminded me of the Royal Ontario Museum.
En el Foro Bogotá Tianjin, los expertos hablaron acerca de los aspectos en los que se complementan ambas ciudades. Del mismo modo, directivos de la Universidad Chengjian de Tianjin y de nuestra Institución acordaron acciones de cooperación.
Fotografía Jeimy Morales - Oficina de Comunicación
Más información aquí goo.gl/wRt1vq
This is a set of 5 over-sized postcards of some of my visual journal pages. Each glossy postcard represents a journal spread, and is 8.5" x 5.5". The printing quality is so good, you can read my writing and feel what I was feeling when I created the journal page. Keep it for yourself for art inspiration, or mail it. The back is blank, except for my information, so you can write a note and address it.
This caption and picture appeared in the edition of the Norwich Mercury dated Saturday September 8 1917.
MORLEY, GEORGE
Rank:………………………….......Lance Serjeant
Service No:…………………….203133
Date of Death:………………..31/07/1917
Age:……………………………......33
Regiment:………………………..Suffolk Regiment, 8th Bn.
Grave Reference:……………Enclosure No.2 II. B. 17.
Cemetery:…………………….....BEDFORD HOUSE CEMETERY
Additional Information:
Son of Mrs. Rebecca Morley, of Lakenheath; husband of Mrs. M. A. Morley, of Cemetery Yard, Lakenheath, Suffolk
CWGC: www.cwgc.org/find-war-dead/casualty/483429/MORLEY,%20GEORGE
Soldiers Died in the Great War records that Lance Sergeant George Morley Died of Wounds on the 31st July 1917 whilst serving with the 8th Battalion Suffolk Regiment. He had previously been 2751 Suffolk Regiment.
The Medal Index Card for Corporal 203133 George Morley, Suffolk Regiment, is held at the National Archive under reference WO 372/14/92587
discovery.nationalarchives.gov.uk/details/r/D4138926
His Service Records do not appear to have survived the incendiary attack during the Blitz on the Warehouse where all the Army service records were stored.
No match on Picture Norfolk, the County Image Archive.
The Government Probate Service holds a Soldiers Will for 203133 George Morley who died on the 31st July 1917.
probatesearch.service.gov.uk/Wills?Surname=Morley&Sur...
The Lakenheath Remembers website has a mini-biography for him and has pictures of his Medal Index Card and Headstone. His younger brother Charles was Killed in Action on the 28th April 1917.
www.undyingmemory.net/Lakenheath/Morley George.html
26th March 1884 - Birth and Baptism
The birth of a George Morley was registered with the Civil Authorities in the District of Mildenhall, Suffolk in the April to June quarter, (Q2), of 1884. Mildenhall District included Lakenheath.
The baptism of a George Morley, born 26th March 1884, took place at All Saints Lakenheath on the 4th December 1887. His parents were Edward, a Labourer, and Rebecca. The family lived in Lakenheath.
www.freereg.org.uk/search_records/581865a3e93790eca305e3e...
Other family baptisms, All Saints, Lakenheath
Elizabeth May Morley, no date of birth recorded, baptised on the same day as her brother George. Parents Edward, a Labourer, and Rebecca. Family resides Lakenheath.
www.freereg.org.uk/search_records/581865a3e93790eca305e3f...
William Morley, no date of birth recorded, baptised 2nd June 1878. Parents Edward, a Labourer, and Rebecca. Family resides Lakenheath.
www.freereg.org.uk/search_records/5818659fe93790eca305d89...
Ernest Edward Morley, no date of birth recorded, baptised 5th March 1882. Parents Edward, a Labourer, and Rebecca. Family resides Lakenheath.
www.freereg.org.uk/search_records/581865a1e93790eca305ddc...
Lily Morley, no date of birth recorded, baptised 6th October 1895. Parents Edward, a Labourer, and Rebecca. Family resides Lakenheath.
www.freereg.org.uk/search_records/581865a6e93790eca305e96...
Charles Morley, no date of birth recorded, baptised 6th October 1895. Parents Edward, a Labourer, and Rebecca. Family resides Lakenheath.
www.freereg.org.uk/search_records/581865a6e93790eca305e96...
1891 Census of England and Wales
The 7 year old George Morley, born Lakenheath, Suffolk, was recorded living at a dwelling on Anchor Lane, Lakenheath. This was the household of his parents, Edward, (aged 39, a General Labourer, born Lakenheath) and Rebecca, (aged 38, Born Lakenheath). As well as George their other children living with them are:-
William…..aged 13….born Lakenheath….Agricultural Labourer
Ernest…….aged 9……born Lakenheath
Elizabeth…aged 4……born Lakenheath
“Voilet”….aged 2…….born Lakenheath
1901 Census of England and Wales
The Morley family were still living on Anchor Lane. Along with parents Edward, (48) and Rebecca, (46), children still single and living at home are William, (23, Ordinary Agricultural Labourer), Ernest E, (19, Ordinary Agricultural Labourer), George, (17, Ordinary Agricultural Labourer), Elizabeth, (14), Violet, (12), Lily, (9), Charles, (6) and Alice, (4) – all born Lakenheath.
His future wife, the 12 year old Mary Mole, born Croxton, Norfolk, was recorded living at a dwelling on Watton Road, Croxton, Norfolk. This was the household of her uncle and aunt, Stephen Linge (44, Gamekeeper, born Thetford) and Emily Linge, (44, born Croxton). As well as a 1 year old son of their own, also in the household is Stephens’ step-son Albert Mole, (aged 18, an Agricultural Labourer, born Croxton). Mary however is shown as a niece of the couple.
1908 – Marriage
The marriage of a George Morley to a Mary Ann Mole was recorded in the Thetford District of Norfolk in the April to June quarter, (Q2), of 1908.
1911 Census of England and Wales
The 27 year old George Morley, a Fruit Farm Labourer, was recorded as the married head of the household at Cemetey Road, Lakenheath, (the census enumerator has shown the address as Mill Road, Lakenheath, although that may be the address the form was originally sent to). He lives there with his wife of 2 years, Mary Ann, (aged 22, born Croxton, Suffolk). So far the couple have had just the one child, and as yet unnamed daughter who was then just a month old.
His widowed mother, the 57 year old Rebecca, was recorded as the head of the household at Anchor Lane. Although this was the first census in England and Wales intended to be completed by the householder, in this case someone else has completed it on her behalf as the declaration has been signed with an “X” (her mark). Rebecca supports herself by Charing. Still single and living with her are her children Charles, (16, Farm Labourer) and Alice, (14, help on farm).
Until September 1911 the quarterly index published by the General Registrars Office did not show information about the mothers maiden name. A check of the General Registrars Office Index of Birth for England and Wales 1911 – 1983 shows three possible additional children of George and Mary, all recorded in the Mildenhall District, all with mothers maiden name Mole. (Note with the daughter on the 1911 that would give the four children referenced in the original caption to the photograph.)
Reginald…………..Q2 1913
Ellen………………Q4 1914
Alfred G………….Q4 1916
On the day
31st July 1917 - Day 1
The Battle of Passchendaele
18th Division
53 Bde
53 Bde’s task was to leapfrog 30th Div once Glencorse Wood had been taken.
8th Bn, Suffolk Regt arrived in Jackdaw Trench at 8.10am to find Glencorse Wood still in enemy hands despite reports to the contrary. They dug in near Clapham Junction. Meanwhile 6th Bn, Berkshire Regt bogged down on the Menin Road also under fire from Glencorse Wood. With the help of 79 Coy, RE they destroyed some pill boxes between road and wood. Five tanks sent to assist bogged down in mud and were destroyed by shell-fire. By 10am they had dug in at the cross roads north west of Glencorse Wood.
forum.irishmilitaryonline.com/showthread.php?t=11535
Page 239 - 241 “The History of the Suffolk Regiment 1914-1927” by Lieutenant-Colonel C.C.R.Murphy
The battles of Ypres of 1917 began on the last day of July, the main blow being delivered by four Army Corps of the Vth Army, under General Sir Hubert Gough, attacking on a front of nearly eight miles. The front allotted to the IInd Corps (Lieut.-General Sir Claude Jacob) to which the 8th Battalion, belonged, extended from the Menin road to the Zillebeke-Zandvoorde road. This difficult stretch of country, especially the part when the Menin road crosses the ridge, was perhaps on the whole the scene of the most desperate fighting in the opening battle, although the depth of the British advance was greatest in the direction of Langemarck.
The intention was that as soon as the 30th Division had gained the Black Line, the 18th Division who were in support should go through them and carry on. The 53rd Brigade (Brig.-General H.W. Higginson) were then to attack the Green Line, and, if the situation developed favourably, the Red Line also. The 8th Battalion reached its assembly positions about 2 a.m. on July 31st, and by zero hour (3.50 a.m.) had established its headquarters at Wellington Crescent. During the latter stages of this move, enemy shells set fire to some dumps and a tank, lighting up the ground with remarkable effect. As “C” Company was passing through Zillebeke a shell burst amongst them, killing and wounding several of the men.
The troops of the attacking division, which the 53rd Brigade were to leapfrog when the first objective was taken, moved forward between the 8th and 24th Division. The 8th Suffolks and 6th Royal Berkshire Regiments, ready and expectant, waited for the front-line reports that would tell them the way was clear for their advance. “By a tragic mistake the 30th Divisional infantry wheeled to their left and assaulted Chateau wood instead of Glencorse wood. The misleading information that Glencorse wood was in our hands caused the 53rd Brigade to plunge into a fatal gap. One of the Suffolks’ scouts met, near the Menin road, an officer of the 17th Manchesters who reported that Glencorse wood had been captured. Contradiction came from Lieut. R.C. Bolingbroke who, before being wounded, penetrated as far as the line of the first objective. Bolingbroke reported that the enemy was still holding ground west of Glencorse wood.” (Source cited “History of the 18th Division” (Blackwood)).
Early in the morning Lieut. Bolingbroke went forward with the battalion scouts to clear Sanctuary wood and place signposts to guide the companies. They came under fire from a corner of the wood, Cpl. Fletcher being twice wounded. This was the work of a daring sniper, who did much damage before he was killed. Soon after 6 a.m. Lieut. Bolingbroke sent back a message to say 30th Division were on the north side of the Menin road, an in Chateau wood.
As the troops advanced a barrage was encountered in the splintered remains of Sanctuary wood, on the further edge of which they came under a destructive machine-gun and rifle fire. A platoon of “B” Company, under Lieut. Chibnall, was the first to get up to Lieut. Bolingbroke. These two officers decided to attack the second line (Surbiton Villa) with such troops as they could collect, and without waiting for support. The line was taken, Lieut. Chibnall and Sgt. J. Mason, M.M., being killed, and Lieut. Bolingbroke wounded, at the head of the platoon. In the course of the severe fighting in the vicinity of Surbiton Villa, Pte. F.J. Read with a small party of “A” Company (Major H.A. Angier, M.C.) rushed a German machine-gun, killing the whole team.
The battalion got on to the Menin road near Clapham Junction and advanced several hundred yards beyond it, where they were checked and forced to take up a line of shell-holes. The attack practically finished here, as by this time the enemy were in great strength round Glencorse wood. While Major Fache was crawling up the Menin road with a runner, a cock pheasant alighted about fifty yards ahead of them, though shells were dropping everywhere. The runner shot the bird, carrying it out of action at the end of his rifle with great pride. It was possibly not the first time he had killed game without a licence.
By this time all our tanks had been put out of action. The battalion having advanced altogether nearly a mile and made a hard but availing fight to get still further, now dug themselves in. Thus ended, as far as the 8th Battalion was concerned, the battle of Pilckem Ridge, in which they sustained 177 casualties including the following officers:-
Killed: Lieut. R.S. Chibnall; 2nd Lieuts J.D. Wheeler and A.C. Savage.
Wounded: Captain G.L. Crandon, M.C.; Lieut. R.C. Bolingbroke, M.C., D.C.M.; and 2nd Lieuts W. Brown and L.C. Rae, the last named remaining at duty.
lib.militaryarchive.co.uk/library/infantry-histories/libr...
(A check of the CWGC database reveals 59 fatalities on this day).
From the War Diary of the 6th Battalion Royal Berkshire Regiment.
All references to Sheet ZILLEBEKE 1/20,000.
1.55AM - Head of Bn arrived in assembly area in I.17d and I.23a & c. 3.5 - Bn reported present in assembly area. Message sent to Bde HQ to this effect.
3.50 - Zero hour.
5AM Bde report Blue line captured.
5.50 - Patrols under 2/Lts HR Hooper and GH Tigar sent forward to get in touch with 17th Manchesters
6.50AM. Black line reported captured unofficially.
7.15 - Bn moved from assembly area in Artillery formation towards forming up line.
8.30 - Bn passing through SANCTUARY WOOD in I.13c. Fairly heavy MG fire & artillery barrage directed against Bn. No Manchester met up to this point and captured trenches did not appear to be garrisoned.
8.45 - JACKDAW RES TR reached. Owing to MG fire from YPRES-MENIN Rd and SURBITON VILLAS Bn deployed to extended order. Advance resumed and the line of the YPRES-MENIN road made good.
9AM - Attack on the black line determined on and commenced by rushes under cover of rifle & MG fire. Suffolks and their attd TM co-operated with fire on SP at J14a3.21/2. 9.50 - In spite of strong opposition and without assistance from our own Artillery which was unaware of the situation the line Xrds J7d91 JARGON SWITCH and SURBITON VILLAS captured. Touch gained with Lincolns at bank in J7d. 10.10 - British barrage opened behind the line of resistance holding up the Bn. Efforts to advance were stopped by rifle & MG fire from the JARGON TR LINE.
10.30 - Consolidation of the line J7d9.4 - Xrds J7d9.1 - JARGON SWITCH - J13b9.6 - junction rds at J13b9.5 - E of SURBITON VILLA where touch was gained with the SUFFOLKS. The work of consolidation was difficult owing to hostile MG fire & aeroplanes dropping bombs on troops consolidating.
3pm - Enemy seen massing for counter attack in GLENCORSE WOOD. SOS barrage called for - Artillery open fire and attack did not materialize. Remainder of day fairly quiet but enemy kept up continuous shell fire on consolidated troops & Bn HQ on YPRES MENIN Rd in the tunnel at J13b3.1.
8.30pm - Orders for relief by 17th KLR received. Details arranged direct with Bn - Relief orders attached.
12MN - Relief commenced. Completed 2.50AM Aug 1st. Bn withdrew to DICKEBUSCH.
www.thewardrobe.org.uk/research/war-diaries/detail/7413
BEDFORD HOUSE CEMETERY
Location Information
Bedford House Cemetery is located 2.5 Km south of Ieper town centre. The cemetery lies on the Rijselseweg (N336), the road connecting Ieper to Armentieres.
Historical Information
Zillebeke village and most of the commune were in the hands of Commonwealth forces for the greater part of the First World War, but the number of cemeteries in the neighbourhood bears witness to the fierce fighting in the vicinity from 1914 to 1918.
Bedford House, sometimes known as Woodcote House, were the names given by the Army to the Chateau Rosendal, a country house in a small wooded park with moats. Although it never fell into German hands, the house and the trees were gradually destroyed by shell fire. It was used by field ambulances and as the headquarters of brigades and other fighting units, and charcoal pits were dug there from October 1917.
In time, the property became largely covered by small cemeteries; five enclosures existed at the date of the Armistice, but the graves from No.1 were then removed to White House Cemetery, St. Jean, and those from No.5 to Aeroplane Cemetery, Ypres.
ENCLOSURE No.2 was begun in December 1915, and used until October 1918. After the Armistice, 437 graves were added, all but four of which came from the Ecole de Bienfaisance and Asylum British Cemeteries, both at Ypres.
In all, 5,139 Commonwealth servicemen of the First World War are buried or commemorated in the enclosures of Bedford House Cemetery. 3,011 of the burials are unidentified but special memorials commemorate a number of casualties known or believed to be buried among them. Other special memorials name casualties buried in other cemeteries whose graves could not be found on concentration. Second World War burials number 69 (3 of which are unidentified). There are 2 Germans buried here.
CWGC: www.cwgc.org/find-a-cemetery/cemetery/55502/BEDFORD%20HOU...
(Mildly photoshopped to minimise the visual impact of damage that was present on the original image.)
Prácticas contemporáneas de activismo visual y de imaginación política. Proyecto Daupará (Germán Ayala y Rosaura Villanueva, Guache y Colectivo Dexpierte). Modera: Jimena Andrade (Interferencia-co.net).
En el marco de la exposición ‘Rojo y más Rojo. Taller 4 Rojo; producción gráfica y acción directa'.
Fecha: Martes 5 de junio de 2012
Lugar: Auditorio de la Fundación Gilberto Alzate Avendaño (Cl 10 N° 3-16)
Teléfono: 2829491 Ext. 228
ENTRADA LIBRE, previa inscripción
Envíe su nombre, cédula, actividad e institución al correo: educacionfgaa@gmail.com
+ info: www.culturarecreacionydeporte.gov.co/portal/node/4881
Visual Storytelling - Inspiring a New Visual Language
Visual storytelling uses graphic design, info graphics, illustration, and photography to convey information in the most elegant, entertaining, and informative way. Today, a new generation of designers, illustrators, data journalists, and graphic editors is spending the creative scope of existing visual storytelling techniques -- meeting the formidable challenge of extracting valuable new, surprising findings, and relevant stories from a daily flood of data head on.
Visual Storytelling is the first book to focus solely on contemporary and experimental manifestations of visual forms that can be classified as such. The rich selection of cutting-edge examples featured here if put into context with an introduction and text features by magazine expert Andrew Losowsky as well as interviews with the New York Times, Francesco Franchi, DensityDesign, Carl Kleiner, Antoine Corbineau, Golden Section Graphics, Les Graphiquants, and Peter Grundy.
Decal of Re-THINGing Gesture in Contemporary Sculpture Practice displayed at the floor of Esplanade Mall.
Extras at the Ministry
Every inch of the Ministry of Magic was seen on camera and to give it even more grandeur, the Visual Effects team digitally constructed set extensions. Because of its enormous size, hundreds of extras were needed to fill the Ministry – many more than anticipated, so filmmakers had to improvise.
During Harry Potter and the Order of the Phoenix, instead of hiding his crew, director David Yates put them to work as wizards and witches, milling about in the atrium. One minute, the on-set crew would be hammering and re-painting, the next, costumers were fitting them with long cloaks, white beards and wizard hats.
Ministry of Magic Atrium
Built in 2007 for Harry Potter and the Order of the Phoenix, the Ministry of Magic was one of the largest sets ever constructed for the films, which took nearly twice as long to build as the Great Hall.
For Harry Potter artists, inspiration came from everywhere. These office towers were based on a 19th century Victorian building on Tottenham Court Road, in London's West End. Set decorators also dressed each of the offices with cardboard desks and filing cabinets, because the weight of regular props would have been far too heavy for the tall sets.
To create what he calls 'the Ministry Look' Stuart Craig drew his inspiration from the oldest London Tube stations which are covered in ceramic tile. After months of research, the construction team mimicked that look using more than 30,000 green tiles made of wood.
Ministry of Magic Fireplaces
The Ministry of Magic's enormous fireplaces stand at over 30 feet tall and are part of the Floo Network, a magical mode of transport that allows witches and wizards to travel throughout the wizarding world. Although there are only two presented here, the actual Ministry set included 17 of these massive fireplaces.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Essa foi feita para a Flavinha Borges do Ateliê Arte com Amor, a bonequinha foi feita baseada nas bonecas de EVA que ela faz www.flickr.com/photos/flavinhaartesanatos/ =D
Orçamentos e informações:
contato@danysabadini.com.br
I made these graphics on photoshop ( all except Bert and Ernie!) and created a visual timetable for the children so they know what to expect during their day.
BFDs_HilarioParada, "Solidificación Visual",Técnica Digital, Velocidad:1/800s- Apertura: f/8- ISO: 200, 2016; Fotografía tomada con una velocidad considerada rápida, ya que sobrepasa el valor de 1/80. Las capturas fotográficas a una velocidad rápida, nos permiten "congelar" el objeto en movimiento, lo que proporciona una visualización de los ,incluso, pequeños detalles que lo componen.
I'll try to tell you the feel of the moment at this sight.
Do you see slow movement of the water, the dancing glare of the sun, do you hear my shoe steps on the grass, my breathing and the beat of my heart, did you see that tiny fish escaping in the hide, and that slow movement of the shades in between the reeds singing the lullaby, the whisper is lost, look, listen to the tiny air bubble burst
This is Page 1 of a photographic atlas I created as a laboratory study resource for my BIOL 121 Anatomy and Physiology I students on the bones and bony landmarks of the appendicular skeleton.
Credits: All photography, text, and labels by Rob Swatski, Professor of Biology, Harrisburg Area Community College - York Campus, York, PA. Email: rjswatsk@hacc.edu
Studying Anatomy and Physiology? Check out my Survive and Thrive in Anatomy & Physiology series of A&P textbooks! I wrote and illustrated these books to help biology and healthcare students succeed in A&P! Available in paperback, e-book, and Kindle.
Available for purchase on my website and Amazon: robswatski.com/
Biology Core Concepts - Chemistry and Cells (Book 1): a.co/d/0ijoG8Jv
The Histology Comic Book (Book 2): a.co/d/09BADvyS
The next book in the series, focusing on the skin, skeleton, and muscles, will be available in Late Spring/Early Summer 2026!
Two towers, built decades apart appear in harmony. The Art Deco tower on the left, known as The Jewelers Building, was built by 1926. The exterior is clad in terra cotta tiles and topped with a large dome, reputed to have been a speakeasy frequented by Al Capone. It is now an architectural office. The art Deco style is moderated by Roman, Greek and Gothic details in the façade treatment. The corner turrets were originally water tanks for the tower's fire suppression system.
The Kemper Tower, a contemporary office building, features vertical columns and window treatments in keeping with the adjacent Art Deco tower.
This is page 38 of a photographic atlas I created as a laboratory study resource for my BIOL 121 Anatomy and Physiology I students on the anatomy of the heart and the great vessels.
Credits: All photography, text, and labels by Rob Swatski, Professor of Biology, Harrisburg Area Community College - York Campus, York, PA. Email: rjswatsk@hacc.edu
Studying Anatomy and Physiology? Check out my Survive and Thrive in Anatomy & Physiology series of A&P textbooks! I wrote and illustrated these books to help biology and healthcare students succeed in A&P! Available in paperback, e-book, and Kindle.
Available for purchase on my website and Amazon: robswatski.com/
Biology Core Concepts - Chemistry and Cells (Book 1): a.co/d/0ijoG8Jv
The Histology Comic Book (Book 2): a.co/d/09BADvyS
The next book in the series, focusing on the skin, skeleton, and muscles, will be available in Late Spring/Early Summer 2026!
Double colour, used water coloured pencils in the background sometimes I think it looks ok other times I hate it, but no going back I have to finish my mission!
Entry for the recent DP Challenge "Visual Puns"
Got in top 10 in this with a strong PB of 6.7 :) Very happy
flickriver.com/photos/javier1949/popular-interesting/
Boamistura en el Mercado de la Cebada 2013 Plaza de La Cebada Madrid
El Mercado de la Cebada es uno de los más emblemáticos de la ciudad de Madrid, situado en La Latina, uno de sus barrios más castizos. El primer mercado de La Cebada, realizado en hierro, se inaugura por Alfonso XII en 1875 y se mantiene en pie hasta 1956. Seis años más tarde se inaugura el edificio actual, levantado en estructura de hormigón y fachadas de ladrillo según proyecto de los arquitectos Antonio García de Arangoa, Herrero Palacios y Martinez Cubells. Las obras se ejecutan entre 1959 y 1962.
En 2009 se proyecta su derribo, junto con el de la Instalación deportiva aneja, donde hoy se alza El Campo de Cebada, sin embargo, el mercado resiste y sobrevive, y ha logrado reinventarse gracias al trabajo del colectivo madrileño Boamistura. La nueva fachada destaca por su colorido y formas. Colores, iconos, palabras, y dibujos se plasman en la fachada donde aparecen elementos orgánicos (agua, carne, viento o ladrillo) que según sus autores refuerzan el concepto de optimismo buscando una mayor riqueza visual, más fresca y divertida. El resultado es un "collage" a imagen del mercado y su barrio, en el que las llamativas cúpulas son pieza fundamental de la intervención. La fachada realizada es el mural de arte urbano más grande de España, y uno de los mayores jamás realizado en Europa.
Cada cúpula presenta un tratamiento propio según su "personalidad", pintada de colores distintos -rojo, verde, azul, amarillo, naranja y morado- en recuerdo de los productos y alimentos que se pueden encontrar en el interior del mercado, y servirán de soporte para la palabra "color", escrita en blanco mediante anamorfosis. Esta técnica en perspectiva consiste en utilizar el arte para forzar al observador a un determinado punto de vista desde el cual el elemento cobra una forma proporcionada y clara. En este caso, sólo desde un punto concreto, en una de las cúpulas, se puede leer la palabra "color" mientras que desde el resto se aprecia una composición abstracta de planos blancos sobre las cúpulas de colores. En la decoración se han empleado 2.000 kilos de pintura, 40 rodillos extensibles y unas mil horas de trabajo por parte de un equipo de 15 personas. Ahora el mercado inicia una nueva etapa remozando su fachada con un proyecto que aporta una nueva imagen al exterior y al interior del edificio, donde habrá un espacio abierto al público dedicado a diferentes expresiones del optimismo. La plataforma MyMayorCompany y la Liga de los Optimistas Pragmáticos se encargarán de aportar contenidos y actividades para llenar de optimismo el interior del mercado.
Un OBJETIVO, LA VISIBILIDAD: tres agentes dispuestos a sacar al mercado de su ostracismo unen sus fuerzas: los representantes del mercado, que piden a gritos un cambio pero no tienen los medios; una firma comercial, J&B, que tiene los recursos y ganas de meter la cabeza en el mundo de la cultura y por último Boamistura, un colectivo de artistas urbanos expertos en estas lides y catalizadores del cambio. “Esperamos que esta intervención funcione como un grito del mercado, de su deseo de continuar”. “Cuando nos acercamos por primera vez al mercado para determinar cuál podría ser nuestra intervención allí, reparamos en que las cúpulas era el elemento con más personalidad del edificio, por lo que había que resaltarlo. Una vez arriba nos dimos cuenta de que nos encontrábamos en uno de los lugares más mágicos en los que habíamos estado nunca: un extraño y poco común paisaje de espacios semiesféricos que competía con los tejados y el "skyline" de la ciudad: el Palacio Real, la catedral de la Almudena, San Francisco el Grande... Y, sin embargo, las cúpulas del mercado, en sus tonos óxidos, estaban tan interiorizadas, que nos parecía que habían desaparecido. Recuperarlas era el desafío”.
COLOR. Ese es nuestro siguiente capítulo. Comienza el debate: ¿intervenir una cúpula? ¿dos? ¿tres? “Si confiáis en nosotros, dejadnos trabajar sobre las seis”, plantearon los artistas. Y así estas comenzaron a teñirse cada una de un color: rojo, amarillo, verde... Sin embargo, no toda la superficie se cubría de forma homogénea con la misma tonalidad. En cada una, empezaban a reservarse superficies blancas. ¿La razón? “Para responder a esa pregunta hay que subir a la cúpula azul. Desde allí, en un punto determinado, la mirada aplana todo el paisaje circular y convierte los trazos blancos de las seis cubiertas en una palabra: Color. Se trata de una técnica conocida como anamorfosis muy común en la labor de este colectivo y con el que se sienten muy identificados.
Este es un proyecto que se construye de arriba abajo: “Es como si las cúpulas fueran el germen de un color, que en las alturas se verbaliza y desde allí comienza a resbalar y a desparramarse por las paredes del mercado”. Porque ahí no acaba la intervención de Boamistura: dos de las fachadas del edificio también han sido intervenidas -la principal, dividida en dos paños, y una de las laterales, la que comunica con el Campo de la Cebada, y donde era fundamental que la aportación "mordiera" ese uso tan interesante que los vecinos dan ahora a este entorno-, contagiándose de esos colores de las cubiertas, que a su vez se inspiran en los tonos, los olores, los sabores y la vida que tiene lugar en su interior. Ello ha dado lugar a un mural que cubre una superficie total de 6.000 metros cuadrados, el mayor en España en su género. Y envolviéndolo todo, una frase: “Llena la vida de color”. Otro concepto; OPTIMISMO.
BoaMistura Boa Mistura ROCKING SINCE 2001
CINCO CABEZAS, DIEZ MANOS, UN SOLO CORAZÓN
Colectivo de artistas urbanos nacido a finales de 2001 en Madrid, España. El término “Boa Mistura”, del portugués “buena mezcla”, hace referencia a la diversidad de formaciones y puntos de vista de sus miembros. Visiones distintas que se influencian y se mezclan en favor de un resultado único. Formado por el Arquitecto Javier Serrano “Pahg”, el Ingeniero de Caminos Rubén Martín “rDick”, el Publicista Pablo Purón “Purone” y los Licenciados en Bellas Artes Pablo Ferreiro “Arkoh” y Juan Jaume “Derko”. Su obra se desarrolla principalmente en el espacio público, habiendo llevado a cabo proyectos en Sudáfrica, Noruega, Berlín o Sao Paulo. Boa Mistura ha participado en exposiciones en centros de arte como el Museo Reina Sofía, Casa Encendida o Museo DA2. Colaborado en proyectos sociales junto a fundación ONCE, Intermon Oxfam, Cruz Roja o Antonio Gala e impartido conferencias en Universidades como las de Madrid, Sevilla, Cuenca o Alcalá de Henares. //
Boa Mistura is an urban art group formed at the end of 2001 in Madrid, Spain. The term "Boa Mistura", from the portuguese for "good mixture", refers to the diversity of perspectives of each member. Distinct visions which complement each other, and combine to create something unique and coherent. The collective is composed by the Architect Javier Serrano "Pahg", the Civil Engineer Rubén Martín "rDick", Pablo Purón "Purone", graduated in Advertising and Public Relations, and two Fine Art graduated: Pablo Ferreiro "Arkoh" and Juan Jaume "Derko". The group works mainly on the public space, and have developed projects in South Africa, Norway, Berlin, Sao Paulo or Río de Janeiro. Boa Mistura have taken part in exhibitions in art galleries such as the "Museo Reina Sofía", "Casa Encendida" and the "Museo DA2". They have collaborated with foundations like ONCE, Red Cross, Oxfam and Antonio Gala, and given lectures at universities such as Madrid, Seville, Cuenca or Alcalá de Henares.
www.boamistura.com/BoaMistura_portfolio.pdf
www.colegio-abaco.com/imagenes/archivos/proyecto-boamistu...
“No! In the name of humanity, we refuse to accept a fascist America: this nightmare must end, the Trump / Pence regime must go, November 4, it begins": Refuse Fascism #Nov4ItBegins rally and march: Times Square, New York N.Y., Saturday, November 4, 2017.
HDR. AEB +/-3 total of 7 exposures processed with Photomatix. Colors adjusted in PSE.
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
One among the 3 that i love. Not only it reflects my state of mine at that time (hopeless, loneliness and depression) but it's represent the pain which a woman has to keep it inside herself. (As a Thai lady you shouldn't 'show' every emotion. A modest behavior is very important)
This is part of a series of eerie black and white photos being taken for the upcoming album of my band Room & Board. The album is entitled "Mistress Misdressed Missed Rest". Each photo is titled to represent a song on the record, although they may not all pertain to the song or the order of the songs. Follow along with the photos and check out our music. The album will be out sooner than you know!