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Chernivtsi (Tschernowitz), Ukraine.
SLR Camera: Nikon N80
Lens: AF Zoom-Nikkor 28-105mm f/3.5-4.5D
Film: Kodak ColorPlus 200
Filter: Promaster Spectrum 7 UV
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-- focal length - 50 mm
-- aperture - 8
Film was processed and scanned by "Mark" Studio Lab. in Chernivtsi. I am happy with the results.
To see the pictures taken with this camera click here.
Thank you for your comments and Fav's.
Our cat Sable, shot & edited around 10 years ago with my first digital cam. She loved to birdwatch! We got her when we lived in Alaska from a rescue. She moved back to VA with us and was a big fan of cardinals. Awesome cat, really miss her. ;)
best on black
Fri. the 22nd out on errands and just a few clicks. Back to Cave and Elevator broken down. So Old Fart climbs 7 stories of stairs "Oh My!"
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If I remember correctly, this is a combination of two vintage patterns I had on file. I pulled the design of the central sunburst medallion from one window, and the floral vine-work from another. Add a few antique jewels, and there you go.
The 1953 Western classic film Shane was largely filmed in the Jackson Hole Valley. Most of the set locations for the film have long ago been dismantled including the town that was built on the Antelope Flats and several other cabins. This cabin and two other smaller structures just next to it are the only set from the movie that remain. The three structures were actually real cabins of early Jackson Hole settlers that were repurposed for the movie. In a major plot of the movie, a powerful rancher was trying to force the homesteaders out of their homes to secure control of the valley for his ranch. This cabin was the cabin of homesteader Ernie Wright in the movie. From the window on the western wall of the cabin, you get a nice view of the mountains.
Alright, dear readers, it must be said: I have a crush on General William Jackson Palmer.
He wooed me with his passion for creating a healthy, cultured society. Then seduced me with his sense of fairness and familial loyalty to the workers in his employment. There's nothing more to be done, he has my heart.
A decorated Civil War hero who made his fortune in the railroad business, Palmer (1836-1909) left his mark on towns throughout the state of Colorado. But Colorado Springs was special to the General. It was the place he chose to live, the town where he wished to bring his wife "Queen" Mary Lincoln Mellen Palmer (photo), and where he hoped to raise his three girls, Elsie, Dorothy and Marjory.
Last weekend I had a chance to visit Glen Eyrie (c. 1904), Palmer's historic residence in Colorado Springs. A staggering 33,000 square feet sited on more than 700 acres, the building has 33 bedrooms, 23 bathrooms and 24 fireplaces.
Leica DC Vario-Elmarit 9.1-91mm f2.8-5.9 Asph
A modern dark-paneled building stands beside a lighter, stone-clad structure in Manchester. The dark facade features a grid of rectangular windows that create a sharp geometric pattern against the sky. The two buildings showcase a striking difference in texture and color, highlighting the evolution of contemporary urban design.
In 2016, Laws Stained Glass Studios installed (6) new opalescent glass windows at Orange Grove Baptist Church in St. Helena Island, SC. The six main windows (size 36" wide x 80"high with a round top) each contained a 12" round Biblical scene and a memorial plate. Each window depicted a different scene from the life of Christ.
Laws began the installation by removing the existing frames and Krinkle glass. Laws set a new white aluminum frame into the masonry opening. On the interior of the frame, the leaded glass window was placed. On the exterior, a 1" insulated glass unit was installed as the protective covering.
I believe everyone has their own point of view to the world and also 'a photographic eye' that guides their photography. Most of us aren't very conscious about it, but nevertheless it's there and consists of visual imagery that we have absorbed in our life whether it comes from the history of photography or five penny comics from a local second-hand bookshop (I belong to that latter group). The photographic eye and your own point of view to the world are things that make your photography personal and different from the others. But the great paradox is that even if we are individuals with our unique lives, yet I see that most photographers are following certain genres and motifs whether it is fashion, street, landscape or other usual suspects. The problem is that these genres offer loads of technically perfect pictures which are 'stunning' and find ourselves to appreciate them, but they often fail to connect with us on a deeper level. In fact, there are so much of these 'stunning' pictures and algorithms feeding us even more of them, that it all becomes just noise. And many get stuck into process of reproducing these pictures because they occupy so much of visual imagery around us. Great pictures come and go with the 'likes' and 'thumps ups', but which are the ones that you really connect with and gets to stay within your life as a some sort of a aesthetic waypoints along the road?
I firmly believe that getting personal with your photography is enough to make it interesting. You don't need to climb up to the mountains or do dangerous stunts to make your pictures worthwhile to look – that is only required in the bubbles of social media. I believe that when photography gets personal and further away from the usual overpopulated genres it generally makes it more interesting. Of course you need to learn the craft and culture your taste, but in the core of things it is about your identity and subject you are approaching from your point of view. You make things interesting by choosing them from your point of view and expressing them through your identity. But how do you develop such an abstract thing as photographic identity? Well, you do the work. To become better photographer you have mental and emotional work to do such as finding and refining the 'why' behind your photography. Why do you shoot the things you shoot and why does it matter? Not saying you should close yourself to the monastery to contemplate them, but they are fundamental questions that define your actions as a photographer. The better you know who you are and why you choose the subjects you choose, the better you can guide yourself and find the path to you own photographic eye. The question of your own photographic identity is much more important than what lens do you shoot with or does the brand x has better rendition than the brand y.
Learning different photography techniques and tricks with post processing is no rocket science and if you are a technical person, you can come pretty good with them relatively quick. But it often takes considerably more time to learn your own way of seeing and to recognize your visual identity as a photographer, that can be a long road. However, one major waypoint on that road is the one where you cease to imitate others and start doing your work from your own point of view. It often requires a bit melancholic phase where you become discontent or even frustrated with your work. Maybe you throw things away, give up and something dies within you, but from this disillusionment there often borns a new way of working, more concentrated to things that you find authentic and important. And from that point you start to create the world from your own perspective, because you know why you photograph and why it does matter – you know your identity as a photographer.
Something that is really striking at Victoria Baths (even more than those fantastic tiles) are the stained glass windows. They are mainly in the Turkish Rest Room and absolutely fantastic. The, well, butterfly winged angel is the most prominent one but the other windows are also fabulous.
All pictures are clickable.
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Noch beeindruckender als die großartigen grünen Fliesen sind die Glasfenster.
Diese befinden sich hauptsächlich in dem Aufenthaltsraum des Türkischen Bades, aber auch andere Fenster sind toll.
Alle Bilder anklickbar.
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If you wish to use any of my images for any reason/purpose please contact me via chaulafanita@photographer.net or send me a flickr mail so I'll make them available for sale.
1. Peeling, 2. Iron & Lace, 3. 3 Windows, 4. Window, 5. Window - Annecy, 6. Window, 7. Window in the Late Afternoon Sun, 8. One Small Window of Opportunity, 9. Shutters of Baux, 10. Autumn Window, 11. Window with Green Shutters, 12. Windows of Arles, 13. Morning Light on Rue du Secret
Created with fd's Flickr Toys.