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And what’s a medieval port without a crane? After all, this one allows loading strong Skellige ale — much to the delight of every adventurer in town!
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PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
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A day without Color doesn’t mean the day is without beauty. Beauty is not always because color is present,
©Lela Bouse-McCracken ::: Just like Henri Rousseau's The Sleeping Gypsy it seems like it's time for me to take a little rest....from flickr. Happy Shooting and Happy Flickering and I'll see you when the gypsy wakes up. ;-)
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There's no mistaking 31601! Without doubt the most distinctive livery of the Class 31 fleet, 31601 The Mayor of Casterbridge was painted in this bright livery while working for Wessex Trains, but is pictured in Norwich with maroon 31190 with a Network Rail test train.
And from the dark secluded valleys
I heard the ancient sighs of sadness
But every step I thought of you
Every footstep only you
And every star a grain of sand
The leavings of a dried up ocean
Tell me, how much longer? How much longer?
Laatste besje van de Nachtschade, februari 2011
Last berry from the Solanum.
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alcuni pensano che un fuoco selettivo sia indice o sinonimo di ottimo scatto.la mia opinione è che questa è una panzanata, e che elementi come il sig hood vogliono spacciare a buon mercato ,quando in realtà se non gli viene attribuito un significato proprio ,rimane solo una peculiarità di alcune lenti molto luminose ed utilizzate a tutta apertura con soggetti ripresi di striscio , (normalmente sono obiettivi macro,che io attualmente non possiedo)
Toni Duarte Freelance Photographer
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Wikipedia:
Vilafamés (en valencià i oficialment, Vilafamés) és un municipi de la Comunitat Valenciana, Espanya. Situat a la província de Castelló, a la comarca de la Plana Alta.
Les primeres evidències d'ocupació de l'entorn de Vilafamés se centren en les troballes arqueològiques realitzades en l'anomenat "Homo erectus vilafamensis", on es van localitzar restes antropològiques Els seus orígens es remunten al Plistocè Mitjà, segons el descobriment de les restes de l'anomenat "homo erectus vilafamensis "a la Cova de Dalt del Tossal de la Font amb una antiguitat de 80.000 anys. Una continuïtat en l'ocupació del medi estaria reflectida en la Cova del Matutano, jaciment del Paleolític Superior. Les primeres manifestacions artístiques apareixen amb les pintures esquemàtiques de l'Edat del Bronze.
Pel que fa al nucli urbà, el mateix topònim AVilahameç, ABeniffamez, denota el seu origen en època musulmana. D'aquest període es conserven entre altres elements, la fonamentació del castell que corona el turó sobre el qual s'assenta el municipi i el traçat urbà de la zona contigua a aquest, d'estrets carrerons tortuosos. Queden així mateix vestigis de les antigues fortificacions constituïdes per llenços de muralla i restes de torres.
És amb la conquesta de la musulmana Beni-Hamez pel rei Jaume I d'Aragó quan Vilafamés pren identitat històrica pròpia. Aquest fet porta a que, el 30 de agost de 1241, Jaume I comissions a Guillem Ramon de Vielha per donar a poblar el castell a Diumenge Ballester, A. Cabrera i altres, carta de població que s'estableix a fur de Saragossa. Aquesta donació serà confirmada posteriorment pel propi monarca a Lleida el 21 de febrer de 1242.
Posteriorment s'incorpora al patrimoni dels Hospitalaris de Sant Joan a 1264, després d'una permuta real amb aquests per la vila d'Olocau del Rei, que seran els seus amos fins 1317, data en què la vila i el castell queden annexionats a la recentment creada Ordre de Montesa. En 1343, Pere IV el Cerimoniós, s'entesta a l'ordre el mer i mixt imperi, amb les corresponents jurisdiccions, drets i emoluments que pertanyien a la corona.
Joan I d'Aragó, en 1393, concedeix a Vilafamés el privilegi pel qual el Consell pot fer i ordenar tot tipus de establemientos i ordenacions que consideri convenients d'acord amb els furs generals del regne.
En les Corts celebrades a València durant l'any 1403, Martí I l'Humà disposa donar possessió al mestre de Montesa del mer i mixt imperi de la població, aquest fet provocarà la protesta irada del Consell en 1404.
Ja al segle XVI, en 1519, Carlos I d'Espanya promet no separar de la corona la jurisdicció civil i criminal, i el mer i mixt imperi de la vila. Quan en 1635 culminen les desavinences sorgides entre els Justícies, per una banda i l'ordre d'una altra, el "Consell" creu arribat el moment de demanar del Papa Innocenci XII autorització per comprar la jurisdicció alfonsina, adquisició que porta a terme el 16 d'abril pel preu de sis mil lliures. A partir d'aquesta data, Vilafamés queda incorporada plenament al patrimoni real, reservant-Montesa la percepció de certes primícies i el dret d'habitació sobre el castillo.Será al segle XIX, amb els enfrontaments civils que segueixen a la mort de Ferran VII, quan el nom de Vilafamés sonarà de nou dins de l'àmbit històric com plaça inexpugnable. Al març de 1837 pateix el primer intent d'assalt de les tropes carlines. El 29 octubre 1838 la guarnició de la plaça rebutja una segona intentona, que es repetirà de nou el 3 de gener del següent any, aquesta vegada amb Cabrera al capdavant de les tropes, que des de les muntanyes que dominen la vila comencen a assetjar a la població, trencant foc contra la ciutadella. En aquesta ocasió es va fer front al setge per part dels veïns a més de comptar amb l'ajuda d'una columna mòbil enviada per l'Ajuntament de Castelló i un destacament d'artilleria de marina, molt poc nombrós. Cinc dies van durar els continus enfrontaments, rebutjant la població tots els atacs de Cabrera, fins que el dia 7 l'arribada de tropes reals va obligar al general carlista a aixecar el lloc. Amb el més selecte de les seves tropes i recorrent a l'auxili de les de Forcadell, Cabrera intentarà el cop definitiu l'abril del mateix any, establint un campament davant la població. El dia 16 s'obre una bretxa en les muralles, encara que els atacants són rebutjats i resulten infructuosos tots els esforços de prendre la plaça que va resultar semi derruïda.
ESP:
Villafamés (en valenciano y oficialmente, Vilafamés) es un municipio de la Comunidad Valenciana, España. Situado en la provincia de Castellón, en la comarca de la Plana Alta.
Las primeras evidencias de ocupación del entorno de Villafamés se centran en los hallazgos arqueológicos realizados en el llamado “Homo erectus vilafamensis”, donde se localizaron restos antropológicos Sus orígenes se remontan al Pleistoceno Medio, según el descubrimiento de los restos del llamado "homo erectus vilafamensis" en la Cova de Dalt del Tossal de la Font con una antigüedad de 80.000 años. Una continuidad en la ocupación del medio estaría reflejada en la Cueva del Matutano, yacimiento del Paleolítico Superior. Las primeras manifestaciones artísticas aparecen con las pinturas esquemáticas de la Edad del Bronce.
Por lo que respecta al núcleo urbano, el mismo topónimo AVilahameç, ABeniffamez, denota su origen en época musulmana. De este periodo se conservan entre otros elementos, la cimentación del castillo que corona el cerro sobre el que se asienta el municipio y el trazado urbano de la zona contigua al mismo, de estrechas callejuelas tortuosas. Quedan asimismo vestigios de las antiguas fortificaciones constituidas por lienzos de muralla y restos de torres.
Es con la conquista de la musulmana Beni-Hamez por el rey Jaime I de Aragón cuando Villafamés toma identidad histórica propia. Este hecho lleva a que, en 30 de agosto de 1241, Jaime I comisione a Guillem Ramón de Viella para dar a poblar el castillo a Domingo Ballester, A. Cabrera y otros, carta de población que se establece a fuero de Zaragoza. Esta donación será confirmada posteriormente por el propio monarca en Lérida el 21 de febrero de 1242.
Posteriormente se incorpora al patrimonio de los Hospitalarios de San Juan en 1264, tras una permuta real con estos por la villa de Olocau del Rey, que serán sus dueños hasta 1317, fecha en que la villa y el castillo quedan anexionados a la recién creada Orden de Montesa. En 1343, Pedro IV el Ceremonioso, empeña a la orden el mero y mixto imperio, con las correspondientes jurisdicciones, derechos y emolumentos que pertenecían a la corona.
Juan I de Aragón, en 1393, concede a Villafamés el privilegio por el cual el Consejo puede hacer y ordenar todo tipo de establemientos y ordenaciones que considere convenientes con arreglo a los fueros generales del reino.
En las Cortes celebradas en Valencia durante el año 1403, Martín I el Humano dispone dar posesión al maestre de Montesa del mero y mixto imperio de la población, este hecho provocará la protesta airada del Consejo en 1404.
Ya en el siglo XVI, en 1519, Carlos I de España promete no separar de la corona la jurisdicción civil y criminal, y el mero y mixto imperio de la villa. Cuando en 1635 culminan las desavenencias surgidas entre los Justicias, de una parte y la orden de otra, el "Consejo" cree llegado el momento de solicitar del Papa Inocencio XII autorización para comprar la jurisdicción alfonsina, adquisición que lleva a cabo el 16 de abril por el precio de seis mil libras. A partir de esta fecha, Vilafamés queda incorporada plenamente al patrimonio real, reservándose Montesa la percepción de ciertas primicias y el derecho de habitación sobre el castillo.Será en el siglo XIX, con los enfrentamientos civiles que siguen a la muerte de Fernando VII, cuando el nombre de Villafamés sonará de nuevo dentro del ámbito histórico como plaza inexpugnable. En marzo de 1837 sufre el primer intento de asalto de las tropas carlistas. El 29 de octubre de 1838 la guarnición de la plaza rechaza una segunda intentona, que se repetirá de nuevo el 3 de enero del siguiente año, esta vez con Cabrera al frente de las tropas, que desde las montañas que dominan la villa comienzan a hostigar a la población, rompiendo fuego contra la ciudadela. En esta ocasión se hizo frente al asedio por parte de los vecinos además de contar con la ayuda de una columna móvil enviada por el Ayuntamiento de Castellón y un destacamento de artillería de marina, muy poco numeroso. Cinco días duraron los continuos enfrentamientos, rechazando la población todos los ataques de Cabrera, hasta que el día 7 la llegada de tropas reales obligó al general carlista a levantar el sitio. Con lo más selecto de sus tropas y recurriendo al auxilio de las de Forcadell, Cabrera intentará el golpe definitivo en abril del mismo año, estableciendo un campamento ante la población. El día 16 se abre una brecha en las murallas, aunque los atacantes son rechazados y resultan infructuosos todos los esfuerzos de tomar la plaza que resultó semi derruida.
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Baby, I'm dyin' to catch that lightin' I only find from your fingertips
I've been missin' and wishin' to feel your kiss
And your hands all on my skin
It won't be long 'til we are burnin' up them sheets
And doing all those things that you can't do without me....
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London | Architecture | Night Photography
The already popular sculpture by Anish Kapoor at the Royal Academy, London.
==================================================================
Anish Kapoor (born 12 March 1954) is a sculptor, Born in Bombay (Mumbai), India. Kapoor has lived and worked in London since the early 1970s where he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He gained international acclaim with solo exhibits at venues such as the Tate Gallery and Hayward Gallery in London, Kunsthalle Basel, Haus der Kunst Munich, Deutsche Guggenheim in Berlin, Reina Sofia in Madrid, MAK Vienna, and the ICA Boston. He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize. Notable public sculptures include Cloud Gate, Millennium Park, Chicago, and Sky Mirror at the Rockefeller Center, New York.
Anish Kapoor is a Royal Academician and was made a Commander of the British Empire in 2003.
Kapoor's pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, producing awe through their size and simple beauty, evoking mystery through the works' dark cavities, tactility through their inviting surfaces, and fascination through their reflective facades. His early pieces rely on powder pigment to cover the works and the floor around them. Such use of pigment characterised his first high profile exhibit as part of the New Sculpture exhibition at the Hayward Gallery London in 1978. This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India. His later works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with, dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). His most recent works are mirror-like, reflecting or distorting the viewer and surroundings. The use of red wax is also part of his current repertoire, evocative of flesh, blood and transfiguration.
Kapoor has produced a number of large works, including Taratantara (1999), a 35 metre-tall piece installed in the Baltic Flour Mills in Gateshead, England before renovation began there and Marsyas (2002), a large work of steel and flesh-coloured PVC that reached end to end of the 3,400 square foot Turbine Hall of Tate Modern. A stone arch by Kapoor is permanently placed at the shore of a lake in Lødingen in northern Norway. In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London. In 2001, Sky Mirror, a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse. Since 2006, Cloud Gate, a 110-ton stainless steel sculpture with a mirror finish, has been permanently installed in Millennium Park in Chicago. Viewers are able to walk beneath the sculpture and look up into an omphalos or navel above them. In the autumn of 2006, a second Sky Mirror, was installed in Rockefeller Center, New York. Soon to be completed are a memorial to the British victims of 9/11 in New York,[8] and the design and construction of two subway stations in Naples.[9] Kapoor has also been commissioned to produce five pieces of public art by Tees Valley Regeneration (TVR)[10] collectively known as the "Tees Valley Giants"[11]
In 2007, he showed Svayambh (which can be roughly translated as 'self-generated'), a 1.5 metre carved block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus Der Kunst in Munich and in 2009 at the Royal Academy in London. Kapoor's recent work increasingly blurs the boundaries between architecture and art.
In 2008, the Institute of Contemporary Art in Boston exhibited Kapoor's first U.S. mid-career survey.[12] In the same year, Kapoor created the sculpture "Memory" in Berlin and New York for the Guggenheim Foundation.
In 2009 Anish Kapoor became the first Guest Artistic Director of Brighton Festival. As well as informing the content of the festival as a whole, Kapoor installed 4 significant sculptures for the duration of the festival; Sky Mirror at Brighton Pavilion gardens, C-Curve at The Chattri, Blood Relations (a collaboration with author Salman Rushdie) and 1000 Names, both at Fabrica. He also created 2 new works: a large site-specific work entitled ‘The Dismemberment of Jeanne d’Arc’ and a performance based installation entitled ‘Imagined Monochrome’. The public response was so overwhelming that police had to re-divert traffic around C Curve at the Chattri and exercise crowd control.
In 2010 a new Anish Kapoor sculpture called "Turning the World Upside Down, Jerusalem" was commissioned and installed at the Israel Museum in Jerusalem. The sculpture is described as a "16-foot tall polished-steel hourglass" and it "reflects and reverses the Jerusalem sky and the museum's landscape, a likely reference to the city's duality of celestial and earthly, holy and profane."[13]
Kapoor also designed the ArcelorMittal Orbit, a 115 metre spiral sculpture of the Olympic rings. Designed by Kapoor to commemorate the 2012 Olympic Games in London, the piece will be the largest example of public art in the UK when completed.[14]
When asked if engagement with people and places is the key to successful public art, Kapoor said,
“ I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.[15] ”
His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in Tilburg, Netherlands, and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
Kapoor's gallery representations include the Lisson Gallery, London and the Gladstone Gallery, New York.
Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor insists that this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include: (i) the recently announced Tees Valley (England) "Giants", the world's five largest sculptures in collaboration with Cecil Balmond of ARUP AGU, (ii) two subway stations in Naples in collaboration with Future Systems, (iii) an unrealised project for the Millennium Dome, London, (1995) in collaboration with Philip Gumuchdjian, (iv) a proposal for the Princess Diana Memorial Fountain and (v)"Building for a Void", created for Expo '92, Seville, in collaboration with David Connor. “Taratantara” (1999–2000) was installed at the Baltic Centre for Contemporary Art, Gateshead and later at Piazza Plebiscito, Naples. Kapoor has also completed the massive Dismemberment Stage 1, installed in New Zealand on the private "art park" known as "The Farm" and owned by New Zealand businessman and art patron Alan Gibbs.
Of his vision for the Cumana station in Monte Sant'Angelo, Naples, Italy currently under construction (as of June 2008), Kapoor has said:
“ It’s very vulva-like. The tradition of the Paris or Moscow metro is of palaces of light, underground. I wanted to do exactly the opposite – to acknowledge that we are going underground. So it’s dark, and what I’ve done is bring the tunnel up and roll it over as a form like a sock.[16] ”
[edit] Current and forthcoming exhibitions and projects
Kapoor was the first living British artist to take over the Royal Academy, London, from September 26 - December 11, 2009.[17]
“Shooting into the Corner”, MAK Vienna – 21 January-19 April 2009
"Blood Relations", Fabrica, Brighton 10 April - 24 May 2009
Brighton Festival, 2–23 May 2009
Royal Academy, London - 19 September-11 December 2009
“Memory”, Guggenheim, New York – 9 October 2009
Minini Gallery - Brescia, Italy 26 May 2010
"ArcelorMittal Orbit" - a Giant red tower designed by Kapoor is proposed for the London Olympics in 2012 [18][19]
Solo exhibition Guggenheim Bilbao February - October 2010
[edit] Awards
Kapoor represented Britain at the Venice Biennale, 1990, where he was awarded the Premio Duemila. The following year, he won the prestigious Turner Prize.
Solo exhibitions of his work have been held in the Tate, Royal Academy and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery in Ottawa, Musee des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux and at the Centro Cultural Banco do Brasil in Brazil. His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in the Netherlands and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
en.wikipedia.org/wiki/Anish_Kapoor
==================================================================
Anish Kapoor's towering new sculpture, Tall Tree and the Eye, has gone up in the courtyard of The Royal Academy of Arts ready for an official unveiling on Tuesday as a major exhibition of the artist's work opens in the London gallery.
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My View on Anish Kapoor's Art World | Anish Kapoor Art World
Anish Kapoor Art World
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If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Spanish
El Templo de Debod es un conjunto edilicio del antiguo Egipto localizado actualmente en Madrid (España). Está situado al oeste de la Plaza de España, junto al Paseo del Pintor Rosales (Parque del Oeste), en un alto donde se encontraba el Cuartel de la Montaña (en el que se produjo un sangriento episodio de la Guerra Civil Española). Al ser trasladado a España, se situó de manera que conservase aproximadamente la misma orientación que en su lugar de origen, de este a oeste.
El Templo de Debod fue un regalo de Egipto a España (año 1968), en compensación por la ayuda española, tras el llamamiento internacional realizado por la Unesco para salvar los templos de Nubia, principalmente el de Abu Simbel, en peligro de desaparición debido a la construcción de la presa de Asuán. Egipto donó cuatro de los templos salvados a distintas naciones colaboradoras: Dendur a los Estados Unidos (se encuentra actualmente en el Metropolitan Museum de Nueva York), Ellesiya a Italia (Museo Egipcio de Turín), Taffa a Holanda (Rijksmuseum van Oudheden de Leiden) y Debod a España.
Tiene una antigüedad de unos 2.200 años. Su núcleo más antiguo fue quizás erigido bajo el faraón Ptolomeo IV Filópator, y decorado posteriormente por el rey nubio Adikhalamani de Meroe hacia 200-180 a. C., siendo dedicado a Amón de Debod ("Amani", en idioma kushita) e Isis (hay investigadores que piensan que su erección fue obra de Adikhalamani, interviniendo posteriormente Ptolomeo IV en él). Posee importantes añadidos de época ptolemaica y romano-imperial (del siglo I a. C. al II d. C.).
English
The Temple of Debod (Spanish: Templo de Debod) is an ancient Egyptian temple which was rebuilt in Madrid, Spain.
The temple was built originally 15 kilometres (9.3 mi) south of Aswan in southern Egypt very close to the first cataract of the Nile and to the great religious center dedicated to the goddess Isis, in Philae. In the early 2nd century BC, Adikhalamani (Tabriqo), the Kushite king of Meroë, started its construction by building a small single room chapel dedicated to the god Amun. It was built and decorated on a similar design to the later Meroitic chapel on which the Temple of Dakka is based. Later, during the reigns of Ptolemy VI, Ptolemy VIII and Ptolemy XII of the Ptolemaic dynasty, it was extended on all four sides to form a small temple, 12 by 15 metres (39 ft × 49 ft), which was dedicated to Isis of Philae. The Roman emperors Augustus and Tiberius completed its decorations.
From the quay there is a long processional way leading to the stone-built enclosure wall, through three stone pylon gateways and finally to the temple itself. The pronaos, which had four columns with composite capitals collapsed in 1868, and is now lost. Behind it lay the original sanctuary of Amun, the offering table room and a later sanctuary with several side-rooms and stairs to the roof.
In 1960, due to the construction of the Great Dam of Aswan and the consequent threat posed to several monuments and archeological sites, UNESCO made an international call to save this rich historical legacy. As a sign of gratitude for the help provided by Spain in saving the temples of Abu Simbel, the Egyptian state donated the temple of Debod to Spain in 1968.
The temple was rebuilt in one of Madrid's parks, the Parque del Oeste, near the Royal Palace of Madrid, and opened to the public in 1972. The reassembled gateways appear to have been placed in a different order than when originally erected. Compared to a photo of the original site, the gateway topped by a serpent flanked sun appears not to have been the closest gateway to the temple proper. It constitutes one of the few works of ancient Egyptian architecture which can be seen outside Egypt and the only one of its kind in Spain.
Wikipedia
Dress without the jacket. Going to have to find another setting for my next set of photos.
Tonight though will be all about sorti g an outfit for tomorrow and Thursday night.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Modell : Tünde
Location of shoot :
Pintértelep,
Mátranovák,
Hungary,
Central-Europe
Time of shoot :
2015.04.25.
Thank you for help : to H. Attila and K. Csaba
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : W85c + Polar + Orange + ND3 grad.
Film : Fuji FP-100C Color Instant
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2017.aug.21.)
Scanner : Epson Perfection 3200 Photo (300 dpi)
Scanner software : SilverFast SE
Final work : PS
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「WITHOUT THOUGHT」是深澤直人設下結界的一本雜誌，以接近零点的思考，去反省咀嚼”少即是多”的深意。每一年，深澤直人都會率領「NAOTO FUKASAWA DESIGN」在北青山的±0品牌商店舉辦主題企画展，像削蘋果外皮一樣，持續剔除累贅不需要的，最後只留下無形的輪廓，也就是無為的設計。沒有多餘的線條或裝飾，只是無意識的去使用，不論是產品還是雜誌，一切都顯得那麼恰到好處。
La rosa è senza perché, fiorisce perché fiorisce, senza preoccuparsi di se stessa, senza desiderio di essere vista
(Jacopo Boehme).
****
The rose is without reasons, it blooms because it blooms, without worrying about itself, without the desire to be seen
(Jacopo Boehme)
© All rights reserved.Use without permission is illegal.
2015 03 28
Hell♥' Guys & Girls!!! Here a new Sexy Legs Pic from me i find so sweet!!!! Thanks for yours cute comments on my photos, I l♥ve you So Much!!!! Kisses!!!! If you like this photo leave a (cute :) comment!!!! :* ♥♥♥