台灣小吃路邊攤 Taiwanese LuBianTan Food
View allAll Photos Tagged ç³å²¸ä¹¦
Better on B l a c k M a g i c
A shot taken last week from the little park I often visit at lunchtime
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
And we shadow electrocution
and now I'm ready too, please von come play it.
Love [Honey Bunny] Hair [FATPACK]
{jealousy.} leah_sweater* @ Spectrum
I.M. Collection A Lil Dare “Bottom” [FATPACK] @ 2ND CHANCE EVENT
Strobe Vision - Festival Stages VOL 2 - The Bearded Guy / Backdrop
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
CREDITS
- BIKINI HARNESS: L.I.C. - Jazmine
- BELLY CHAIN: L.I.C. - Fitted Belly Chain Herringbone
- SKIN: Moccino Beauté - Megan Skin [Golden] worn on Lelutka Evo Nova Head [BOM & Appliers]
- TATTOO [Sternum]: TAOX TATTOO - Sternum Shin
- TATTOO [Pelvis]: TAOX TATTOO - Pelvic I M Vegan
- COLLAR: AsteroidBox - Alluna Collar
- NECKLACE: AsteroidBox - Scorpion Chains
- HANDCUFFS: AsteroidBox - Erotes Cuffs
- SEPTUM: AsteroidBox - Simple Septum
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
When the sun goes down, mami never get's bored.
Sintiklia - Hair Hannah/make up
Sintiklia. – Lipstick & eyeshadow Foil (CATWA)
Avoixs // #ECLIPSE Eyes *FATPACK* F&B
ALTAIR* Astraea collar .fatpack. (attach me)
PLX. "Reflective" Suit /// Flame /// Maitreya
{jealousy.} kankenai_garter* .red.
CKEY Poses - Remember this - @ Dubai event
Flamable Heart - Dismal Places Backdrops - The Bearded Guy / Backdrop
P.D. No entendí nada de tu canción sacada del espíritu santo, la puse porque no había inspiración…
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
''I'm told leather drives men up the wall. I like wearing it because it because it feels nice.''
CREDITS
- TATTOO: TAOX TATTOO - Wild Spirit
- EYE MAKEUP: SlackGirl -CATWA HDPRO Shadow 01
- EYELASHES: SlackGirl -CATWA HDPRO Falsies 06
- SHAPE: OUTLINE. - Mika Shape [CATWA HDPRO. MajerEdged Head]
◇ ◆ SynCo - Velcro Letter Vest (Hud for letters).
◇ ◆ .:Tm:.Creation - [Travel with Me] Scene PG S42 (animations Included) @SWANK.
◇ ◆ │T│L│C│Puffin island.
C GP 190525 IMG_9560 C_edited
Pour en savoir davantage sur les lieux de reportages de chaque série de photographies, je vous invite à consulter les liens internet du ou des sites touristiques ci-dessous :
www.clermontauvergnevolcans.com/destination/saint-genes-c...
www.lesterresdumilieu.fr/laschamps-chaine-puys
www.clermontauvergnevolcans.com/fiches/excursion-magnetiq...
~Sponsored Photo For~
Hanatsumi
Thigh High Socks & Playboy Platform Heels ~ Siouxie (Shown on Ebody Reborn) Found @ Mainstore (Linkies Below)
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
All I want is nothing more
To hear you knocking at my door
'Cause if I could see your face once more
I could die as a happy man I'm sure
When you said your last goodbye
I died a little bit inside
I lay in tears in bed all night
Alone without you by my side
Sintiklia Hair Leba Fitted
ALTAIR* twinkle vision eyes
ALTAIR* your bunny headband .amethyst.
ALTAIR* your bunny hairbow .violet.
ALTAIR* your bunny collar .amethyst.
ALTAIR* your bunny sleeves .amethyst.
ALTAIR* your bunny top RARE B
ALTAIR* your bunny panty RARE B
ALTAIR* your bunny paw stockings .amethyst.
Insomnia Angel bento pose set "beth" [FAT] (unpacked)
Decoration:
Violetility - Bean Bag Chairs [Review]
Violetility - Stress Desk Set [Review Pack]
Taken at BACKDROP CITY
AAAAAAAAAAA I'M SO HAPPY TO BE AGAIN IN FLICKR!!!!!!! T^T ♥
—✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—✦——✦—✦—
C GP 190525 IMG_9522 C_edited
Pour en savoir davantage sur les lieux de reportages de chaque série de photographies, je vous invite à consulter les liens internet du ou des sites touristiques ci-dessous :
www.clermontauvergnevolcans.com/destination/saint-genes-c...
www.lesterresdumilieu.fr/laschamps-chaine-puys
www.clermontauvergnevolcans.com/fiches/excursion-magnetiq...
Looks better on B l a c k M a g i c
A Shot I took a week or so ago, mainly posting to change the shot at the top of my stream :)
The Wolf, one of my totem animals, according to the Native American Medicine Cards. And I have no difficulty in believing this, given the passion I have for its domestic version, the dog. Man has always persecuted them, but for Native American culture, the Wolf is a Master of wisdom.
Il Lupo, uno dei miei animali-totem, secondo le Carte Medicina dei Nativi Americani. E non faccio fatica a crederlo, data la passione che ho per la sua versione domestica, il cane. L'uomo da sempre li perseguita, ma per la cultura Nativa Americana, il Lupo è un Maestro di saggezza.
www.amrita-edizioni.com/sams-jamie-e-carson-david/41_le-c...
www.behance.net/gallery/50385775/Naaldlooshi-(animals)-Furthering-the-Navajo-language
Flickr Friends Bill and Wendy Strong stopped in to see me at Biff Burger in St. Petersburg, Fl. They were down from Canada for a week, and we had a nice visit.
Am I obsessive about Megaliths and Prehistoric History? Yes. History of the Prehistoric is still being written. We may yet be back there again, for now we still use the roads that they gave to us. They built in a landscape with more options. They knew how to travel by land, river and sea. They found the best ways along fertile valleys. When we advanced in metal working and fortifications and in town and city and industrial life where we did not erase their markers we still built our roads to them. Their mounds and orthostats stood tall and we used them as navigation elements on our journeys. In Brittany just before the new roads came along with the modernising of the industrial lifestyle and over land communication potential, just before the roads were struck into the ground there are great records of the huge stones structures. Artist sent to quaint Brittany for the sea air and the superb rural lifestyle made great records of the large roadside ancient monuments. Then the road builders came along and used these piles of stones for the roads. The once proud hills of picked river stones were cast under the foot of man, the hoof of horse and the wheel of cart all within the new road. The central huge stones were left as Dolmens and yet some of the largest are still there. Atop the Carnac Tumulus stands the Chapel of Mont Saint-Michel and a cart track runs up to the building and the noted cross set on top. Wikipedia states of the Saint-Michel tumulus “a mound of earth and stones 125 metres (410 ft) long, 50 metres (160 ft) wide and 10 metres (33 ft) high.[1] [Hyperlink here and below also. The site linked has a different measurement listed as of today 1. 11. 2023.]
1 of 4 is made of two of the four pictures. One picture is just itself and two are themselves and also parts of the panorama. The ways we make and maintain past the stones if difficult to fathom at times. The stones either side of the road are not alone there are other site where modern roads go between the stones and sometimes where the road goes over the centre of the ancient monument. Some are too big to drive a road through so roundabouts, rotaries, gyratories and also circuits with houses built just on the far side of the stone circle such contemporary roads are constructed around Prehistoric sites.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
her.highland.gov.uk/monument/MHG3002
Saint-Michel tumulus -
en.wikipedia.org/wiki/Saint-Michel_tumulus
[1] Saint-Michel tumulus – hyperlink above
www.megalithes-morbihan.com/the-sites/saint-michel-tumulu...
"The sun watches what I do
but the moon knows all my secrets"
- J. M. Wonderland
CREDIT---
pose . Gothika / by NANTRA @ The Liaison Collaborative
halo . Shattered Crystal Halo / by Soul @ We <3 Role-play
skin . Gen 2 Fala H2-SE Albino + Gen2 H2 omega body applier / by Soul
ears . Uni Ears - Troll / by Soul
eyes . Blinde Eyes in Chameleon / by Soul
lipcolor . Vinyl Lips in Ready Red / by Mock Cosmetics (group gift, for Bakes on Mesh)
outfit . Diana / by L.I.C
nails . Stiletto Nails - Short / by #EMPIRE
hair . Nina / by Magika
head . Catya + BoM relay / by Catwa
body . Lara / by Maitreya
✭Ars Hokori ✭ CIRCA ✭ L.I.C. ✭ Lovely Alien ✭
✭ NANTRA ✭ Sinful Needs ✭ Soul ✭ Spookshow ✭ Zibska ✭
Image taken in the virtual platform of Second Life (tm)
The ground was bare when the site was chosen. There were signs on the land here that soil here was barely draped over, these were the signs the natural characteristics that they could follow as they built up the glories of gods and set them in ‘stone bone’ back upon the Earth. The light and shadow marked out the plans by day and the stars confirmed the solar plots and so stone the bone of the land was raised for their ways to be praised longer than many, many lengths of timber lasting days.
The ground was bare when the site was chosen. Slowly addition after addition came to be wrought making a new transformed landscape. A way was made here that stood to honour our ancestors and to praise their contemporaries as they held the balance of year and kept the intent to give themselves as the makers of markers for the futures.
The ground was bare when the site was chosen. At first wooden markers were raised up and set in sockets within the ground and these posts were piled around with the egg like river stones that spoke of the fertile mother and of her elusive lover. The Spring Bolt God who echoed everywhere even as his signature was found as hollowed and hallowed as boundless vibrating Air so his spirit as swift as lightning so fully intense and so fully fledged and fletched as he as the Lord of Thunderbolts needs to be always vigilant and always ready yet also fulfilled as the Green Man that in one session flowers a Season strong enough to turn the Wheel of the Year was also upon the instant to retract, to reduce so much as to seemingly disappear.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
Calke Abbey
“The National Trust’s un-stately home and country estate.”
The site was home to an Augustinian priory from the 12th century until its dissolution by Henry VIII.
The present building, built between 1701 and 1704, and named Calke Abbey in 1808, was never actually an abbey It was only ever a Baroque mansion
The house was owned by the Harpur family for nearly 300 years until it was passed to the National Trust in 1985 in lieu of death duties.
At its time of endowment, there had been little change to many rooms since the 1880s.
A massive amount of remedial work, but no restoration, has been done and the interiors are almost as they were found in 1985. The remedial work has halted, but not reversed, the decay of the building and its interiors.
Many abandoned areas vividly portray a period in the 20th century when numerous country houses did not survive to tell their story.
The house is open to the public and many of its rooms are deliberately displayed in the state of decline in which the house was handed to the Trust.
Grade I Listed
www.nationaltrust.org.uk/visit/peak-district-derbyshire/c...
en.wikipedia.org/wiki/Calke_Abbey
South Front
please won't you stay for me
don't ever let me be
you set my demons free
─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───
hello angels! here's a pic i felt like doing. i don't really have much to say today c': i hope you like it!
There were some amazing errors in Six panoramic images I posted,
Errors Included Seven Photographs of a Cairn into One panorama to create Six pictures of the South Western Cairn at Balnuaran of Clava
www.flickr.com/photos/phhsykes/albums/72177720312289431
This note about the changes is partly here for me to remind myself which pictures had tree branches sprouting freely in the sky held there by clouds alone, amongst other bad edit signs glowing, flashing, jumping and screaming at me the editor that was obviously not in a good edit place.
The was singing quietly and I joined in as I saw the wonders opening up before me. Photoshop and I were suggesting ideas and the cairn was still an old, old song and so it went on. Then after colour and mono leaving out people and enhancing light and shade it was time for two paintings to be made. Suddenly Six versions are ready and the song goes with them to share with you wherever you are.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
The ground was bare when the site was chosen. At first wooden markers were raised up and set in sockets within the ground and these posts were piled around with the egg like river stones that spoke of the fertile mother and of her elusive lover. The Spring Bolt God who echoed everywhere even as his signature was found as hollowed and hallowed as boundless vibrating Air so his spirit as swift as lightning so fully intense and so fully fledged and fletched as he as the Lord of Thunderbolts needs to be always vigilant and always ready yet also fulfilled as the Green Man that in one session flowers a Season strong enough to turn the Wheel of the Year was also upon the instant to retract, to reduce so much as to seemingly disappear.
The ground was bare when the site was chosen. There were signs on the land here that soil here was barely draped over, these were the signs the natural characteristics that they could follow as they built up the glories of gods and set them in ‘stone bone’ back upon the Earth. The light and shadow marked out the plans by day and the stars confirmed the solar plots and so stone the bone of the land was raised for their ways to be praised longer than many, many lengths of timber lasting days.
The ground was bare when the site was chosen. Slowly addition after addition came to be wrought making a new transformed landscape. A way was made here that stood to honour our ancestors and to praise their contemporaries as they held the balance of year and kept the intent to give themselves as the makers of markers for the futures.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
The passage way at the South Western Cairn at Balnuaran of Clava is focused on the sky. Many chambered cairns are aligned either with the position of the Sun, Moon, or the planet Venus. The Sun and Moon alignments bring about a living calendar to any aligned chambered cairn. Such alignments are more easily recorded without the cairns. The Sun and Moon alignment seems set into the stone structures for the use of the cairns beyond clocks and calendars to generate the identity of the structure in the design. These impressive monumental communal structures were open and visited by their constructors for several hundreds of years. Later they were filled in possibly when a new way of worship and reverence was found and so the old sacred sites were closed. The cairns in their large size seem set to hold great importance for many people and yet their small passages and chambers are only available for either small groups, or individuals. The light from the Solstice Sun gives a direct beam along the passage and into the chamber at the day chosen with the Summer longest day and Winter shortest day having positions on the horizon at dawn and at sunset available for the builders to set their structure around. Those that took part in interior ceremony could be experiencing a rite of passage and from their inner seclusion they could be greeted by the Sun entering in at a significant moment and then by all that were gathered around the large monuments as the adorants came back to the community after their isolation.
I remember from a few decades ago the stones at the rear of the chamber being brought to life by the Sun when it shone straight along the passage. This light dancing on a stone with either quartz, or granite in could be the first light for the adorant to see after days of fasting, maybe of eating ceremonial food and of intense meditation so that the light in the stone shone to show life in the bone of the land the stone that would be the collection place for the cleaned bones of the dead as markers of belonging and signs of knowing all returning to the glowering Sun, to the finding of the murmuring of the Moon and to the awakening to the stellar shimmering the stars.
The highlighted section of the chamber could be the projection screen of the tomb. After a period of darkness in the chamber the light returning through projection focused along the passage would dance on the projection screen stones and with a tone from the human voice the dust in the passage could be seen to move in and out of waves and lozenge shapes forming transient structures in the moving dust and light. The light held such delicate structures possible only for a short while along the alignment at either dawn, or sunset and the shapes would slow and cease as the light source moved away from the direct alignment in matter of minutes. These waves and lozenge shapes are were carved into the stones of some chambered cairns leaving a record in the stone on the bone of the land a presentation hammered into the stone that was home to the ancestors and the shaping of the returning regenerating medium that as it wore down gave vital nutrients to the next new growth that through roots and shoots, seeds and flowers would break down the stones into sparkling sands and grits echoing the steady progressions and predictable processions of the lights of the camp fires shining out with hope and potential in the sky above.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
This is the lead singer of Lewon, one of the many bands playing this past Saturday afternoon in Yoyogi Park.
I won't butcher her name, but her blog is here: ameblo.jp/a-i-c-a/
This is my 4th photo in the 100 Strangers Project.
National Cathedral, Bucharest, Romania
People's Salvation Cathedral
en.wikipedia.org/wiki/Romanian_People%27s_Salvation_Cathe...
Catedrala Nationala, Bucuresti, Romania
Catedrala Mântuirii Neamului
ro.wikipedia.org/wiki/Catedrala_M%C3%A2ntuirii_Neamului
Romanian Orthodox Church
en.wikipedia.org/wiki/Romanian_Orthodox_Church
Biserica Ortodoxă Română
ro.wikipedia.org/wiki/Biserica_Ortodox%C4%83_Rom%C3%A2n%C...
Veja mais fotos do editorial no link.
yaraandradefotografia.blogspot.com.br/2016/03/editorial-c...
www.facebook.com/yaraandradefotografia
yaraandradefotografia.blogspot.com.br/
Winner of the Zen Enlightenment "Minimalism" photo contest - Oct 18/07:
www.flickr.com/groups/zen369/discuss/72157602361470615/#c...
A wire fence with an amazing amount of snow frozen to it. This was just one of several we saw like this, but this was the only one we could get close to for a picture.
ODT Lines
Am I obsessive about Megaliths and Prehistoric History? Yes. History of the Prehistoric is still being written. We may yet be back there again, for now we still use the roads that they gave to us. They built in a landscape with more options. They knew how to travel by land, river and sea. They found the best ways along fertile valleys. When we advanced in metal working and fortifications and in town and city and industrial life where we did not erase their markers we still built our roads to them. Their mounds and orthostats stood tall and we used them as navigation elements on our journeys. In Brittany just before the new roads came along with the modernising of the industrial lifestyle and over land communication potential, just before the roads were struck into the ground there are great records of the huge stones structures. Artist sent to quaint Brittany for the sea air and the superb rural lifestyle made great records of the large roadside ancient monuments. Then the road builders came along and used these piles of stones for the roads. The once proud hills of picked river stones were cast under the foot of man, the hoof of horse and the wheel of cart all within the new road. The central huge stones were left as Dolmens and yet some of the largest are still there. Atop the Carnac Tumulus stands the Chapel of Mont Saint-Michel and a cart track runs up to the building and the noted cross set on top. Wikipedia states of the Saint-Michel tumulus “a mound of earth and stones 125 metres (410 ft) long, 50 metres (160 ft) wide and 10 metres (33 ft) high.[1] [Hyperlink here and below also. The site linked has a different measurement listed as of today 1. 11. 2023.]
1 of 4 is made of two of the four pictures. One picture is just itself and two are themselves and also parts of the panorama. The ways we make and maintain past the stones if difficult to fathom at times. The stones either side of the road are not alone there are other site where modern roads go between the stones and sometimes where the road goes over the centre of the ancient monument. Some are too big to drive a road through so roundabouts, rotaries, gyratories and also circuits with houses built just on the far side of the stone circle such contemporary roads are constructed around Prehistoric sites.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
her.highland.gov.uk/monument/MHG3002
Saint-Michel tumulus -
en.wikipedia.org/wiki/Saint-Michel_tumulus
[1] Saint-Michel tumulus – hyperlink above
www.megalithes-morbihan.com/the-sites/saint-michel-tumulu...
IN ENGLISH BELOW THE LINE
Aquí teniu una càmera realment creada per al militars, una màquina fruit directe del combat al Pacific durant la Segona Guerra Mundial.
A veure, de fet es tracta d'una modificació (força extensa) d'un model probat i fiable en aquell moment, la Graflex Aniversary Speed Graphic de format 4x5 polzades. La Speed Graphic era la càmera iconica per excel·lencia dels reporters grafics, sobretot nord-americans, als anys 30 i 40. Milers d'elles foren incorporades als exercits al·liats, amb poques o cap modificació. De fet tinc una d'aquestes Speed Graphic emprades per la USAAF com a càmera C-3. Però apart d'estar pintades en negre i algun detall infim, es tracta dels mateixos models que empraven els periodistes civils.
La Combat Graphic fou fabricada per encarrec de la US Navy i els Marines (USMC) expressament per a aguantar les dures condicions de calor i humitat del front del Pacific. Per això es substituí la relativament fragil manxa per una caixa de fusta (amb tapadora i tot, MOLT bén pensada). En resulta una camera molt més ferma i resistent, però amb certes limitacions. Es limitaren les velocitats del obturador de pla focal, i s'elimanern el visor telescopic i sobretot el telemetre.
Però en fer-la servir he de dir que amb tot plegat en surt una càmera molt més ferma i alhora lliure de molts extres que fan més nosa que servei.
Amb tot, la Combat Graphic només es produí en nombre limitat i pel que sembla totalment al 1944. Totes les càmeres porten el mateix objectiu, el Kodak Anastigmat Special f4.7 / 127mm, montat en un obturador Kodak Supermatic. Sembla que el seu ús en combat es limità bàsicament a les batalles de Iwo Jima i Okinawa, al 1945. En principi les de la marina estaven pintades de verd o gris clar, i les dels Marines, de verd. Acabada la guerra, unes poques continuaren en servei fins als anys 60, però la majoria o es destruiren o es varen vendre. Algunes les va vendre la propia Graflex com a model civil "Graphic 45", i altres sobrants del exèrcit, majoritariament pintades de negre.
El meu exemplar, que funciona a la perfecció, compta amb un darrera tipus Graphic i manca de qualsevol identificació, civil o militar, tot i que està pintada de color verd. Pertant, tant pot ser que hagués "servit" amb la US Navy o els Marines, o que no hagués sortit del magatzem del fabricant abans la guerra acabés. Qui sap!
www.cameraquest.com/graphcombat.htm
camera-wiki.org/wiki/Combat_Graphic
collections.eastman.org/objects/50191/combat-graphic-45?c...
www.photrio.com/forum/threads/fs-graflex-45-aka-4x5-comba...
graflex.coffsbiz.com/military.html
=========================================
Here’s a camera really created for the military, a machine which was the direct result of combat experience in the Pacific during World War II.
In fact it is a modification (quite extensive) of a thrully tested and reliable model at the time: the Graflex Aniversary Speed Graphic in 4x5 format. The Speed Graphic was the quintessential iconic camera for graphic reporters, especially American ones, in the 1930s and 1940s. Thousands of them were incorporated into Allied armies, with little or no modification. In fact I have one of these Speed Graphic used by the USAAF as a C-3 camera. But apart from being painted black and some tiny detail, these are the same models used by civilian journalists.
The Combat Graphic was commissioned by the US Navy and Marine Corps (USMC) specifically to withstand the harsh heat and humidity of the Pacific front. That's why the relatively fragile bellows was replaced by a wooden box (with closing lid & hand gripper, VERY well thought out). The result is a much firmer and more resistant camera, but with certain limitations. The speeds of the focal plane shutter were limited, and the telescopic viewfinder and especially the rangefinder were removed.
But when using it I must say that with all this comes a much firmer camera and at the same time free of many extras that are more annoying than useful.
However, the Combat Graphic was only produced in limited numbers and apparently entirely in 1944. All cameras carry the same lens, the Kodak Anastigmat Special f4.7 / 127mm, mounted on a Kodak Supermatic shutter. It seems that its use in combat was basically limited to the battles of Iwo Jima and Okinawa, in 1945. In principle those of the navy were painted green or light gray, and those of the Marines, green. After the war, a few remained in service until the 1960s, but most were either scrapped or sold. Some were sold by Graflex itself as a "Graphic 45" civilian model, and others left over from the army, mostly painted black and sold by Burke & James as surplus.
My copy, which works perfectly, has a Graphic type back, and lacks any identification, civilian or military, even though it is painted green. Therefore, it may have “served” with the U.S. Navy or Marines, or that it had not left the manufacturer’s warehouse before the war ended. Who knows!
www.cameraquest.com/graphcombat.htm
camera-wiki.org/wiki/Combat_Graphic
collections.eastman.org/objects/50191/combat-graphic-45?c...
www.photrio.com/forum/threads/fs-graflex-45-aka-4x5-comba...
─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───
Alt also needed a new pic so here it is :> the quote is also from arcane hehehe
B l a c k M a g i c | My photostream on black
I'll be back to get cleaner flicks. I wish there weren't any workers there...
flickriver.com/photos/javier1949/popular-interesting/
MUDEC Museo delle Culture -Museo de las Culturas-
Via Tortona, 56, Milano, Milán
Arquitectos: David Chipperfield Architects: David Chipperfield, Giuseppe Zampieri, Cristiano Billia, Oliver Ulmer. Responsables de Proyecto: C. Billia, G. Sirica, O. Ulmer. Colaboradores: Piuarch (concurso), F & P Architetti, Alberto Izzo & Partners. Iluminación: Ove Arup & Partners, Mario Nanni Progettista. Estructura y fachada: Stahlbau Pichler
Concurso 1999-2000 Proyecto 2001-2007 Ejecución: 2008-2013 Inauguración 2015
Promotor: Ayuntamiento de Milán – Dirección de Museos
MUDEC nace en el marco de la operación de recuperación en uno de los barrios más activos de la ciudad de Milán, la zona de Tortona ubicada al sur-oeste de la ciudad ocupada por fábricas abandonadas, monumentos reales de la arquitectura industrial, que se están convirtiendo en talleres, estudios y nuevos espacios de creación. El proyecto del Museo de las Culturas tiene origen en los años 90 cuando el Ayuntamiento de Milán compra la antigua instalación industrial de Ansaldo para destinarla a actividades culturales. Las fábricas desmontadas, monumentos de arqueología industrial, fueron transformadas en laboratorios, estudios y nuevos espacios creativos, el Centro de Estudios Avanzados de Arte Visual (CASVA), el Centro de las Culturas No Europeas y el Nuevo Museo Arqueológico.
En este escenario el Ayuntamiento de Milán proyecta un polo multidisciplinar dedicado a los diferentes testimonios y culturas del mundo, sede expositiva de las colecciones etnográficas de la ciudad.
El visitante del Museo de las Culturas podrá ver grandes muestras internacionales adaptadas a través de los diferentes lenguajes artísticos, conocer el patrimonio etno-antropológico de las colecciones del Ayuntamiento de Milán formadas por más de 7000 obras de arte, objetos de uso, tejidos e instrumentos musicales provenientes de todos los continentes, y participar de la programación de eventos e iniciativas a cargo de las comunidades internacionales presentes en el territorio.
El proyecto arquitectónico se debe al diseño del estudio de arquitectura dirigido por el británico David Chipperfield que ganó un concurso internacional organizado por el Ayuntamiento de Milán. La arquitectura del edificio también refleja las innumerables almas que se alojan en él. Se desarrolla dentro de un gran patio, detrás de los volúmenes de los antiguos edificios industriales, y se caracteriza por sus volúmenes cúbicos, cajas revestidas en zinc-titanio cuya apariencia se asemeja a la de las antiguas plantas de fabricación, y por una estructura de cristal - iluminada las 24 horas– que emerge geométricamente en el área que lo alberga y se presenta muy diferente a los volúmenes adyacentes. Su elemento distintivo es su núcleo central de forma libre y orgánica, que genera una jardín interno, con forma de "flor", una plaza cubierta que es el lugar de encuentro de las culturas y las comunidades.
Dentro del edificio se extienden diferentes espacios que ofrecen múltiples propuestas culturales y de servicios, distribuidos en 17.000 m2. La planta baja se destina a la recepción, y en torno a un hall de entrada con una gran escalera principal, se desarrollan los distintos espacios destinados a tienda de diseño, cafetería, taquilla, guardarropa, sala de conferencias-espacio plurifuncional, “el Foro de las Culturas”, aula didáctica, laboratorio de restauración y depósitos, con acceso en grupos, y oficinas.
El área expositiva del Museo se sitúa en la primera planta alrededor de una gran plaza central cubierta, de forma orgánica, "núcleo" real y a su alrededor se establece el recorrido museístico con las salas destinadas a la colección permanente y las dedicadas a las muestras temporales organizadas en grupos rectangulares adyacentes entre sí en orden jerárquico, diseñados para dar la posibilidad de optar con diferentes ambientes y dar cabida a la rotación de las colecciones en el museo, manteniendo un idea de continuidad espacial. El auditorio para 300 plazas completa el espacio. La plaza es un elemento sorprendente, un recinto curvilíneo revestido en vidrio esmerilado con superficies parabólicas, que le da con una esplendida luminosidad natural, que actuará como una linterna para la ciudad en las horas de la noche Un espacio diseñado en contraposición a la geometría cartesiana de las "cajas" que lo circundan.
En la segunda planta se sitúa el restaurante, MUDEC Club, que ofrece vistas inéditas del edificio y del área que lo rodea y está destinado a albergar eventos vinculados al mundo del arte: actuaciones artísticas, presentaciones y talleres.
La estructura de acero de la gran "linterna" central y las fachadas fueron hechas por Stahlbau Pichler, siguiendo un diseño tan limpio como visualmente complejo. La linterna está formada por dos capas de materiales translúcidos. El muro cortina exterior está hecho de perfiles de acero y de aluminio pre-pintado. El acristalamiento se compone de dos capas de vidrio con una capa intermedia de PVB y un panel interior que absorbe calor. La rejilla de suelo tiene un blanco de malla 44 x 44 acero pintado previamente en color blanco; sus juntas horizontales están selladas con silicona. La estructura de acero se trasdosa mediante barras de acero pintado en blanco con el fin de rigidizarla.
En planta baja, el techo y las superficies son de hormigón armado recordando la atmósfera de Ansaldo. Los locales se pintan de blanco para dar mayor luminosidad. El suelo es de piedra de basalto gris oscuro del Etna. El color oscuro de la planta baja destaca la ligereza de nivel superior. Dos plantas subterráneas están dedicadas a aparcamiento. En la planta superior, el bar y el restaurante también son de cristal. Las galerías rectangulares están construidas con hormigón in situ, sobre una losa apoyada en columnas de 80 cm de diámetro.
La inauguración oficial del Museo de las Culturas tuvo lugar el 27 de octubre de 2015, tras una apertura preliminar en marzo de este año con motivo de la EXPO de Milán, a pesar de que David Chipperfield Architects no ha tenido intervención en la supervisión artística del diseño de la exposición permanente y a pesar del que el Ayuntamiento de Milán no ha corregido los defectos en la ejecución que la Dirección facultativa ha venido denunciando en los últimos dos años y que está en litigio en los Tribunales de Justicia milaneses, por ello David Chipperfield se ha negado a asistir a la inauguración. Estos supuestos defectos incluyen un suelo de piedra que Chipperfield calificó de "inaceptable" a principios de este año. La superficie resultó arañada, manchada y las piezas mal alineadas. Ofreciéndose a cubrir la mitad del costo para remplazar el solado.
www.plataformaarquitectura.cl/cl/765090/mudec-david-chipp...
www.bmiaa.com/mudec-museum-of-cultures-in-milan-by-david-...
www.inexhibit.com/case-studies/milan-mudec-museum-david-c...
www.dezeen.com/2015/10/28/david-chipperfield-boycotts-ope...
Thank you for 3.6 million views in two years 2017 to 2019
The above image is a scan from an original Kodachrome™ slide. The default size is 2000 x 1250 pixels, so clicking on the photo will enlarge it for better viewing.
The original image comes from my slide collection, amassed over the past 40+ years. They are a combination of my own photographs and ones acquired over those years.
I created this Photostream in 2017 for the purpose of holding my slide collection as an archive, as otherwise they would just remain in binders and boxes, not being enjoyed by anyone, myself included.
Comments are welcome.
Aircraft MSN: 716
Type & Series: Tupolev TU-154M
Registration: B-2601
Operator: C.A.A.C.
Location (when available):
If the Location is blank, and you can identify it, you are welcome to leave a comment below.
Remarks:
My websites: