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Explored

 

Wednesday November 17, 2010 | Highest Position No. 297

 

Fast Fact

 

A battleship is a large armored warship with a main battery consisting of heavy caliber guns. Battleships were larger, better armed and armored than cruisers and destroyers. As the largest armed ships in a fleet, battleships were used to attain command of the sea and represented the apex of a nation's naval power from the 19th century up until World War II. With the rise of air power and guided missiles, large guns were no longer deemed necessary to establish naval superiority, and as a result there are no battleships in active service today. [!] But this one in the Philippines especially in Mindanao do exist. Watta Pity. Crave for an upgrade :p

 

Location

 

Wharf Area, Sta. Lucia District, Pagadian City, Philippines

 

Processing

 

□ Standard Three (3) Bracketed Exposures -2...0...+2EV @ ISO 100 | f/13.0

□ Generated HDR Image using Tonemapped Details Enhancer ж Photomatix Pro3.2

□ Post-Processed using Adobe Photoshop CS3 Windows

 

Gear

 

□ Canon EOS 7D | Canon EF-S 10-22mm f/3.5 (UWA)

□ Manfrotto 488RC2 Midi Ball Head | RC2 Ratchet Control System

□ Manfrotto 055 XPROB Pro Tripod

________________________________________________________________________________

 

This image is copyrighted to The Doctor © 2010 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2010 EOS Calendar (169/365) Explored No.1 Set | Front Page Set

 

Follow me on Twitter | Facebook | Friendster

Fast Fact

 

I got this long exposure shot minutes after a sorely bad weather where I happened to shoot my 6 year old daughter's Grade 1 Teacher's On Location Prenuptial Shoot who got me as their Official Wedding Photographer on their wedding next year, June 18, 2011.

 

I was kinda sad because I soaked my dear tripod (Manfrotto 055XPROB Tripod) on the salty water plus my camera under the flickering rain. Good thing the end result was very rewarding. BTW Go Manny Pacquaio. Filipino Pride Baby.

 

Location

 

The South Side of Mabait, District of Poloyagan, Pagadian City, Philippines

 

Gear

 

· Canon EOS 7D | Canon EF-S 10-22mm | Kenko ND400

· Manfrotto 488RC2 Midi Ball Head | RC2 Ratchet Control System

· Manfrotto 055 XPROB Pro Tripod

________________________________________________________________________________

 

This image is copyrighted to The Doctor © 2010 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2010 EOS Calendar (168/365) Explored No.1 Set | Front Page Set

 

Follow me on Twitter | Facebook | Friendster | www.flickr.com/photos/lovepinlac

Explored

 

Sunday August 29, 2010 | Highest Position No. 168

 

Fast Fact

 

Despite the stabbed pains and excruciating trials that came across my life, its time for me to go back on track, and its so nice to be back to the world I used to dwell in. Flicker Life Baby. Missing you guys so bad. A blessed weekend.

 

Location

 

Mabait Beach, District of Poloyagan, Pagadian City, Philippines

 

Gear

 

- Canon EOS 7D · Canon EF-S 10-22mm · Kenko ND400

- Manfrotto 488RC2 Midi Ball Head · RC2 Ratchet Control System

- Manfrotto 055 XPROB Pro Tripod

________________________________________________________________________________

 

This image is copyrighted to The Doctor © 2010 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2010 EOS Calendar (160/365) Explored No.1 Set | Front Page Set

 

Follow me on Twitter | Facebook | Friendster | www.flickr.com/photos/lovepinlac

A ladybug works its way across a dandelion flower head in my backyard. Macro shot from four years ago. Currently my yard is full of dandelions, which I don't mind at all, although I try to cull them from my vegetable rows. The wide range of insect life we get during the summer has barely begun; things will really be interesting by July and August. For now, I encourage ladybugs, especially when they are on aphid patrol (which is constant).

 

Photographed in Val Marie, Saskatchewan. Don't use this image on websites, blogs, or other media without explicit permission :copyright: 2013 James R. Page - all rights reserved.

From a recent road trip to the Page area. I hadn't been here for a few years and always wanted to return. I got just as frustrated this time with the crowds of people as I did last time. When I was just about to lose it and beat someone with my tripod, I decided to just take the place in and enjoy it. I figured if I got a few clean shots, it was a bonus and didn't want to waste the time there being angry and constantly fighting for a spot to shoot from. I enjoyed it a lot more once I decided to just look around more and take the place in instead of getting frustrated that I couldn't get the comp I wanted. I still managed to get a few shots I'm pleased with and I left with my blood pressure under control and I didn't assault anyone.

Despite the crowds, this place is still very much worth the visit.

Explored

 

Saturday September 11, 2010 | Highest Position No. 344

 

Fast Fact

 

For a year and a half of shooting weddings, for the record I hit the most expensive wedding contract for the year 2010. I was invited to do a 4-Day All Expense Paid Out-of-Town In-Hotel Location Photography Shoot at Marco Polo Hotel, Davao City, Philippines, for their film presentation on the day of their wedding this December 18, 2010.

 

My clients were so satisfied with the result of my shots that they decided to gave me a gift, a brand new Telephoto Zoom Canon EF 70-200mm f/2.8L USM, aside from their payment for me. I was kinda teary-eyed during their proposal when we were swimming together in the warm water of the resort's infinity pool for I wasn't expecting that I got my own version of my Holy Trinity Zoom in the earliest time of my photography career. Im wishing them the very best of their wedding and marriage life thereafter.

 

Now I completed my very own version of Canon's Holy Trinity Zoom Lens Yeah Baby!

 

Credits

 

The Don Mabasa and Melina Cariño Wedding. Butterfly Garden, Pagadian City, Philippines. Saturday December 18, 2010

 

Location

 

Pearl Farm Beach Resort, Davao, Philippines

 

Gear

 

- Canon EOS 7D · Canon EF-S 10-22mm

- Manfrotto 488RC2 Midi Ball Head · RC2 Ratchet Control System

- Manfrotto 055 XPROB Pro Tripod

- Bulb · No Filter · 10% Saturation Only · Uncropped

________________________________________________________________________________

 

This image is copyrighted to The Doctor © 2010 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2010 EOS Calendar (161/365) Explored No.1 Set | Front Page Set

 

Follow me on Twitter | Facebook | Friendster | www.flickr.com/photos/lovepinlac

Fast Fact

 

Perhaps the most important thing we bring to another person is the silence in us, not the sort of silence that is filled with unspoken criticism or hard withdrawal. The sort of silence that is a place of refuge, of rest, of acceptance of someone as they are. We are all hungry for this other silence. It is hard to find. In its presence we can remember something beyond the moment, a strength on which to build a life. Silence is a place of great power and healing. [i]

 

Location

 

Sirena Beach Resort, Tukuran, Zamboanga Del Sur, Philippines

 

Gear

 

□ Canon EOS 7D

□ Canon EF-S 10-22mm f/3.5 (UWA)

□ Kenko ND400

□ Canon Timer Remote Control TC-80N3

□ Manfrotto 488RC2 Midi Ball Head

□ RC2 Ratchet Control System

□ Manfrotto 055 XPROB Pro Tripod

 

Copyright

 

This image is copyrighted to The Doctor © 2012 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2012 EOS Calendar (001/365) Explored No.1 Set | Front Page Set | Explored Set

 

Follow me on Getty Images | Twitter | Facebook | 500PX | Vimeo | Youtube

"My vision is pretty simple. I don’t go through complex processes when I go out there with camera in hand. What I choose to capture is based on what I see when I look through my viewfinder. I always expect to be dazzled by even the most familiar and mundane. And it is always my hope that every image I choose to share with others will somehow make them gain a new appreciation, even if for a moment, of the world in which we live."

 

V, aka imago2007, a genius in photographic prose and poetry

  

View Large | Metro Shenzhen Set | Personal Faves Set Explore, Interestingness Set | Explore: Front Page Set | Explore: Front Page Set

 

(Explore #02 April 20, 2009)

(Explore Calendar April 20, 2009)

   

(Explore Front Page)

 

This last weekend turned out to be very very productive photography wise. I went to the mountains to do some additional scouting and shooting for an upcoming workshop, and it turned out to be a smorgasbord of great photo ops. Needless to say It made me feel good about my workshop location. I got the amount of keepers in two days that I would normally have to spend a couple weeks in an area to get. (aka, I got lucky) I posted a gallery here if you have any interest in seeing them. I will most likely be posting several more to flickr in the coming months as well, but I can't help but want to share (Ok, show off a little:) I'm so happy with how it went!!!

 

I painted this barn with my LED head lamp. I had a nice Nikon flash with me, but I really prefer painting by hand with a flash light. I find that I have better control over what areas get what amount of light.

 

As always thanks for stopping in.....much appreciated:))

 

Not HDR

30 sec exposure

F 3.5

ISO 640

 

WEBSITE / GOOGLE+ / WORKSHOPS / BLOG

I used many of the processing techniques covered in my Tonality Control Video. It's available here: www.zschnepf.com

 

I just returned from an inspiring trip to Death Valley and surrounding areas, this is the first image I've worked on, and probably my favorite from the trip. It was taken just before sunset after a thunderstorm passed by. I added a post about this trip to the photocascadia blog.

 

Thanks for commenting!

Proud team member of Photo Cascadia

 

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Explore # 137

Thank you!

In Flickriver

Inspired in this piece by Muse

 

Let's start over again

Why can't we start it over again

Just let us start it over again

And we'll be good

This time we'll get it, get it right

It's our last chance to forgive ourselves

[ Exogenesis : Symphony Part III (Redemption)]

Muse 2009

  

I'm with flu ;'(...

Happy saturday, Flickr!

 

Credits:

Textures: Playing with brushes, Lesbrumes & partial letter by boccacino.

Lensbaby 3G Control Freak

 

Idea, Shot and editing by me

Carmen Moreno © 2009

Todos los Derechos Reservados

© All rights reserved. Use without permission is illegal

 

in Facebook in Twitter

My Blog

 

Friends, please, PLEASE PLEAAAASE!!!! no big icons awards, invites or big graphic related posts, thank you!!!! :-)

A chaotic array of lines and curves in Lower Antelope Canyon.

 

Photo taken near Page, AZ (USA).

Este edificio de 80 metros de altura está destinado al Centro de Coordinación de Salvamento Marítimo además de la Dirección General de Marina Mercante y Capitanía Marítima de A Coruña. Está situada sobre el dique de abrigo de la ciudad, y su silueta se enmarca desde hace años en el panorama de A Coruña, pues es vista desde numerosos puntos de la ciudad.

 

Torre de Control (A Coruña), contrapicado, octubre de 2011

 

Te agradezco tus visitas, comentarios y críticas…

Mi facebook fotográfico

 

© 2011 Daniel Candal Todos los derechos reservados

Horse-shoe bend, Colorado River, Page, AZ

 

This was my second time to this breathtaking, yet easily accessible spot. The first time I went, I was still shooting with cropped sensor, and the wide-angle lens I had then produced uncontrollable flare, and the season being early winter the sun was setting further to the south (left extreme in the picture) . So I was hoping to do a better job this time, and also was hoping the conditions would be better. Although the latter didn't happen with mostly bland sky, I was able to control the flare better this time. Hope you like it, and thanks a lot for looking.

 

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This is 3 exposures blended together using my advanced Photoshop tonality control and multiple exposure blending techniques. I produced a video detailing these techniques, it's available here: www.zschnepf.com

 

Front page, and number 24 on explore.

 

I just returned from teaching a 3 day workshop at Crater Lake National Park with fellow Photo Cascadia Member David Cobb. Big thanks to David for having me as co-instructor. We were treated to some fantastic conditions and light, especially on Sunday night on the rim. This is just a quick edit I did last night before bed, I'll fine tune it later when I make the master print file.

 

Edit: A few people asked about the light on the wood. It's from the clouds reflecting the sunset to my right out of the frame. This sky was 360 degrees of sweet light.

 

Thanks for commenting!

Proud team member of Photo Cascadia

 

Follow me on Facebook

don't you sometimes wish you could control time?

+++

 

just in case you were wondering, the effect was created purely in-camera. i only enhanced it in post :) also, i've actually posted this before, but it was edited differently. if you're curious enough, you could go search through the first few pages of my stream and find that :)

 

--------

 

Please Read This:

just to let you guys know, i'm going on a temporary hiatus from flickr (and from my 365).

reason being that i don't think i can deal with it, i'm feeling so stressed right now.

i don't really know how long this hiatus is going to last - it may be through the next three weeks (huge exams. huge. it starts exactly a week from now. *runs around like headless chicken) or it may be shorter.

(actually, i'll prolly be back really soon. i technically only have 8 days of papers, but it's spread out over a three week period, so i have breaks in between.)

if i do take a photograph on a particular day, i'll prolly post it, but i don't think i'll be around on streams much.

 

gosh. my inner (sometimes)perfectionist is screaming at me because my 365 will now no longer end exactly 365 days from when i started. lol.

 

anyway, in the meantime, you can find me on facebook. :)

 

see you guys soon-ish :)

 

*explore

[196/365]

2009.07.15 - take control on black

 

No bokeh photo today.... bokeh wed boycott... haha..

Thanks for the wonderful comments and support...

Busy, busy... how I wish this month is over...

 

************************************

sweet thanks everyone for making this photo on explore FP... many thanks to ~~Dirk~~, Bern@t and Bokanawa for the SS....

Fast Fact

 

Nothing in this world can take the place of persistence. Talent will not, nothing is more common than unsuccessful people with talent. Genius will not, unrewarded genius is almost a proverb. Education will not, the world is full of educated derelicts. Persistence and determination alone are omnipotent. Going through life, we'll have both successes and failures, it's how we handle success or failure that makes the difference long term. Peace.

 

Location

 

Tambunan, Municipality of Tabina, Province of Zamboanga Del Sur, Philippines

 

Credits

 

Yamba - Culminas Prenuptial Location Shoot | December 28, 2010 Nuptial

 

Gear

 

□ Canon EOS 7D

□ Canon EF-S 10-22mm f/3.5 (UWA)

□ Canon Remote Switch RS-80N3

□ Kenko ND400

□ Manfrotto 488RC2 Midi Ball Head

□ RC2 Ratchet Control System

□ Manfrotto 055 XPROB Pro Tripod

________________________________________________________________________________

 

This image is copyrighted to The Doctor © 2010 Mario G. Pinlac II

 

Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws

as well as contract laws.

 

© 2010 EOS Calendar (170/365) Explored No.1 Set | Front Page Set

 

Follow me on Twitter | Facebook | Friendster

My son, Chris, controlled the main light on this night photo of Delicate Arch, and the Milky Way stars at Arches National Park. Please visit my photostream every Thursday to see a new ''NightScape'' image. Read the Huffington Post story about my NightScape photography.

 

See the awe-inspiring NightScape VIDEO – with one Milky Way after another!

 

Canon 5D M2

15mm fisheye

30" f3.5 ISO 6400

Main light from camera left: 2-million candle power incandescent (reflected for control). I rarely "light painting". Instead, I often used strategically placed and controlled lights, like you would in a studio. Additional technical stuff

 

My new ebook, Milky Way NightScapes, gives extensive details on how to enhance the landscape foreground. Three other chapters cover planning, scouting, forecasting star/landscape alignment, shooting and post processing.

 

Night Photo Blog | Facebook | 500px | Google+ | Workshops

 

Subscribe to my newsletter. Free monthly articles and how-to tutorials driven by YOUR feedback!

PRINTS & LICENSING can be ordered through my profile page, or email royce.bair at gmail dot com.

- - -

 

The NightScape Story

 

Definition and evolution: "NightScapes" are exposures of the night sky with a landscape feature. All are evening time exposures. Special techniques are used with off-the-shelf digital cameras and lenses in order expose the night stars without blurring them (producing trails). Some land features are enhanced with light painting. My early work did not include the Milky Way or star constellations, because the technology was not available at that time.

 

My early work: I've been doing light painting of landscapes for more than 30 years, where I capture the enhanced landscape against a twilight sky. These images have been in many national publications, and my techniques have been copied by scores of fellow photographers. Originally, the series was started as a self-promotion stunt to help my commercial work. I was trying to increase my on-location industrial assignment work by showing that if I could light a 300-foot wide natural arch out in the desert, I could handle any project they had.

 

A change in style: Digital photography has made the technical aspects of natural landscape light painting a lot easier -- so easy that it became less of a challenge, and somewhat boring for me. I quit doing NightScapes when I started using digital photography about 10 years ago.

 

In the middle of 2011 my love for NightScapes was rekindled. About this time, I saw a starry night sky scene someone had taken of a mountain landscape silhouetted against a starry night sky, and the stars were bright and sharp, not blurred like one sees in a star trail time exposure. I was totally blown away! How was the photographer able to get both the landscape AND star detail without the aid of an astronomy tracking device? In order to get this type of astrophotography, a person would normally have to mount his camera on an equatorial mount that was correlated with the rotation of the earth; however, you were also prohibited from showing any land features in your images, otherwise the landscape would be blurred by the tracking motion.

 

I have since discovered that with sensitive digital cameras it is possible to capture both the landscape and the heavens at the same time! (Most DSLR cameras with a "fast" lens can capture my style of NightScapes, if the photographer follows my technical tips.) And, with my light painting experience I can now add that feature when I feel it is appropriate and does not detract from the overall visual experience.

 

These techniques for increased night sensitivity have enabled me to produce a new series of NightScapes that combine the beauty of astronomy and my skills in landscape light painting. With or without light painting, I use my knowledge of composition to make the best alignment of heaven and land features.

 

Where are most of my NightScapes taken? I love working in the quiet of the night, with few distractions. Most of my NightScape photos are taken in western U.S. national parks, in the height of the tourist season. At night, most of these areas are deserted. I chose these national parks (currently just Grand Teton, Bryce Canyon, and Arches) for two reasons. One is because their land features are very recognizable, even at night. I only add subtle light painting if it increase that recognition or it enhances their features. The other is because they are far away from big cities, where light pollution competes with the stars.

 

The biggest challenge to NightScape photography? I have become more aware of how much light pollution there is in our world today. So many of my admirers lament how they cannot find any places where they live to do the same type of photography. Even in the remote areas of our planet, I've also had to become more aware of the heavenly cycles in our universe. In order to get these images, one must do a lot of planning and be aware of the cycles of the moon, planets, major constellations, and how they align at different times of the night and throughout the year.

 

What do I hope you'll get out of my work? It has given me a lot of satisfaction to open people's eyes to a whole other world that awaits them in the evening sky. You can literally have two vacations when you visit our national parks or other remote locations. I also hope that others will feel a greater connection to the Creator of our universe and the infinite order we are a part of.

 

- - -

 

NightScapes book & workshop: I am currently working on a how-to book about my NightScape photography. It will not only display beautiful pictures, but it will show all the techniques, tricks, and equipment I use to make these images. There will also be an inexpensive ebook version. I plan to complete the book before this summer. I'm also planning to do NightScapes workshops in places like Arches National Park and Grand Teton National Park (both daytime and night photography). If you'd like to be notified as these books and workshops become available, please email me: orida70@gmail.com

 

I just self-published my first photo book (photos of the Grand Teton NP). You can see a preview of it at my blog, Your Photo Vision. Since this is a blog read by photographers and wanna-be photographers, I also discuss the advantages and pitfalls to self-publishing through the new print-on-demand format. I'd love to hear your comments.

 

2012/02/23 1190v 85c 144f 2g

"But even so, every now and then I would feel a violent stab of loneliness. The very water I drink, the very air I breathe, would feel like long, sharp needles. The pages of a book in my hands would take on the threatening metallic gleam of razor blades. I could hear the roots of loneliness creeping through me when the world was hushed at four o’clock in the morning." The Wind-Up Bird Chronicle

 

***

 

"Ahem..." A throaty woman's voice ripped him off from the world of Murakami, back into his boring present working in his own op-shop named Out of the Past. Automatically, he smiled his 'hi-can-I-help-you' smile, the smile that he specially reserved for his customers and to avoid conflicts and confrontation with his wife before bed time.

 

Opening this shop has become his longest dream. It was not so secret that he thought he was born in the wrong era. His wife was bored to her skull hearing how he raved about his wish to be born in Paris in the 20's, walking along the left bank river in the rain, quietly mulling over ideas about his current novel project.

 

"You're in love with your fantasy," his wife told him, shaking her head dismissively. Clearly she'd had enough of that story, and thus he never talked about it anymore. They'd been married for seven years with a beautiful daughter and a handsome son, and he didn't see the right to torture his wife with that dream for the rest of their lives.

 

But up until he came into Murakami's passage, he didn't realize how lonely he'd been. Yes, he had a loving wife, a happy family, a decent job and a promising writing contract ahead of him, but... still, he felt like there was something that he had not found yet. His current life went off day by day without anything meaningful. He felt like he was in the middle of his attempt to complete a frame of photography: moving along ahead, searching, thinking, staring, looking for the right piece to complete the entire frame

 

There's somebody I'm longing to see, he thought. I hope that she, turns out to be, someone who'll watch over me.

 

What he saw in front of him was a young woman in her mid-twenties, dressed in a tasteful spaghetti summer dress topped with a cropped red blazer that brought out her rosy cheeks. She wore no make up — not that she needed any — and her chestnut shoulder-length hair fell dramatically, framing her pixie-like face. Her defiant and careless attitude immediately brought him back into his high-school days, a quiet and shy boy secretly glancing at the junior high school building, looking for a girl with a broken smile. He could almost feel his desperation to know at least her name, and it surprised him because after twenty years, the sensation remained the same.

 

"I know you," she said, her lips curled into a mysterious smile, showing off her dimples.

 

He forced himself to keep composed, but soon he found himself sighing as desperation set in. Again.

 

What can I do? It's not like I've known here my entire life. All these years, I've been making her in the image of myself. I never know who she is. But this chemistry... it drags me so powerfully. What can I do?.

 

"I thought you'll never come back," he said, although he knew she could see how relieved he was by the sight of her in his store.

 

"I never said I'll never come back. I said that I might not be able to come back for a while."

 

"What's the definition of for a while for you? The last time you said that, you disappeared for six months," he said, clearly unable to hide his disappointment. Then, almost like an afterthought, he added, "Not that I've been counting days since you were gone." And then he wished like hell that he never said something that stupid. It made him sounded like a clingy teenage boyfriend.

 

"Did I?" she asked, though she seemed like she didn't want him to answer her.

 

He glanced at her as she turned around to take a look at some vinyl collections on the corner of the store, drinking every detail of her like a traveler drinking hungrily from an oasis in the desert. He was more than parched, and he ached for more of her. But he knew — he knew that he was only one step away from losing everything he had for the last ten years. Would he really want to go that far?

 

Yes.

 

He suddenly remembered the first time she walked into this store. Completely oblivious to people gaping at her, she strolled right into him and asked him where she was. Said she was taking a walk and suddenly she got lost. Clearly she didn't know that he was trembling with her presence. No, not because he was awed with the fact that she was a famous actress — no, he's not one of those people. He was trembling because he couldn't believe that he was standing right in front of his first love. The woman who looked like she just stepped out of the Greek myth.

 

"You know," she said, turning around to face him and he wished like hell that the fleeting people crowding his store would miraculously disappear in an instant. She bit her lower lip, looking a bit doubtful, but decided to go against whatever it was that made her doubtful and opened her mouth. "I knew you were looking at me all the time where we all went to the beach that summer."

 

She was talking about that senior year of mine. She knew. She knew I was hopelessly watching at her from the distant. She knew, and she remembered. She remembered me.

 

"You were wearing that white dress, and you were cold so you borrowed your friend's cardigan," he said, not knowing that he sounded more like a stalker.

 

"Did I?" she asked, again sounding like she didn't bother to hear the answer. "You know, you could have asked my name. You've had plenty of chances."

 

"I know..."

 

"So why didn't you?" she asked, her eyes wide with a strange emotion that cut all of his air circulation. "While you had plenty of chances, why didn't you use it?"

 

"Am I too late now?"

 

"You know the answer to that," she said without really addressing his original question.

 

He thought about his wife and his kids, and realized that knowing her name now would not make any differences. It was not that he didn't know her name. He knew now. It was impossible to not knowing her name. It was all over the news. But still, he knew what was laying behind her question. She wasn't just asking why he never asked her name. It was what she said, but not what she meant.

 

"Will I ever see you again?"

 

"Maybe..." she said. "But for now, I have to go."

 

"But..." He didn't have a chance to finish his sentence. She was already gone. And before he could go out to chase her, someone caught her arm and stopped him dead. It was one of his staff. "What?!" he yelled out of frustration.

 

"Don't go out there," she said, her voice was small. He thought that he must have scared her out. But then he took a look around and he realized that everyone in his store had gathered closely, shaking with fear that turned their face white as sheet. "The police are already on their way."

 

"The police? What are you talking about?" he asked, confused.

 

"Sir, a woman has been shot by the thief," she said, gesturing to a figure wearing a spaghetti summer dress laying motionless on the floor. He tried to take a look closer, but people were crowding around her, muttering silently.

 

"What thief?" he asked again, suddenly realized the pounding on his head. He touched his temple and realized that he was bleeding a little. He looked down at his hand, covered with blood, and then back again at his staff. "What happened?"

 

"You passed out," she explained calmly. "We got mugged by two people, and one of them was carrying a gun. He grabbed one of the visitors and held his gun over her head, telling you to give all the money in the registry. You tried to calm the thief, but he got angry and his friend knocked your head until you passed out. He took all the money, but before he could finish, the woman started whimpering. A guy tried to calm her, but that only made the thief got angrier. The situation went out of control, and... she got shot."

 

"What?! How... how is she now?"

 

"I don't know..." she said helplessly as he tried to part the crowd so he could take a good look at her. "Sir! Please don't move! You're hurt!"

 

He brushed her aside, ignoring her pleading, and he only stopped moving until he finally stood directly in front of her lifeless body. It was... her. A long, long silence — the kind of silence created by the shower falling down at the crack of the dawn — suddenly wrapped him and he found himself staring into an endless darkness, unable to move a single limb.

 

What happened?

   

048

 

Earthlings, ever want to know how it feels to control the weather? You can aspire to be Zeus to know how it feels to command the elements!

 

How to control the weather

 

1. Make a paper crown of laurel

 

2. Put it on

 

3. If you do not have your own beard, make one

 

4. Make little element puppets

 

5. If they fit on your fingers, and if you like them, put a ring on them

 

6. Start a cosmic puppet drama

 

Caution

Due to current global warming events, it's best to localise your weather puppets. In order to prevent further upsetting, do not snow in the tropic or have a hot winter in North now.

 

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View On Black

Wow. Thank you guys SOO much!

I woke up this morning to a wonderful surprise of having a picture be on explore!

Thanks for all the wonderful comments!

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Another thing:If you guys write me testimonials, id greatly appreciate it. And ill write one for you back! I love to hear what you guys think about my photos and if theres anything i should work on or anything. Thanks!

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Costal landscape, junction between two worlds: the sea world, almost totally unknown from us by its infinity and darkness and the civilization, which is fighting against this darkness wanting to control its destiny surrounded by nature. These majestuous cliffs are a natural delimitation between two worlds and are a different world on their own.

Taken in Arnia beach, Liencres, Cantabria, Spain

227

 

Hello class. I have decided to lose control. Being a control freak is not easy, and if you try to hold a butterfly tightly in your hand, it will die. You have to let it go. And if it comes back, it is truly yours, but if doesn't, it never really was. Yes. My mind is like a butterfly, and right now, I wanna see if it is really mine.

 

I am not sure yet.

 

How to lose control

 

1. Choose your medium for expressing yourself. I choose paper

 

2. Free-style

 

3. Let your mind wander, and let your hands do their work

 

4. Zone out

 

5. Zone back in

 

6. Look at your finished expression

 

7. Try to figure out what your brain and hands do when you lost control to them

 

8. Admire your expression

 

9. Appreciate your semi-conscious mind and what manifested from it

 

10. Mount the "art piece" or decorate yourself with it, even if you are not sure what it is

 

11. Remember it's an extension of yourself, it's almost "you"

 

12. Write a self-help advice on your experience on control loss

  

This semi-conscious advice is brought to you by Linus & The Feel Good Factory.

marta

september

2012

  

Love me on FACEBOOK!

 

This is 3 exposures blended together using my advanced Photoshop tonality control and multiple exposure blending techniques. I produced a video detailing these techniques, it's available here: www.zschnepf.com

 

I just returned from teaching a 3 day workshop in the Palouse with Kevin Mcneal, and Adrian Klein. We had an amazing 3 days full of amazing light and atmosphere. We had 14 of us total, and everyone had a blast. This is just the first of many images from this trip. We also ran into Chip Phillips who will be joining us in teaching this workshop June 2011. Good times!

 

Special thanks to Ryan McGinty for showing us some local spots while we were out scouting.

 

Thanks for commenting!

Proud team member of Photo Cascadia

 

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deep inside the chemical plant was an old control room with water running down the walls and the power still on

 

my facebook page www.facebook.com/Kriegaffe9

taking control of the elements,

making them mine, making them mine.

 

{52/52}

 

this is it. i cannot believe i'm finished. it seems like only yesterday i started this whole thing with my eyes wide open and my brain full of ideas, looking for a new adventure and longing to improve my photography and life in general. and it has taken my expectations and multiplied them by ten. i never knew photography could get me through my struggles; with friends, with family, with myself. i never knew how happy it could make me. i never knew how many amazing, incredible, talented, inspiring people i would become friends with from all around the world through it. and i never knew i would meet some of them in person! i never knew it would make me see my entire world differently, whether it was the landscape or my own heart. i never knew it would make me grow as an artist. i never knew i would consider myself an artist. i never knew i would be brave enough to perch in tall trees, jump on the side of a canyon, or even take self-portraits in public. i never knew so many of you would like my work. i never though i would get more than a hundred views on anything. i never knew some website and people i've never met could change my life in such a huge way. but now i know. and it feels so good

 

to all those tagged, whether we're friends or you've just inspired me, THANK YOU. you've done more than you will ever know for me <3

 

Facebook + Website + Tumblr + Formspring

  

A sandfall in Upper Antelope Canyon, Page, Arizona, April 2010, which I finally got around to post-processing in 2013 using Adobe Lightroom 5. Although many DSLRs set the color temperature of the light in these canyons as being extremely warm (orange), there's actually a wide range of light from reflected orange light to much cooler light coming directly from the blue sky above, if you select your white balance settings carefully. Taking control of color temperature isn't unique to digital photography though; photos from this canyon taken using Velvia or Provia film often revealed a similar wide range of tones.

Battersea power station - London

 

Almost a year to the day I attempted to get inside Battersea Power station, an iconic London abandoned power station that overpowers the skyline south of the river Thames.

 

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Shot with Canon 5Diii Body, Canon 16-35mm 2.8ii

 

Available as Limited Edition Signed Prints, Please message me for more information Available in small size in editions of 15, medium size in editions of 10 and large size in editions of 5, printed on art paper and all come with a hologram certificate of authenticity.

 

Shares, likes and especially comments are appreciated so much, I love to hear what you think of my artwork and sharing with the world, helps my page to grow, thank you so much.

Clouds 3. (Clouds series)

 

Taken by Nina.

 

The strings are like that on purpose, because it is epic.

 

Today and yesterday, sucked. I was at home and I was sick. And I have end of year exams in a couple of days, so I'm meant to be revising but I can't cause my head hurts and its about to explode, but its not that big except for maths because I am doing the first year of maths igcse one year (I go to an international british school), and so is Diane but in another school. That also means that she is doing her exams one week after me. So if we fail this we can move down and we have to redo it. So there is a lot of pressure. But the other subjects are alright I guess. But omfg this might be the last year of history and some other subject for me cause next year we can choose our lessons for igcses and I chose Geography, Art, Chinese and Physical Education.

 

I.can't.wait.until.the.exams.are.over.omgejfofijhweojsdoajio I keep having like a rush of inspiration when I'm meant to be studying, why.does.this.have.to.happen.right.before.the.exams. But what's so weird is that it is nearly summer. Time is going so fast, its scaring me.

 

The description had nothing to do with the picture. whatever.

  

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Taken by the use of a New Petzval Bokeh Control Art Lens (see first comment).

 

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@ Bowden, about 10pm

 

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Upper Antelope is a magical place near Page, AZ. Access to it is controlled by the Dineh (Navajo) people. It is absolutely worth a visit to this out-of-the-way place to see these memorable sights.

Front Page!

Explore #13 1/15/11

 

Happy Sliders Sunday! Another shot of the lovely Cara Rose taking a photo of me. I found that I like having control of the camera when taking a shot of myself. She did an excellent job of capturing my essence and also inspired me to let go of the fear of shooting myself close up. So with that in mind I'm challenging myself to get a little closer with my selfies.

I pulled in a DeviantArt texture by dazzle to improve the blown out sky and then saturated the colors to my liking.

 

HSS!

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Origins

Although there are no historical records that deal directly with the founding of Venice,[10] tradition and the available evidence have led several historians to agree that the original population of Venice consisted of refugees from Roman cities near Venice such as Padua, Aquileia, Treviso, Altino and Concordia (modern Portogruaro) and from the undefended countryside, who were fleeing successive waves of Germanic and Hun invasions.[11] Some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae ("lagoon dwellers"). The traditional founding is identified with the dedication of the first church, that of San Giacomo at the islet of Rialto (Rivoalto, "High Shore"), which is said to have been at the stroke of noon on 25 March 421.[12][13]

The last and most enduring immigration into the north of the Italian peninsula was that of the Lombards in 568, leaving the Eastern Roman Empire a small strip of coast in the current Veneto, including Venice. The Roman/Byzantine territory was organized as the Exarchate of Ravenna, administered from that ancient port and overseen by a viceroy (the Exarch) appointed by the Emperor in Constantinople, but Ravenna and Venice were connected only by sea routes and with the Venetians' isolated position came increasing autonomy. New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, dated from c. 568.[14]

The traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, Paul's magister militum (General; literally, "Master of Soldiers.") In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the iconoclastic controversy at the urging of Pope Gregory II. The Exarch was murdered and many officials put to flight in the chaos. At about this time, the people of the lagoon elected their own leader for the first time, although the relationship of this ascent to the uprisings is not clear. Ursus would become the first of 117 "doges" (doge is the Venetian dialect development of the Latin dux ("leader"); the corresponding word in English is duke, in standard Italian duce.) Whatever his original views, Ursus supported Emperor Leo's successful military expedition to recover Ravenna, sending both men and ships. In recognition, Venice was "granted numerous privileges and concessions" and Ursus, who had personally taken the field, was confirmed by Leo as dux[15] and given the added title of hypatus (Greek for "Consul".)[16]

In 751, the Lombard King Aistulf conquered most of the Exarchate of Ravenna, leaving Venice a lonely and increasingly autonomous Byzantine outpost. During this period, the seat of the local Byzantine governor (the "duke/dux", later "doge"), was situated in Malamocco. Settlement on the islands in the lagoon probably increased in correspondence with the Lombard conquest of other Byzantine territories as refugees sought asylum in the lagoon city. In 775/776, the episcopal seat of Olivolo (Helipolis) was created. During the reign of duke Agnello Particiaco (811–827), the ducal seat was moved from Malamocco to the highly protected Rialto, the current location of Venice. The monastery of St. Zachary and the first ducal palace and basilica of St. Mark, as well as a walled defense (civitatis murus) between Olivolo and Rialto, were subsequently built here. Winged lions, which may be seen throughout Venice, are a symbol for St. Mark.

Charlemagne sought to subdue the city to his own rule. He ordered the Pope to expel the Venetians from the Pentapolis along the Adriatic coast,[17] and Charlemagne's own son Pepin of Italy, king of the Lombards under the authority of his father, embarked on a siege of Venice itself. This, however, proved a costly failure. The siege lasted six months, with Pepin's army ravaged by the diseases of the local swamps and eventually forced to withdraw. A few months later, Pepin himself died, apparently as a result of a disease contracted there. In the aftermath, an agreement between Charlemagne and Nicephorus in 814 recognized Venice as Byzantine territory and granted the city trading rights along the Adriatic coast.

In 828, the new city's prestige was raised by the acquisition of the claimed relics of St. Mark the Evangelist from Alexandria, which were placed in the new basilica. The patriarchal seat was also moved to Rialto. As the community continued to develop and as Byzantine power waned, it led to the growth of autonomy and eventual independence.[18]

Expansion

 

Piazza San Marco in Venice, with St Mark's Campanile and Basilica in the background

  

These Horses of Saint Mark are a replica of the Triumphal Quadriga captured in Constantinople in 1204 and carried to Venice as a trophy.

From the 9th to the 12th century, Venice developed into a city state (an Italian thalassocracy or Repubblica Marinara, the other three being Genoa, Pisa, and Amalfi). Its strategic position at the head of the Adriatic made Venetian naval and commercial power almost invulnerable. With the elimination of pirates along the Dalmatian coast, the city became a flourishing trade center between Western Europe and the rest of the world (especially the Byzantine Empire and the Islamic world).

The Republic of Venice seized a number of places on the eastern shores of the Adriatic before 1200, mostly for commercial reasons, because pirates based there were a menace to trade. The Doge already carried the titles of Duke of Dalmatia and Duke of Istria. Later mainland possessions, which extended across Lake Garda as far west as the Adda River, were known as the "Terraferma", and were acquired partly as a buffer against belligerent neighbours, partly to guarantee Alpine trade routes, and partly to ensure the supply of mainland wheat, on which the city depended. In building its maritime commercial empire, the Republic dominated the trade in salt,[19] acquired control of most of the islands in the Aegean, including Cyprus and Crete, and became a major power-broker in the Near East. By the standards of the time, Venice's stewardship of its mainland territories was relatively enlightened and the citizens of such towns as Bergamo, Brescia and Verona rallied to the defence of Venetian sovereignty when it was threatened by invaders.

Venice remained closely associated with Constantinople, being twice granted trading privileges in the Eastern Roman Empire, through the so-called Golden Bulls or 'chrysobulls' in return for aiding the Eastern Empire to resist Norman and Turkish incursions. In the first chrysobull, Venice acknowledged its homage to the Empire but not in the second, reflecting the decline of Byzantium and the rise of Venice's power.[20][21]

Venice became an imperial power following the Fourth Crusade, which, having veered off course, culminated in 1204 by capturing and sacking Constantinople and establishing the Latin Empire. As a result of this conquest, considerable Byzantine plunder was brought back to Venice. This plunder included the gilt bronze horses from the Hippodrome of Constantinople, which were originally placed above the entrance to St Mark's cathedral in Venice, although the originals have been replaced with replicas and are now stored within the basilica. Following the fall of Constantinople, the former Roman Empire was partitioned among the Latin crusaders and the Venetians. Venice subsequently carved out a sphere of influence in the Mediterranean known as the Duchy of the Archipelago, and captured Crete.[22]

The seizure of Constantinople would ultimately prove as decisive a factor in ending the Byzantine Empire as the loss of the Anatolian themes after Manzikert. Although the Byzantines recovered control of the ravaged city a half century later, the Byzantine Empire was terminally weakened, and existed as a ghost of its old self until Sultan Mehmet The Conqueror took the city in 1453.

  

View of San Giorgio Maggiore Island from St. Mark's Campanile

Situated on the Adriatic Sea, Venice always traded extensively with the Byzantine Empire and the Muslim world. By the late 13th century, Venice was the most prosperous city in all of Europe. At the peak of its power and wealth, it had 36,000 sailors operating 3,300 ships, dominating Mediterranean commerce. During this time, Venice's leading families vied with each other to build the grandest palaces and support the work of the greatest and most talented artists. The city was governed by the Great Council, which was made up of members of the noble families of Venice. The Great Council appointed all public officials and elected a Senate of 200 to 300 individuals. Since this group was too large for efficient administration, a Council of Ten (also called the Ducal Council or the Signoria), controlled much of the administration of the city. One member of the great council was elected "Doge", or duke, the ceremonial head of the city, who normally held the title until his death.

The Venetian governmental structure was similar in some ways to the republican system of ancient Rome, with an elected chief executive (the Doge), a senate-like assembly of nobles, and a mass of citizens with limited political power, who originally had the power to grant or withhold their approval of each newly elected Doge. Church and various private properties were tied to military service, although there was no knight tenure within the city itself. The Cavalieri di San Marco was the only order of chivalry ever instituted in Venice, and no citizen could accept or join a foreign order without the government's consent. Venice remained a republic throughout its independent period, and politics and the military were kept separate, except when on occasion the Doge personally headed the military. War was regarded as a continuation of commerce by other means (hence, the city's early production of large numbers of mercenaries for service elsewhere, and later its reliance on foreign mercenaries when the ruling class was preoccupied with commerce).

  

Francesco Guardi, The Grand Canal, 1760 (Art Institute of Chicago)

The chief executive was the Doge, who theoretically held his elective office for life. In practice, several Doges were forced by pressure from their oligarchical peers to resign the office and retire into monastic seclusion when they were felt to have been discredited by perceived political failure.

Although the people of Venice generally remained orthodox Roman Catholics, the state of Venice was notable for its freedom from religious fanaticism and it enacted not a single execution for religious heresy during the Counter-Reformation. This apparent lack of zeal contributed to Venice's frequent conflicts with the Papacy. In this context, the writings of the Anglican Divine, William Bedell, are particularly illuminating. Venice was threatened with the interdict on a number of occasions and twice suffered its imposition. The second, most famous, occasion was in 1606, by order of Pope Paul V.

Venetian ambassadors sent home still-extant secret reports of the politics and rumours of European courts, providing fascinating information to modern historians.

The newly invented German printing press spread rapidly throughout Europe in the 15th century, and Venice was quick to adopt it. By 1482, Venice was the printing capital of the world, and the leading printer was Aldus Manutius, who invented the concept of paperback books that could be carried in a saddlebag. His Aldine Editions included translations of nearly all the known Greek manuscripts of the era.[23]

Decline

 

The Grand Canal in Venice

Venice's long decline started in the 15th century, when it first made an unsuccessful attempt to hold Thessalonica against the Ottomans (1423–1430). It also sent ships to help defend Constantinople against the besieging Turks (1453). After Constantinople fell to Sultan Mehmet II he declared war on Venice. The war lasted thirty years and cost Venice much of its eastern Mediterranean possessions. Next, Christopher Columbus discovered the New World. Then Portugal found a sea route to India, destroying Venice's land route monopoly. France, England and the Dutch Republic followed them. Venice's oared galleys were at a disadvantage when it came to traversing the great oceans, and therefore Venice was left behind in the race for colonies.

The Black Death devastated Venice in 1348 and once again between 1575 and 1577.[24] In three years the plague killed some 50,000 people.[25] In 1630, the plague killed a third of Venice's 150,000 citizens.[26] Venice began to lose its position as a center of international trade during the later part of the Renaissance as Portugal became Europe's principal intermediary in the trade with the East, striking at the very foundation of Venice's great wealth, while France and Spain fought for hegemony over Italy in the Italian Wars, marginalising its political influence. However, the Venetian empire was a major exporter of agricultural products and, until the mid-18th century, a significant manufacturing center.

Modern age[edit source | editbeta]

  

A map of the sestiere of San Marco

The Republic lost independence when Napoleon Bonaparte conquered Venice on 12 May 1797 during the First Coalition. The French conqueror brought to an end the most fascinating century of its history: during the 18th century, Venice became perhaps the most elegant and refined city in Europe, greatly influencing art, architecture and literature. Napoleon was seen as something of a liberator by the city's Jewish population, although it can be argued they had lived with fewer restrictions in Venice. He removed the gates of the Ghetto and ended the restrictions on when and where Jews could live and travel in the city.

Venice became Austrian territory when Napoleon signed the Treaty of Campo Formio on 12 October 1797. The Austrians took control of the city on 18 January 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia. In 1848–1849, a revolt briefly reestablished the Venetian Republic under Daniele Manin. In 1866, following the Third Italian War of Independence, Venice, along with the rest of the Veneto, became part of the newly created Kingdom of Italy.

During the Second World War, the historic city was largely free from attack, the only aggressive effort of note being Operation Bowler, a successful Royal Air Force precision strike on the German naval operations there in March 1945. The targets were destroyed with virtually no architectural damage done the city itself.[27] However the industrial areas in Mestre and Marghera and the railway lines to Padua, Trieste and Trento were repeatedly bombed.[28] On 29 April 1945, New Zealand troops under Freyberg reached Venice and relieved the city and the mainland, which were already in partisan hands.[29]

Subsidence[edit source | editbeta]

Further information: Acqua alta

  

Acqua alta or high water in Venice.

  

Venice and surroundings in false colour, from Terra. The picture is oriented with North at the top.

Foundations

The buildings of Venice are constructed on closely spaced wooden piles. Most of these piles are still intact after centuries of submersion. The foundations rest on the piles, and buildings of brick or stone sit above these footings. The piles penetrate a softer layer of sand and mud until they reach a much harder layer of compressed clay.

Submerged by water, in oxygen-poor conditions, wood does not decay as rapidly as on the surface.

Most of these piles were made from trunks of alder trees,[30] a wood noted for its water resistance.[31] The alder came from the westernmost part of today's Slovenia (resulting in the barren land of the Kras region), in two regions of Croatia, Lika and Gorski kotar (resulting in the barren slopes of Velebit) and south of Montenegro.[citation needed] Leonid Grigoriev has stated that Russian larch was imported to build some of Venice's foundations.[32] Larch is also used in the production of Venice turpentine.[33]

History[edit source | editbeta]

The city is often threatened by flood tides pushing in from the Adriatic between autumn and early spring. Six hundred years ago, Venetians protected themselves from land-based attacks by diverting all the major rivers flowing into the lagoon and thus preventing sediment from filling the area around the city. This created an ever-deeper lagoon environment.

In 1604, to defray the cost of flood relief, Venice introduced what could be considered the first example of a 'stamp tax'. When the revenue fell short of expectations in 1608, Venice introduced paper with the superscription 'AQ' and imprinted instructions, which was to be used for 'letters to officials'. At first, this was to be a temporary tax, but it remained in effect until the fall of the Republic in 1797. Shortly after the introduction of the tax, Spain produced similar paper for general taxation purposes, and the practice spread to other countries.

During the 20th century, when many artesian wells were sunk into the periphery of the lagoon to draw water for local industry, Venice began to subside. It was realised that extraction of water from the aquifer was the cause. The sinking has slowed markedly since artesian wells were banned in the 1960s. However, the city is still threatened by more frequent low-level floods (called Acqua alta, "high water") that creep to a height of several centimetres over its quays, regularly following certain tides. In many old houses, the former staircases used to unload goods are now flooded, rendering the former ground floor uninhabitable.

Some recent studies have suggested that the city is no longer sinking,[34][35] but this is not yet certain; therefore, a state of alert has not been revoked. In May 2003, the Italian Prime Minister Silvio Berlusconi inaugurated the MOSE project (Modulo Sperimentale Elettromeccanico), an experimental model for evaluating the performance of hollow floatable gates; the idea is to fix a series of 78 hollow pontoons to the sea bed across the three entrances to the lagoon. When tides are predicted to rise above 110 centimetres, the pontoons will be filled with air, causing them to float and block the incoming water from the Adriatic Sea. This engineering work is due to be completed by 2014.[36]

Geography

  

Sestieri of Venice:

Cannaregio

Castello

Dorsoduro

San Marco

San Polo

Santa Croce

The historical city is divided into six areas or "sestiere" (while the whole comune (municipality) is divided into 6 boroughs of which one is composed of all 6 sestiere). These are Cannaregio, San Polo, Dorsoduro (including the Giudecca and Isola Sacca Fisola), Santa Croce, San Marco (including San Giorgio Maggiore) and Castello (including San Pietro di Castello and Sant'Elena). Each sestiere was administered by a procurator and his staff. Nowadays each sestiere is a statistic and historical area without any degree of autonomy.

These districts consist of parishes – initially seventy in 1033, but reduced under Napoleon and now numbering just thirty-eight. These parishes predate the sestieri, which were created in about 1170.

Other islands of the Venetian Lagoon do not form part of any of the sestieri, having historically enjoyed a considerable degree of autonomy.

Each sestiere has its own house numbering system. Each house has a unique number in the district, from one to several thousand, generally numbered from one corner of the area to another, but not usually in a readily understandable manner.

 

Climate

 

According to the Köppen climate classification, Venice has a Humid subtropical climate (Cfa), with cool winters and very warm summers. The 24-hour average in January is 2.5 °C (36.5 °F), and for July this figure is 22.7 °C (72.9 °F). Precipitation is spread relatively evenly throughout the year, and averages 801 millimetres (31.5 in).

Explore: 5-15-09 (Front Page)

 

By the way, I just started a new group called The Healing Place. Please stop by and see what it is all about: www.flickr.com/groups/the_healing_place/ (If it interests you, please join. We would love to have you.)

 

This photo was taken in the old Mayfield Cemetery on Wilson Mills Road in Mayfield Village, Ohio. The cemetery opened in 1834. This is a shot of an old water pump with a gravestone to the right in the background.

 

Obvious means: 1) being in the way or in front; and 2) easily discovered, seen, or understood. This photograph suggests that we go beyond the obvious places in our lives to discover what lies beyond. Our obvious places are generally where we live our lives. Our obvious places are filled with our habits (good and bad), ritualistic behaviors, usual attitudes and feelings, the roles we play, and other ways of being. At times, the obvious in our lives draws our attention away from other things to which we should pay attention.

 

For example, why do you enjoy photography? Is it simply because you enjoy taking and looking at pictures? Are you drawn to (perhaps even addicted to) certain things in your life and find it enjoyable to photograph them? Does photography make you feel creative? Does it give you satisfaction to master the technical skills of photography? Does photography help you feel in greater control of your life? Does photography help you hold onto memories or lost parts of yourself you don't want to slip away? Does photography empower your ego and make you feel worthwhile? Does photography help you to pay closer attention to your daily life, learn from those things and grow? Is your camera a protective shield that allows you to feel safe in the world? (That is you can hide behind the camera.) Is photography a vehicle for healing yourself and others? Is photography a way for you to collect life rather than live it? Is photography a social medium connecting you with other people? Is photography a way for you to share your world, including those treasured parts of your life, with others?

Controlled Chaos Set

 

Let's brighten things up a bit, shall we? Decided to try a splash shot somewhat a bit differently than how I've done them before. Crawled out onto my fire escape and used nothing by sun light for this one.

(341/365)

 

____________

Blog | Facebook

Coyote, fox & wolf control: www.nysun.com/article/69938?page_no=1

 

I read this article in my local paper a couple days ago. If you have time, please click on the link and read. I was totally unaware of this kind of "coyote control". Although the man who got sick lives in Utah, I'm aware that this poison is used across the USA. I am not a rancher,,,,but hey...there has to be a better way to protect their sheep. Perhaps recruit a couple cattle dogs to herd the sheep in at night. And put Llamas/Alpacas out with the sheep during the day~they are very protective of livestock and i have seen them used locally to keep predators away].

 

Update: Scroll down to comment by flickr member: csnyder103 and click on link provided!

 

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277

 

Snake charmers and bush farmers. I am addressing you on a serious issue: we need to control our trouser snakes. These snakes get around, spread venoms and are always on the prowl; above all, they are very naughty. Control your snake, and put them into sleep.

 

How to control your trouser snake

 

1. Wait for it to nest in your bush

 

2. If stirred, leave it in peace

 

3. It will surely come around and have a peek once in a while

 

4. You may choose to control it telepathically

 

5. If your snake is not deterred, beat it repeatedly until it backs down

 

6. Or gently stroke its head, until it is heavily hypnotised

 

7. Once they regurgitate, they will sleep

 

8. Perhaps you may also let your snake exercise and exhaust it

 

9. Find a certain cave, best warm, moist and uninhibited

 

10. Let your snake slither in, does its push ups or whatever exercise

 

11. In approximately 2 seconds to 2 hours, it will be tired enough

 

12. Homewards it will come

 

13. Obviously, you may get rid of them once and for all

 

14. Visit a local snakemonger, have your snake removed and live happily ever after, alone

  

This Slytherin advice is brought to you by Linus & The Feel Good Factory.

Click this link to learn more about this animal available for adoption at San Francisco Animal Care and Control. SFACC Adoption Center

Title: The American florist : a weekly journal for the trade

Identifier: americanfloristw20amer

Year: 1885 (1880s)

Authors: American Florists Company

Subjects: Floriculture; Florists

Publisher: Chicago : American Florist Company

Contributing Library: UMass Amherst Libraries

Digitizing Sponsor: Boston Library Consortium Member Libraries

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

912 The American Florist. Mar, J, were not too heavily drenched, the bloom on the foliage was discolored but little. Open flowers should be gathered before attempting to use the soap solution. A home-made soap made of clean lard and the best potash lye would answer just as well as Ivory soap. Fish oil soaps will kill the red spider but they have the dis- advantage of discoloring the foliage and in addition give the plants a bad odor. The Ohio Agricultural Experiment Station has shown that good potash soaps are fungicides, preventing leaf curl of the peach. (Bulletin 103, p. 136; also Bulletin 104, p. 202.) Another measure which is absolutely safe to use on the carnation when flowering, andjust as destructive to the red spider as water, or salt and water, is the ammoni- acal solution of copper carbonate, called cupram. This is a valuable fungicide, which does not soil the foliage in the least. By syringing the plants twice a week with this solution the required amount of moisture to check the development of the red spider can be furnished without supplying a forcing bed for rust and the spot diseases. It is made as follows: To one volume of 26 degrees ammonia add seven volumes of water. If one quart of ammonia is used, suspend five ounces of copper carbonate in the mix- ture of water and ammonia; cover, and allow to stand over night. For use take one quart of the clear solution and add four gallons of water. Where the thrips has once gotten a foothold in the buds of the carnation, the only method of controlling him is to carefully gather all the buds which show his work, before they open and destroy them. No old, soiled flowers should be left in the benches. In conclusion, I would recommend the following measures to prevent and con- trol the three worst pests that trouble carnation growers: If possible select land that has grown corn or potatoes one year after being in sod. Avoid having old hedges and rubbish patches on the margins of the carnation field. These harbor red spider and greenfly. Never plant carnations under or around trees. The latter harbor red spider. Do not grow cabbage or related plants by the side of the carnation. These furnish abundant crops of thrips. At time of transplanting use heroic measures. First dip the plants in a soap solution, being careful not to get the solution on the roots. This solution can be made as already recommended from Ivory soap, or from Good's potash soap, Owen's U. S. Standard Caustic Potash soap, or even from a home-made fish-oil soap. Oi the latter use one gallon of soap to thirty- two gallons of water. The home-made fish-oil soapis made as follows: Caustic potash, one pound; fish-oil, three pints; soft water, two gallons. Dissolve lye in the water, then add oil and stir. Boil from twenty minutes to one hour. As soon as plants are established in benches, syringe thoroughly with the Ivory soap solution, giving a second treatment ten days later. The above treatment should free the plants of all three pests, but a later treatment may be needed for greenfly which have found their way into the house through the ventilators. If these are discovered while the plants are short and not flowering to any extent, fumi- gate with hydrocyanic acid gas, using one-half ounce of ninety-eight per cent of cyanide of potash, one ounce of sulphuric acid and three ounces of water to every 1,200 cubic feet of space in the house. Allow gas to act all night. A week or ten days later repeat the fumigation. Remember that this gas is one of the most deadly poisons known; be sure the workmen realize this fact. After all the above precautions have been taken, do not store any plants under the benches. The florist who becomes convinced that he must fight these three pests each fall from the start, will be the one who will have the best success. The worst of the transient pests are the variegated cutworm (Peridroma saucia) and the cabbage looper (Plusia Bras- sica'). The former, while small, is a climbing cutworm which feeds at night and hides in the loose soil during the day. This is one of the most common of the cutworms. It is found in nearly all countries, and usually occurs in forcing houses more frequently than other cut- worms. In color it is a sooty brown with a yellow stripe mottled with red on each side of its body. The head is red- dish yellow. The adult insect, or moth, is very indistinctly marked. Many writers have assumed that this cutworm is carried into the house in the soil. The fact that they occur in forcing houses more frequently than other species of cut- worms, combined with the fact that they are often found in considerable numbers in spots throughout a house, indicates that the eggs are deposited on the carna- tions by the parent moth, or "miller," after transplanting. The latter can easily fly into houses on cloudy days and early in the evening during the months of September and October. The young worms climb to the buds, eat holes through the calyx and then devour all the floral parts. The cabbage looper is shown in the adult and caterpillar stage on Plate VI. The caterpillar is a light green worm about one and one-half inches long, when full grown, which can always be recog- nized by its habit of looping the body when traveling. The moth or "miller" has mottled, dark brown head and wings. Two white spots on each fore wing some- times resemble the figure 8. The hind wings are slate color, varying to tawny, while the body is covered with gray and tawny red hairs. This pest, like the variegated cut worm, feeds usually at night, on the buds and in the same man- ner. During the day they attach them- selves to a stem of the plant by means of their caudal legs and stand at the same angle as do the leaves. This Iiabit requires sharp eyes to find them. They can be carried into the house on the plants, but usually the female moth finds her way into the house through open ventilators. They are on the wing all the fall, especially on cloudy days and late in the afternoon. Like the cut worm moth they are able to lay two or three hundred eggs, hence one fertile moth can very thoroughly distribute eggs to all parts of the house. The best means of combating either or both of the above pests is to hunt for the caterpillars at night with a lantern and hand-pick them. Although some have recommended the use of Paris green, it is impossible to get enough poison on the buds of the carnation to kill the worms. After the cut worms get too large to climb, a poisoned bait made by mixing one part green arsenite with fifteen parts of middlings or dry bran, can be used to advantage. This should be distributed in small heaps around the plants where the cut worms are at work. As far as known the white grubs never occur in the forcing house except as they are carried in with the soil. The only way to get rid of them is to dig them out. The rose leaf tyer (Cacoecia rosaceana) and the chrysanthemum leaf skeletonizer (Phlyctaenia ferrugalis) sometimes occur on carnations where roses and chrysan- themums have been grown in the same house. These pests will attack the car- nations after the other plants have been removed. When they are found work- ing in a house hand picking must be resorted to. A small green worm, probably a tertri- cid, which ties a number of leaves together with a web, is sometimes carried from the field into the house with plants. The adult of this worm has not been bred, hence its scientific name is not known, nor do we know what other plants it feeds upon in the field. Thus far it has been gotten rid of easily by hand picking. A fly about one-half as large as the house fly, is frequently seen in carnation houses during the winter. This has been

 

Text Appearing After Image:

PLATE v.—1- Carnation buds injured with hydrocyanic acid gas two weeks :ifiir trcatmi'nt. 3. Size of injured buds at time of treatment. 3. Size of uninjured buds at time of t eatment.

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Up The Banner Photography , Noel Moore.

 

Copyright © All Rights Reserved.

Images are the property of Up The Banner Photography

and may not be reproduced without permission.

  

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Portrait photography or portraiture is a photography of a person or group of people that displays the expression, personality, and mood of the subject. Like other types of portraiture, the focus of the photograph is usually the person's face, although the entire body and the background may be included.

 

History

 

Portrait photography has been around since the invention and popularization of the camera. The relatively low cost of the daguerreotype in the middle of the 19th century led to its popularity for portraiture. The style of these early works reflected the technical challenges associated with long exposure times and the painterly aesthetic of the time. Subjects were generally seated against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors. Advances in photographic equipment and techniques developed, gave photographers the ability to capture images with shorter exposure times and allowed photographers to take portrait outside of a studio.

[edit] Lighting for portraiture

Winter portrait of a 10-month old baby girl

 

When portrait photographs are composed and captured in a studio, the professional photographer has control over the lighting of the composition of the subject and can adjust direction and intensity. There are many ways to light a subject's face, but there are several common lighting plans which are easy enough to describe.

[edit] Three-Point Lighting

 

One of the most basic lighting plans is called three-point lighting. This plan uses three (and sometimes four) lights to fully model (bring out details and the three-dimensionality of) the subject's features. The three main lights used in this light plan are as follows:

[edit] The Key light

 

Also called a main light, the key light is usually placed to one side of the subject's face, between 30 and 60 degrees off center and a bit higher than eye level. The key light is the brightest light in the lighting plan.

[edit] The Fill light

 

Placed opposite the key light, the fill light fills in or softens the shadows on the opposite side of the face. The brightness of the fill light is usually between 1/3 and 1/4 that of the key light. This is expressed as a ratio as in 3:1 or 4:1. When the ratio is 3:1 this is sometimes called Kodak lighting since this was the ratio suggested by Kodak in the instructional booklets accompanying the company's early cameras.

 

The purpose of these two lights is to mimic the natural light created by placing a subject in a room near a window. The daylight falling on the subject through the window is the Key light and the Fill light is reflected light coming from the walls of the room. This type of lighting can be found in the works of hundreds of classical painters and early photographers and is often called Rembrandt lighting.

[edit] The Back light

 

Also called a rim light or hair light, the rim light (the third main light in the three-point lighting plan) is placed behind the subject, out of the picture frame, and often rather higher than the Key light or Fill. The point of the rim light is to provide separation from the background by highlighting the subject's shoulders and hair. The rim light should be just bright enough to provide separation from the background, but not as bright as the key light.

 

Sometimes the rim light is set just off to the side, on the fill light side. This can add edge detail to the shadowed side of your model's face. This can add the effect of having a kicker light using only the three basis lights of three point lighting.

[edit] The Kicker

 

The "fourth light" in three point lighting, a kicker is a small light, often heavily gobo-ed, snooted or barn doored to limit its coverage, that adds a bright edge light on the fill light side of your model's face. The placement and brightness of a kicker is a matter of taste and technique. A kicker can also a light used to kick start another light.

[edit] Butterfly lighting

 

Butterfly lighting uses only two lights. The Key light is placed directly in front of the subject, often above the camera or slightly to one side, and a bit higher than is common for a three-point lighting plan. The second light is a rim light. Often a reflector is placed below the subject's face to provide fill light and soften shadows.

 

This lighting can be recognized by the strong light falling on the forehead, the bridge of the nose and the upper cheeks, and by the distinct shadow below the nose which often looks rather like a butterfly and thus provides the name for this lighting plan. Butterfly lighting was a favourite of famed Hollywood portraitist George Hurrell which is why this style of lighting is often called Paramount lighting.

[edit] Accessory lights

 

These lights can be added to basic lighting plans to provide additional highlights or add background definition.

[edit] The Kicker

 

A kicker is a small light, often made directional through the use of a snoot, umbrella, or softbox. The kicker is designed to add highlights to the off side of the subject's face, usually just enough to establish the jaw line or edge of an ear. The kicker should thus be a bit brighter than the fill light, but not so bright it over fills the off side of the face. Many portraitists choose not to use a kicker and settle for the three main lights of the standard plans.

[edit] Background lights

 

Not so much a part of the portrait lighting plan, but rather designed to provide illumination for the background behind the subject, background lights can pick out details in the background, provide a halo effect by illuminating a portion of a backdrop behind the subject's head, or turn the background pure white by filling it with light.

[edit] Other lighting equipment

 

Most lights used in modern photography are a flash of some sort. The lighting for portraiture is typically diffused by bouncing it from the inside of an umbrella, or by using a soft box. A soft box is a fabric box, encasing a photo strobe head, one side of which is made of translucent fabric. This provides a softer lighting for portrait work and is often considered more appealing than the harsh light often cast by open strobes. Hair and background lights are usually not diffused. It is more important to control light spillage to other areas of the subject. Snoots, barn doors and flags or gobos help focus the lights exactly where the photographer wants them. Background lights are sometimes used with color gels placed in front of the light to create coloured backgrounds.

[edit] Windowlight Portraiture

Window light used to create soft light to the portrait

 

Windows as a source of light for portraits have been used for decades before artificial sources of light were discovered. According to Arthur Hammond, amateur and professional photographers need only two things to light a portrait: a window and a reflector.[1] Although window light limits options in portrait photography compared to artificial lights it gives ample room for experimentation for amateur photographers. A white reflector placed to reflect light into the darker side of the subject's face, will even the contrast. Shutter speeds may be slower than normal, requiring the use of a tripod, but the lighting will be beautifully soft and rich.[2]

 

The best time to take window light portrait is considered to be early hours of the day and late hours of afternoon when light is more intense on the window. Curtains, reflectors, and intensity reducing shields are used to give soft light. While mirrors and glasses can be used for high key lighting. At times colored glasses, filters and reflecting objects can be used to give the portrait desired color effects. The composition of shadows and soft light gives window light portraits a distinct effect different from portraits made from artificial lights.

 

While using window light, the positioning of the camera can be changed to give the desired effects. Such as positioning the camera behind the subject can produce a silhouette of the individual while being adjacent to the subject give a combination of shadows and soft light. And facing the subject from the same point of light source will produce high key effects with least shadows.

[edit] Styles of portraiture

 

There are many different techniques for portrait photography. Often it is desirable to capture the subject's eyes and face in sharp focus while allowing other less important elements to be rendered in a soft focus. At other times, portraits of individual features might be the focus of a composition such as the hands, eyes or part of the subject's torso.

 

Additionally another style such as head shot has came out of the portraiture technique and had become a style on its own.

[edit] Approaches to Portraiture

 

There are essentially four approaches that can be taken in photographic portraiture — the constructionist, environmental, candid and creative approaches. Each approach has been used over time for different reasons be they technical, artistic or cultural. The constructionist approach is when the photographer in their portraiture constructs an idea around the portrait — happy family, romantic couple, trustworthy executive. It is the approach used in most studio and social photography. It is also used extensively in advertising and marketing when an idea has to be put across. The environmental approach depicts the subject in their environment be that a work, leisure, social or family one. They are often shown as doing something, a teacher in a classroom, an artist in a studio, a child in a playground. With the environmental approach more is revealed about the subject. Environmental pictures can have good historical and social significance as primary sources of information. The candid approach is where people are photographed without their knowledge going about their daily business. Whilst this approach taken by the paparazzi is criticized and frowned upon for obvious reasons, less invasive and exploitative candid photography has given the world superb and important images of people in various situations and places over the last century. The images of Parisians by Doisneau and Cartier-Bresson to name but two, demonstrate this. As with environmental photography, candid photography is important as a historical source of information about people. The Creative Approach is where digital manipulation (and formerly darkroom manipulation) is brought to bear to produce wonderful pictures of people. It is becoming a major form of portraiture as these techniques become more widely understood and used.

[edit] Lenses

 

Lenses used in portrait photography are classically fast, medium telephoto lenses, though any lens may be used, depending on artistic purposes. See Canon EF Portrait Lenses for Canon lenses in this style; other manufacturers feature similar ranges. The first dedicated portrait lens was the Petzval lens developed in 1840 by Joseph Petzval. It had a relatively narrow field of view of 30 degrees, a focal length of 150mm, and a fast f-number in the f/3.3-3.7 range.

 

Classic focal length is in the range 80–135mm on 135 film format and about 150-400mm on large format, which historically is first in photography. Such a field of view provides a flattering perspective distortion when the subject is framed to include their head and shoulders. Wider angle lenses (shorter focal length) require that the portrait be taken from closer (for an equivalent field size), and the resulting perspective distortion yields a relatively larger nose and smaller ears, which is considered unflattering and imp-like. Wide-angle lenses – or even fisheye lenses – may be used for artistic effect, especially to produce a grotesque image. Conversely, longer focal lengths yield greater flattening because they are used from further away. This makes communication difficult and reduces rapport. They may be used, however, particularly in fashion photography, but longer lengths require a loudspeaker or walkie-talkie to communicate with the model or assistants.[3] In this range, the difference in perspective distortion between 85mm and 135mm is rather subtle; see (Castleman 2007) for examples and analysis.

 

Speed-wise, fast lenses (wide aperture) are preferred, as these allow shallow depth of field (blurring the background), which helps isolate the subject from the background and focus attention on them. This is particularly useful in the field, where one does not have a back drop behind the subject, and the background may be distracting. The details of bokeh in the resulting blur are accordingly also a consideration. However, extremely wide apertures are less frequently used, because they have a very shallow depth of field and thus the subject's face will not be completely in focus.[4] Thus, f/1.8 or f/2 is usually the maximum aperture used; f/1.2 or f/1.4 may be used, but the resulting defocus may be considered a special effect – the eyes will be sharp, but the ears and nose will be soft.

 

Conversely, in environmental portraits, where the subject is shown in their environment, rather than isolated from it, background blur is less desirable and may be undesirable, and wider angle lenses may be used to show more context.[5]

 

Finally, soft focus (spherical aberration) is sometimes a desired effect, particularly in glamour photography where the "gauzy" look may be considered flattering. The Canon EF 135mm f/2.8 with Softfocus is an example of a lens designed with a controllable amount of soft focus.

 

Most often a prime lens will be used, both because the zoom is not necessary for posed shots (and primes are lighter, cheaper, faster, and higher quality), and because zoom lenses can introduce highly unflattering geometric distortion (barrel distortion or pincushion distortion). However, zoom lenses may be used, particularly in candid shots or to encourage creative framing.[6]

 

Portrait lenses are often relatively inexpensive, because they can be built simply, and are close to the normal range. The cheapest portrait lenses are normal lenses (50mm), used on a cropped sensor. For example, the Canon EF 50mm f/1.8 II is the least expensive Canon lens, but when used on a 1.6× cropped sensor yields an 80mm equivalent focal length, which is at the wide end of portrait lenses.

  

cachemash tutorial

by H.Manon

 

Cachemashing is my name for a somewhat more controlled approach to what Daniel Temkin identified as the Photoshop Truncating Glitch—an approach to image glitching that exploits a problem with early versions of Photoshop. Cachemashing is in my view a relatively pure or true form of glitching, because my control over the outcome is limited almost exclusively to the selection of input files, and to standard user-end changes to Photoshop settings. Once these decisions are made, Photoshop glitches a truncated jpeg file in ways that are difficult and at times impossible to predict. However, what makes this technique compelling is that, through practice, one may nonetheless develop and refine a personal approach, even if the final cause of the glitch remains opaque—a mystery taking place behind-the-scenes of Photoshop’s interface.

 

I want to preface what follows by saying that I am not a programmer. Although I am fairly savvy as a Photoshop user, my understanding of the program’s internal workings are almost nil. I'm sure if I knew more about the causes of this technique I would be less interested in it. The fun here is really in the "not knowing why."

 

In this tutorial I mainly describe how I arrived at the image above (a glitched “Currier and Ives” style print of a duck hunt). These specific techniques could be altered in numerous ways and still produce the effect of a cachemash.

 

What you need to cachemash:

 

1) Photoshop 6.0 or earlier. I am running Photoshop Elements 1.0, which is the Elements version that corresponds with PS 6.0. My system is Windows XP, and I know that the technique also works when Photoshop 6.0 (or PE 1.0) is installed on Vista. I have not tested this technique on any other OS.

 

2) A truncated jpeg file in which the point of truncation appears close to the top, resulting in a mostly “blank” image when opened in PS. Jpegs are easy to truncate using code editing programs like Notepad++. My approach is to open the jpeg in Notepad++, delete a couple of lines of data somewhere just below the file header, save, and then open in PS. You have succeeded when you open the file and receive the golden message “This document may be damaged (the file may be truncated or incomplete). Continue?” Sometimes it takes ten or so tries to successfully truncate the file, rendering it partially damaged, but not too damaged to open.

 

3) At least one non-truncated image file that you want to form the mashed-up content of the final image. These are the files you will load into the PS cache.

 

4) A computer that has sufficient speed and RAM to process the size of image you want to produce.

 

The procedure:

 

1) Open a truncated jpeg in Photoshop. The truncated file I used for the “duck hunt” cachemash is 4500 x 4822 pixels @ 300 ppi. The compression rate of the truncated file does not seem to matter. The original image content also does not seem to matter, since the truncation renders it blank.

 

2) The message pops up: “This document may be damaged (the file may be truncated or incomplete). Continue?” Click OK. You will see a blacked-out image, with perhaps a tiny line of color at the top (depending on how near to the top you truncated the file).

 

3) Now is when you can get creative, in a fascinatingly limited way. Open any file or set of files. Manipulate them as usual in PS, or not. Then close them. For the “duck hunt” image, I pre-sized a jpeg at a width of 8984 (almost but not quite twice the width of the truncated file). This is the trick to obtaining something like a “full frame” cachemash in which the cached image is fully or mostly visible in the final version.

 

4) Use the filter called Gaussian Blur on the truncated file. A blur radius setting of 0.1 pixels is ideal. This procedure “fixes” the mashed image, in the photographic sense of the word; it stabilizes the data which, up to now, tended to load randomly into the void space of truncated file. The result is a mash-up of certain files and parts of files that have been temporarily stored in the PS cache. (Note: I use Gaussian Blur at 0.1 because of all the possible filters, this one seems to least alter the final image, while still “fixing” it. However virtually every PS filter will "fix" a truncated file).

 

5) The truncated file is now cachemashed. If you like the results, save to the file format of your choice.

 

6) Undoing the Gaussian Blur returns the truncated file to its volatile state.

 

7) Redoing the Gaussian Blur will give new results each time. However (and this is what makes the technique really interesting), the more you undo and redo, the more your “fixed” images also become part of the PS cache. You might think of this as “caching the cache.” If you undo and redo fifty times, the image will be really minced up. But, if at any point you open a new non-truncated jpeg in PS, that jpeg will become part of the cache, and may appear largely in tact as a portion or layer of the mashed image.

 

Some other tips and observations:

 

1) In the process of doing and undoing, you will see that when the PS cache attempts to “fill in” the truncated image, it does so in a cycle. The length of the cache cycle is controlled by the size of the cache you elect in Preferences > Memory & Image Cache. I mostly keep cache levels set at 8 (this is max) and RAM used by PS set at 100%. Striking embroidery-like effects can be achieved by reducing RAM used by PS down to 15% or so.

 

2) Incorporating high contrast RGB images (color or b/w, doesn’t matter) yields brighter colors in the final “fixed” version. Low contrast images produce subtler, more muted colors.

 

3) Introducing Inverted (i.e. negativized) images to the cache produces interesting results, as do images to which Gradient Map has been applied.

 

4) It is very unusual to produce a final cachemash that is grayscale, but it sometimes happens.

 

5) The non-truncated sliver of the truncated file will appear as a black band at the top of the final “fixed” version. I usually crop this out, but this is the only post-processing I do. All of the other effects in images I have posted to Flickr happened prior to the moment of glitching, which I take to be the moment at which PS “fixes” the images.

 

6) It is possible to create the same cachemash twice. Just open the same files in the same order with the same settings on the same machine. This suggests that there is nothing random about cachemashing. At the same time, if you begin by caching an image that is even one pixel larger or smaller, the results after several cycles of do-and-undo could be radically different.

 

7) If you overlay the PS crop tool on top of a truncated file, and there is data in the cache, the space within the cropped area will weirdly animate. When you press “crop,” the animation will stop because the image is now fixed.

 

8) When the final colors you achieve are saturated reds, blues and greens, it is sometimes possible to experience the optical illusion called chromostereopsis.

 

I will continue to add observations on this page as they come to me.

 

Good luck!

HM

 

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