a bedroom and bathroom 
Thursday, December 31, 2009
Tuesday, December 29, 2009
Tuesday, September 15, 2009
Women Wearing Garters
http://www.bellunovirtuale.com/menuprati.html?x=51&y=45
linked to this site and see the wonderful Photo of Renato Borthwick says: "In a world where information will always come in greater quantities, faster and more chaotic, I stopped to contemplate a mountain, flowery meadow, a river and an old barn up there on My montagne.Ho tried for many years to collect these sentiments in some panoramic photos some day have become many, many, almost as if to create a virtual mosaic of my country ...
As it is, as I would like him to stay .. " 
linked to this site and see the wonderful Photo of Renato Borthwick says: "In a world where information will always come in greater quantities, faster and more chaotic, I stopped to contemplate a mountain, flowery meadow, a river and an old barn up there on My montagne.Ho tried for many years to collect these sentiments in some panoramic photos some day have become many, many, almost as if to create a virtual mosaic of my country ...
As it is, as I would like him to stay .. "
Wednesday, September 2, 2009
How To Repair Leather Sofa Seam?
geology
Geological
By Hugh Scortegagna
taken from the" Path Frassati "In the Veneto
ideal path that we follow in this discussion, we will enter into contact with almost all the formations that characterize the Comelico-Sappada. Leaving behind the great mountains of the Group dolomite Popèra, we have before us a green valley, where the curved and rounded shapes of the hills, now covered by forest, indicate that we face in the rocks that can be brittle and or ancient. We know from school knowledge, that the mountains are older and appear to be lower. This is partly true: but we must also take into account the lithology, such as type of rock. In our case, the information you gave us is correct. We are facing mainly from crystalline rocks (metamorphic), consisting predominantly of phyllite and schist. This is the metamorphic basement of pre-Carboniferous (Paleozoic) and represent the oldest rocks in this area, but also of all rocks outcropping in Italy (460M.a. ago). This crystalline basement is what is left to witness Hercynian orogeny. Rounded in the case where less inclined and pendants were placed in residential areas, some as a mirror to Danta Costalissoio, Costalta, etc..
The valley floor, flowing with rather abundant, Piave, is the physical line of separation between the basement metamorphic rocks and sedimentary rocks such as limestone and dolomite that form the backbone of the platform base of the Group of Brentoni and Third. Rocks formed from sediments deposited in the Upper and Middle Triassic, about 200 Mafa. (Mesozoic Era) when the area was an area completely covered with sea water not too deep where living organisms fixers and developers carbonic platforms such as algae, sponges and poor corals. This type of rock with us for everything the first part once you leave the valley, not far from Campolongo. During the descent of St. Stephen can see the sandstone formations known as the Val Gardena (red) and the Bellerophon Formation (dark limestones), which struck on, give off a characteristic odor of bitumen. They are formations that mark the transition between the Age of Primary (Paleozoic) and Secondary (Mesozoic) and are characteristic of a transition environment between the sea and the mainland. The stretch that runs from Sapphire to Val Visdende shows us a place of great charm, while offering panoramic views and landscape relief. It is built along the valley from the waters of the Piave (who was born a little further upstream in the beautiful white pyramid of Peralba) made clear in part metamorphosed limestone of Devonian age (about 400 Mafa) Primary or Palaeozoic Era. At the foot of this "monolith" are terrigenous rocks of Education of the Valley Visdende. This is a typical cytogenetic formation of a marine environment rather deep, consisting of shales, siltstones silver gray-green and brownish gray, laminated and pleated affected by metamorphism of the Carboniferous, a typical training extremely friable and eroded, as to be a predisposing Landscape morphology softer, less structured than the groups that are more to the south. Fabulous views of the upper Val Visdende, where front dominate Mount slab, the ridge of Iron Mountain and Rinaldo formed mainly of limestone for the Landini (Middle Triassic), formed from sediments in a marine environment where the platform was considerable subsidence, thus a considerable vertical growth. These formations are called explicitly Formation of Dolomite and Wefen Serla inf. Two formations, these, which are significant outcrops in this part of the Veneto. In detail the Werfen Formation (247-240 Mafa) consists of marly limestone, grays and blacks and well-stratified oolitic limestones and siltstones alternating red and green sandstone containing the fossils as Claraia Clarae (bivalves) and the cost Naticella (gastropods) . The Dolomite
Serla inf. (240-238 Mafa) consists of dolomite and limestone in color from gray to white, with stratification indistinguishable. In the heart of Val Visdende you look at the mountains of the border, rather homogenized as tree and vegetation cover. A morphological uniformity due to the effect of their lithological nature rather friable and altered-as mentioned above-namely the formation of Val Visdende (Carboniferous Paleozoic) consists of shales and siltstones of deep waters. From the center of the green and lush valley Visdende you look at the complex and uneven Group Longerin mainly formed by limestone, dolomite and Werfen, sarl, Early Triassic, the environment and coastal cliffs. If you walk next to the densely layered outcrops and reddish and dark, you can find the evidence of the wave of battiglia: the classic ripple marks. Now you pass through the formations older than those that form the Crode Longerin, such as those of Val Gardena Sandstone and Bellerophon similar to those encountered by Dante down to Santo Stefano. Here outcrops are masked by a lush vegetation covering the slopes. From Forcella Zovo going down the Col di San Pietro Tamber to fall within the metamorphic basement, is mainly characterized by phyllite. The crossing of the extremely wide Comelico remained in Upper and Lower costs for a long stretch in share, walking over the metamorphic basement of phyllites. In this stretch the view over the valley as a vine is shown in all its grandeur and integrity stands out the broad framework of the mountains of Popera Group, (with lithology formed by limestone and dolomite of Ladin, about 230M.a.fa .) rather tough and hard walls that have high visibility and towering peaks when they were written pages of epic mountaineering Dolomites. The valley floor is covered with a series of moraines, masked by trees and shrubs of great interest. Walk along the wide valley siliciclastic sedimentary deposits from the dismantling of the surrounding mountains, mainly dolomitic limestone of Popera, molded by the ice that covered the valleys and then by water currents. Close to the Baths of Valgrande, positioned at a point that allows us to look beyond the barrier of forest, we can look to the north east, that tower that stands at the end of a grassy woods road which runs parallel to the Val Padola (Costa della Spina) . E 'a treasure of the area, Col Quaterna old volcanic chimney (neck) made a more resistant rock (lava) with respect to his surroundings (the volcano) that with time it is being formed of rocks smaltellato alterable, leaving only the testimony of the central chimney that reaches the altitude 2503m. In addition to the volcanic rocks of the Col Quaterna near the Passo di Monte Croce Comelico you can see one of the most beautiful and extensive outcrops of the sandstones of the Val Gardena (remember the case of red sandstone of fluvial origin arising from the decommissioning of platforms, predominantly volcanic, which emerge to the east, the red color shows, as well as the continental origin, a arid desert). 
Geological
By Hugh Scortegagna
taken from the" Path Frassati "In the Veneto
ideal path that we follow in this discussion, we will enter into contact with almost all the formations that characterize the Comelico-Sappada. Leaving behind the great mountains of the Group dolomite Popèra, we have before us a green valley, where the curved and rounded shapes of the hills, now covered by forest, indicate that we face in the rocks that can be brittle and or ancient. We know from school knowledge, that the mountains are older and appear to be lower. This is partly true: but we must also take into account the lithology, such as type of rock. In our case, the information you gave us is correct. We are facing mainly from crystalline rocks (metamorphic), consisting predominantly of phyllite and schist. This is the metamorphic basement of pre-Carboniferous (Paleozoic) and represent the oldest rocks in this area, but also of all rocks outcropping in Italy (460M.a. ago). This crystalline basement is what is left to witness Hercynian orogeny. Rounded in the case where less inclined and pendants were placed in residential areas, some as a mirror to Danta Costalissoio, Costalta, etc..
The valley floor, flowing with rather abundant, Piave, is the physical line of separation between the basement metamorphic rocks and sedimentary rocks such as limestone and dolomite that form the backbone of the platform base of the Group of Brentoni and Third. Rocks formed from sediments deposited in the Upper and Middle Triassic, about 200 Mafa. (Mesozoic Era) when the area was an area completely covered with sea water not too deep where living organisms fixers and developers carbonic platforms such as algae, sponges and poor corals. This type of rock with us for everything the first part once you leave the valley, not far from Campolongo. During the descent of St. Stephen can see the sandstone formations known as the Val Gardena (red) and the Bellerophon Formation (dark limestones), which struck on, give off a characteristic odor of bitumen. They are formations that mark the transition between the Age of Primary (Paleozoic) and Secondary (Mesozoic) and are characteristic of a transition environment between the sea and the mainland. The stretch that runs from Sapphire to Val Visdende shows us a place of great charm, while offering panoramic views and landscape relief. It is built along the valley from the waters of the Piave (who was born a little further upstream in the beautiful white pyramid of Peralba) made clear in part metamorphosed limestone of Devonian age (about 400 Mafa) Primary or Palaeozoic Era. At the foot of this "monolith" are terrigenous rocks of Education of the Valley Visdende. This is a typical cytogenetic formation of a marine environment rather deep, consisting of shales, siltstones silver gray-green and brownish gray, laminated and pleated affected by metamorphism of the Carboniferous, a typical training extremely friable and eroded, as to be a predisposing Landscape morphology softer, less structured than the groups that are more to the south. Fabulous views of the upper Val Visdende, where front dominate Mount slab, the ridge of Iron Mountain and Rinaldo formed mainly of limestone for the Landini (Middle Triassic), formed from sediments in a marine environment where the platform was considerable subsidence, thus a considerable vertical growth. These formations are called explicitly Formation of Dolomite and Wefen Serla inf. Two formations, these, which are significant outcrops in this part of the Veneto. In detail the Werfen Formation (247-240 Mafa) consists of marly limestone, grays and blacks and well-stratified oolitic limestones and siltstones alternating red and green sandstone containing the fossils as Claraia Clarae (bivalves) and the cost Naticella (gastropods) . The Dolomite
Serla inf. (240-238 Mafa) consists of dolomite and limestone in color from gray to white, with stratification indistinguishable. In the heart of Val Visdende you look at the mountains of the border, rather homogenized as tree and vegetation cover. A morphological uniformity due to the effect of their lithological nature rather friable and altered-as mentioned above-namely the formation of Val Visdende (Carboniferous Paleozoic) consists of shales and siltstones of deep waters. From the center of the green and lush valley Visdende you look at the complex and uneven Group Longerin mainly formed by limestone, dolomite and Werfen, sarl, Early Triassic, the environment and coastal cliffs. If you walk next to the densely layered outcrops and reddish and dark, you can find the evidence of the wave of battiglia: the classic ripple marks. Now you pass through the formations older than those that form the Crode Longerin, such as those of Val Gardena Sandstone and Bellerophon similar to those encountered by Dante down to Santo Stefano. Here outcrops are masked by a lush vegetation covering the slopes. From Forcella Zovo going down the Col di San Pietro Tamber to fall within the metamorphic basement, is mainly characterized by phyllite. The crossing of the extremely wide Comelico remained in Upper and Lower costs for a long stretch in share, walking over the metamorphic basement of phyllites. In this stretch the view over the valley as a vine is shown in all its grandeur and integrity stands out the broad framework of the mountains of Popera Group, (with lithology formed by limestone and dolomite of Ladin, about 230M.a.fa .) rather tough and hard walls that have high visibility and towering peaks when they were written pages of epic mountaineering Dolomites. The valley floor is covered with a series of moraines, masked by trees and shrubs of great interest. Walk along the wide valley siliciclastic sedimentary deposits from the dismantling of the surrounding mountains, mainly dolomitic limestone of Popera, molded by the ice that covered the valleys and then by water currents. Close to the Baths of Valgrande, positioned at a point that allows us to look beyond the barrier of forest, we can look to the north east, that tower that stands at the end of a grassy woods road which runs parallel to the Val Padola (Costa della Spina) . E 'a treasure of the area, Col Quaterna old volcanic chimney (neck) made a more resistant rock (lava) with respect to his surroundings (the volcano) that with time it is being formed of rocks smaltellato alterable, leaving only the testimony of the central chimney that reaches the altitude 2503m. In addition to the volcanic rocks of the Col Quaterna near the Passo di Monte Croce Comelico you can see one of the most beautiful and extensive outcrops of the sandstones of the Val Gardena (remember the case of red sandstone of fluvial origin arising from the decommissioning of platforms, predominantly volcanic, which emerge to the east, the red color shows, as well as the continental origin, a arid desert).
Friday, June 26, 2009
Friday, March 27, 2009
How To Fix Irongin Board
Simone Jack
Jack Simon was born in Turin in 1980. He lives and works in Turin, Bologna and the rest of Italy. He graduated in aesthetic philosophy at the University of Bologna with a thesis of Claudio Marra photography.
began photographing in 2000 when he receives the gift of the camera and the photographer's grandfather had bought during his birth. His grandfather had only time to give him a few essential tips before you get sick and die after a few months. For projects that take more, Simon is still using the same camera.
is divided between the development of personal work and the work of photographer for the cinema. He teaches photography courses and workshops.
your work and individual photographs were published in major Italian newspapers and magazines.
He has exhibited his work in 40 solo and group exhibitions, in Italy and abroad. E 'represented by the gallery of Contemporary Claudio Bottello Torino.Tra films that followed as a photographer,' Marriage and Other Disasters 'by Nina di Majo with Margherita Buy' One in two 'by Eugenio Cappuccio with Fabio Volo and Ninetto Davoli' 7 and 8 'of Avellino, Ficarra and Picone'L'ispettore Coliandro' by the Manetti Bros., based on the stories of Carlo Lucarelli 'Good and Evil' by Giorgio Serafini with Gian Marco Tognazzi.
began photographing in 2000 when he receives the gift of the camera and the photographer's grandfather had bought during his birth. His grandfather had only time to give him a few essential tips before you get sick and die after a few months. For projects that take more, Simon is still using the same camera.
is divided between the development of personal work and the work of photographer for the cinema. He teaches photography courses and workshops.
your work and individual photographs were published in major Italian newspapers and magazines.
He has exhibited his work in 40 solo and group exhibitions, in Italy and abroad. E 'represented by the gallery of Contemporary Claudio Bottello Torino.Tra films that followed as a photographer,' Marriage and Other Disasters 'by Nina di Majo with Margherita Buy' One in two 'by Eugenio Cappuccio with Fabio Volo and Ninetto Davoli' 7 and 8 'of Avellino, Ficarra and Picone'L'ispettore Coliandro' by the Manetti Bros., based on the stories of Carlo Lucarelli 'Good and Evil' by Giorgio Serafini with Gian Marco Tognazzi.
. This
.
Beautiful reportage "Without the memory " where, with some beautiful photographs tells the illness of his grandmother.
.
Thursday, March 26, 2009
Ap Biology Lab One Diffusion And Osmosis Answers
Tel Aviv, photo essays to the nearest prohibited
Neveh Shaanan The district is in the heart of Tel Aviv. And 'here iFelix Lupa has imagined and created this photographic project. Between abandoned buildings and dilapidated Neveh Shaanan built his "fortune." The degradation is the basis of the business (drugs and prostitution) that take place in that area. Felix Lupa is a street photographer whose civil commitment is evidenced by numerous services and campaigns through which he managed to make those who do not know those places, the image of Israel behind the scenes. " The power of pictures and love for his land contribute to credit even more Lupa in the landscape of international photography.
.
This gallery is the exclusive Repubblica.it.
.
of this artist.
Friday, March 6, 2009
Bloody Lottery Numbers
MARTHA CASANAVE
One of his 
MARTHA CASANAVE Graduated from the Monterey Institute of International Studies with a degree in Russian Language and Literature and Began her working life as a translator in Washington, DC. She engaged in photography from early childhood, however, and later came back to the Monterey Peninsula, built up a portrait clientele, and began teaching photography, while continuing to pursue her personal work. She has been an exhibiting and working photographer and educator on the Monterey Peninsula for over thirty years
Every year between 1984 and 1995, Casanave used her knowledge of Russian language and culture to take groups of American photographers to the Soviet Union/Russia, and made a number of trips on her own to work on photographic projects. She received travel grants from the Polaroid Corporation to make a series of pinhole photographs of Leningrad in winter.
She was awarded the Imogen Cunningham Photography Award for her portraiture (1979) and also was a 1989 recipient of the Koret Israel Prize. Her book Past Lives-- Photographs by Martha Casanave was published by Godine in 1991. Her second book, Beware of Dog, was released by the Center for Photographic Art in 2002. Her most recent book (exclusively pinhole) called Explorations Along an Imaginary Coastline, was published by Hudson Hills Press in 2006.
Casanave’s photographs are included in many major collections, such as the Boston Museum of Fine Arts, the Art Institute of Chicago, the Stanford Museum, the Bibliotheque Nationale, the J. Paul Getty Museum , and the Graham Nash private collection.
Her pinhole work was featured in the October, 2004 issue of Black and White magazine. Her work has also been published numerous times in the Pinhole Journal. Most recently (Winter, 2007) “Light Leaks, Low Fidelity Photography” published a cover article and interview on Casanave’s pinhole work, and the June, 2007 issue of “Photography” (Ukrainian edition, in Russian) included a comprehensive article on the history, science and current practice of pinhole photography, and prominently featured Casanave’s work, along with an in-depth interview.
Casanave teaches Master Classes on the Portrait, Human Figure, and Lensless Photography nationally, and also teaches regularly at Cabrillo College in Santa Cruz, at Monterey Peninsula College, and for the UCSC Extension.
Every year between 1984 and 1995, Casanave used her knowledge of Russian language and culture to take groups of American photographers to the Soviet Union/Russia, and made a number of trips on her own to work on photographic projects. She received travel grants from the Polaroid Corporation to make a series of pinhole photographs of Leningrad in winter.
She was awarded the Imogen Cunningham Photography Award for her portraiture (1979) and also was a 1989 recipient of the Koret Israel Prize. Her book Past Lives-- Photographs by Martha Casanave was published by Godine in 1991. Her second book, Beware of Dog, was released by the Center for Photographic Art in 2002. Her most recent book (exclusively pinhole) called Explorations Along an Imaginary Coastline, was published by Hudson Hills Press in 2006.
Casanave’s photographs are included in many major collections, such as the Boston Museum of Fine Arts, the Art Institute of Chicago, the Stanford Museum, the Bibliotheque Nationale, the J. Paul Getty Museum , and the Graham Nash private collection.
Her pinhole work was featured in the October, 2004 issue of Black and White magazine. Her work has also been published numerous times in the Pinhole Journal. Most recently (Winter, 2007) “Light Leaks, Low Fidelity Photography” published a cover article and interview on Casanave’s pinhole work, and the June, 2007 issue of “Photography” (Ukrainian edition, in Russian) included a comprehensive article on the history, science and current practice of pinhole photography, and prominently featured Casanave’s work, along with an in-depth interview.
Casanave teaches Master Classes on the Portrait, Human Figure, and Lensless Photography nationally, and also teaches regularly at Cabrillo College in Santa Cruz, at Monterey Peninsula College, and for the UCSC Extension.
Monday, February 23, 2009
What Do Men Think In Sauna
The Abandonment ... Arno Rafael Minkkinen
... Sunday ... Strangely it is not cold like the last few days ... you decide for a late breakfast (or lunch early?) to go out with the cameras ... Not wanting to take the cars we drive in the countryside behind my house ... On our way we pass the ruins and abandoned farming equipment that I know for a long time without ever having found the will and the courage to watch them ... Abandonment accompanies them has existed for many years almost completely eliminating the contrasts ... I do not perceive colors: my mind travels in black and white in memory of bygone eras ... Decides that all must enter the picture and increase per profondità...
Tuesday, February 17, 2009
Sinus Infection Toothache Healing Time
Why I Work The Way I Work
I consider myself to be a documentary photographer. If you see my arms coming up from under the snow, I am under the snow.
I treat the medium the same way a street shooter does. What happens in front of my camera happens in reality. There are no double exposures, no digital manipulations.
But I also look at the world through the mind. "What happens inside your mind can happen inside a camera." It is the line I wrote as a copywriter for a camera campaign before becoming a photographer.
Instead of giving expression to the world's outer appearances and perplexities, I have wished to explore the inner world of our fears, hopes, and desires in an attempt to make communion with the one world we inhabit.
Just as rocks and trees have not changed much over time, so our bodies are not much different today than they were five hundred years ago; hands, fingers, toes, all those basic things are essentially the same.
For thirty years now I have been engaged with this single idea: to use my own body as a means of expressing our relationship to nature.
As Georges Braque put it: "Out of limitations, new forms emerge." To know what it is that we want to do, Braque was saying, we had to know what it was we did not want to do, what it was we would never allow Ourselves to do. For me, It Was the documentary nature of photography Provided That the disciplines.
After That, It Was simple. "Art is risk made visible" Is Another line I wrote, much later in life When I understood better just how it Could Be Difficult.
© Arno Rafael Minkkinen
I treat the medium the same way a street shooter does. What happens in front of my camera happens in reality. There are no double exposures, no digital manipulations.
But I also look at the world through the mind. "What happens inside your mind can happen inside a camera." It is the line I wrote as a copywriter for a camera campaign before becoming a photographer.
Instead of giving expression to the world's outer appearances and perplexities, I have wished to explore the inner world of our fears, hopes, and desires in an attempt to make communion with the one world we inhabit.
Just as rocks and trees have not changed much over time, so our bodies are not much different today than they were five hundred years ago; hands, fingers, toes, all those basic things are essentially the same.
For thirty years now I have been engaged with this single idea: to use my own body as a means of expressing our relationship to nature.
As Georges Braque put it: "Out of limitations, new forms emerge." To know what it is that we want to do, Braque was saying, we had to know what it was we did not want to do, what it was we would never allow Ourselves to do. For me, It Was the documentary nature of photography Provided That the disciplines.
After That, It Was simple. "Art is risk made visible" Is Another line I wrote, much later in life When I understood better just how it Could Be Difficult.
© Arno Rafael Minkkinen
Tuesday, January 27, 2009
Kate Playground Outtake
The rule of thirds
An important aspect to consider in the implementation phase is the so-called compositional rule of thirds. This rule requires that the image is divided into three equal parts and then compose the image result of following his logic. How fare.Immaginate to draw two vertical lines equidistant from the lateral margins and two equally spaced horizontal lines from top and bottom margins of the frame, thus forming a kind of grid that divides the image into three vertical columns of equal length and three equal horizontal stripes. Now, exploring the scene, framing, we must ensure that the main subject of the photograph is placed in the first third of the margin above or below, or to the right or left side of the margin. The important thing is that it appears positioned to coincide with one of the leaders of the central rectangle is created by four imaginary lines. In the case of landscapes, will be appropriate to re-enter the horizon in the third less, if you want to emphasize the sky or in the top if we want to leave more space for what is at the bottom: the ground or mare.Un impartial advice to the landscape: in the presence of a sky completely clear of clouds, shift your attention to the ground or sea. Although it looks nice blue sky, keep in mind that the smooth surfaces devoid of interesting details, photographically speaking never give good results, are quite "boring" to view.
The golden rule
The Golden Rule gained some prominence during the Renaissance, when it was used often by some great masters of painting. In fact, it was discovered and used in ancient Greece. The Golden Rule states that the most important part of an image should be placed near the bottom right corner of the frame, so that one quarter of the image is "protection" to the top and another quarter are " extensions "to the left. But why in the lower right? Basically because, in theory, we "read" images in the same way we read a text written from left to right, top to bottom. Since our "reading" ends in the lower right, then this is precisely the area where we focus our attention for a longer period of time, or where we spent more time before turning the page. In the following image we can see that the golden rule has been complied with in full, by greatly enhancing the visual effect as well as then respect the rule of thirds.
Thursday, January 22, 2009
I Keep Getting Headaches Almost Everyday
Paul Strand
Thanks Andrew and George for making me appreciate the beautiful images of Paul Strand during the course of reporting this evening! I have already ordered the book on IBS "One Country"!
(Andrea and Giorgia PepeFotografia are the talented photographers from which I am by the course of reporting and thank you very much for the wonderful creative ideas that are giving me!)
Paul Strand can be considered the father of art photography, a true craftsman of the evolution of this medium since the early novecento.Fotografo years of social, acute experimenter, fine designer, theorist and filmmaker went through the last century with a careful look, directed and penetrante.Strand analyze reality, trying to grasp its authenticity and its innermost essence. His was a rigorous search of objectivity. The intention was to faithfully represent life, showing every possible nuance. Strand then documented the existence of mankind and the world trying to stop the landscapes in all their poetic depth. This conviction led him aesthetic style in his early career to fight against the pictorial (even if they are found on several occasions glaring contradictions) for the sake of straight photography (photography direct). Vate of black and white, Strand relied lines , volumes and spaces and do not in any way manipulating the images. His shots are where you found a constant search for purity and simplicity at the expense of trends estetizzanti.La photo Strand runs through many of the themes: landscapes, abstract art, portraits, reportage with a social, architectural structures, nature. His gaze towards the world is preferably front. Despite the initial battle against the picturesqueness, his works show a typical static nature of painting (see the pictures), but the most interesting aspect of his art is to be found in the commitment "political" for the documentation of the spirit of the people , as did at the completion of the photo book is a country with Cesare Zavattini . This volume is one of the most significant projects ever made about the art of photography, a form of expression used on this occasion along with the words to tell Zavattini also on the socio-anthropological microcosm: Italy country after the war. This is an experiment that has made a remarkable achievement from a cultural standpoint and gave us a book of fundamental importance, recently reprinted by Alinari.I his portraits, mainly laid, are based on a stylistic very clear. Those immortalized in fact almost always look in the car. The user is then brought the image to read the whole of humanity of the characters included going deep and not be tied to the work surface. Paul Strand's career was marked by periods quite definable. Attracted initially by painting abstract forms and trends in the twenties is mainly devoted to the creation of portraits and an interesting stylization of natural forms. The following period is instead based on the representation of places and landscapes and later his work is essentially driven by the territorio.Strand still was able to compete with the aesthetic beauty of the female body, through which return a complex image of naked woman between erotic and sensual exaltation of forms and pictorial representation of the body.
This a roundup of his photographs.
Gay Cruising Spots London
Nan Goldin
The American photographer Nan Goldin is the winner of the most important prize in the world of photography, the Hasselblad Award. Sponsored by the Hasselblad Foundation, established in Sweden in 1979 to support research and teaching in the fields of photography and the natural sciences, is given annually since 1980 to an internationally renowned photographer whose outstanding artistic activity had a significant impact successive.Scorrendo generations on the history of the award, which provides for the allocation of 500,000 Swedish crowns, a gold medal and a diploma, you can find the big names in photography of the last century: Henri Cartier-Bresson and Irving Penn, Richard Avedon, Cindy Sherman, to Boris Mikhailov, Hiroshi Sugimoto, Malick Sidibé. Nan Goldin, says the reasons for that choice, "he documented his life and that of his friends for more than thirty years, focusing on European and American urban scene of the 70s, 80s and 90s, marked so dramatically from 'AIDS. His work, based entirely sull'istantanea, makes her life a true work of art, intimate, great formal beauty, with an intense use of color. Nan Goldin uses the photograph as memory and as protezionedall'oblio, responding the needs of our times. "On 10 November, the award was inaugurated a retrospective on the art of Nan Goldin Exhibition Center all'Hasselblad within the Göteborg Art Museum.
Wednesday, January 21, 2009
Pasta Express Pasta Recipes
Charles Ebbets
This post is dedicated to the work of Charles Ebbets in 1932 that documented the working conditions of workers on "Skyscrapers in New York.
certainly among the most beautiful photographs of all time!
This is the
link to view images.
(from the link you can download a PowerPoint presentation Top photo)
This post is dedicated to the work of Charles Ebbets in 1932 that documented the working conditions of workers on "Skyscrapers in New York.
certainly among the most beautiful photographs of all time!
This is the
link to view images.
(from the link you can download a PowerPoint presentation Top photo)
Tuesday, January 20, 2009
Kate's Playground Set
Construct a variable temperature pyrograph
I decided to make a tutorial on how to build a variable temperature for pyrography fixed temperature
Variable temperature for a fixed temperature pyrograph economic
required:
· Scatolare / insert external switches to 2 units;
· Module socket;
· drive / potentiometer for incandescent lamps;
· electric wire + plug;
· Table wooden
Mount the socket module (black in photo) and drive / potentiometer (yellow in photo) at the top of the carton / box.
potentiometer I used has these characteristics:
Connect a wire directly to the module socket (eg photos, blue wire).
Connect the other wire at the entrance of the potentiometer (eg photos, brown wire) and then another wire of the same color (brown) to the output from the potentiometer
(NB comply with what is described in the leaflet potentiometer for the position of the wire is input and the output).
wire output from the potentiometer is connected in the module's input jack.
After connecting the wires, screw the bottom of the carton / box with a piece of wood, of a size such that it can accommodate both the box and the pyrography, then screw the top of the box to the bottom.
At this point the monster drive temperature is ready, we have to connect the pyrography ...
Now we just have to try the pot by turning the wheel (see Note instructions on the operation of the potentiometer, may vary from one model to another).
NB I do not assume any responsibility for the use of this tutorial, get more help from experts in the field.
tutorial copyrighted, you can use images and text only naming the source:
I decided to make a tutorial on how to build a variable temperature for pyrography fixed temperature
Variable temperature for a fixed temperature pyrograph economic
required:
· Scatolare / insert external switches to 2 units;
· Module socket;
· drive / potentiometer for incandescent lamps;
· electric wire + plug;
· Table wooden
Mounting components
Mount the socket module (black in photo) and drive / potentiometer (yellow in photo) at the top of the carton / box. potentiometer I used has these characteristics:
Connect a wire directly to the module socket (eg photos, blue wire). Connect the other wire at the entrance of the potentiometer (eg photos, brown wire) and then another wire of the same color (brown) to the output from the potentiometer
(NB comply with what is described in the leaflet potentiometer for the position of the wire is input and the output).
wire output from the potentiometer is connected in the module's input jack.
After connecting the wires, screw the bottom of the carton / box with a piece of wood, of a size such that it can accommodate both the box and the pyrography, then screw the top of the box to the bottom.
At this point the monster drive temperature is ready, we have to connect the pyrography ... 
Now we just have to try the pot by turning the wheel (see Note instructions on the operation of the potentiometer, may vary from one model to another). 
NB I do not assume any responsibility for the use of this tutorial, get more help from experts in the field. tutorial copyrighted, you can use images and text only naming the source:
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Sunday, January 11, 2009
Carrier Ptac Heat Strips
HDR - High Definition Range
I posted some pictures on the website sample photos in HDR.
I posted some pictures on the website sample photos in HDR.
Friday, January 9, 2009
Six Month Old Dry Cough Teething
What is the 'HDR (High Dynamic Range)
For a discussion of this topic, I refer you to the site of Vittore Buzzi from which I took over the party.
Below is an example made Topaz Lab
's HDR stands for High Dynamic Range, is a technique used in computer graphics and photography to allow the lighting calculations can be done in a larger space (just a high range) and can represent values \u200b\u200bof very high or very low lighting.
HDR techniques are based on the physical nature of light. To calculations using the same units of photometry, where, for example, the sun is assigned a brightness value millions of times greater than that of the personal computer monitor.
The HDR makes it possible to capture a scene and then having total control on the final image, for example, you can display the picture again, correcting or improving the outcome.
For photographers open up new possibilities, just look at a few small photos to see the great potential of HDR.
The management of this technique invented by Paul Debevec and Greg Ward from encoded file has leaned to the fore with the advent of Photshop CS2, which allowed to generate and manage files in HDR format of a series of multiple shots exposed in different ways.
then the emergence of programs such as the HDR Photmatix made closer to all the fashion has spread especially among amateurs. Achieve professional results, however, is not entirely straightforward because the HDR is amazing results but leaves behind few traces. Finally, the advent of the new generation of computer processing times more human than with 32-bit files to 16 and stretch out of proportion.
So if you want photos with unimaginable detail and tonal separation and lighting amazing we have to use HDR.
In this tutorial: explore the possibility that this photographic technique offers us understand what tools we need to achieve acceptable results we will see how to apply the technique to individual files.
HDR techniques are based on the physical nature of light. To calculations using the same units of photometry, where, for example, the sun is assigned a brightness value millions of times greater than that of the personal computer monitor.
The HDR makes it possible to capture a scene and then having total control on the final image, for example, you can display the picture again, correcting or improving the outcome.
For photographers open up new possibilities, just look at a few small photos to see the great potential of HDR.
The management of this technique invented by Paul Debevec and Greg Ward from encoded file has leaned to the fore with the advent of Photshop CS2, which allowed to generate and manage files in HDR format of a series of multiple shots exposed in different ways.
then the emergence of programs such as the HDR Photmatix made closer to all the fashion has spread especially among amateurs. Achieve professional results, however, is not entirely straightforward because the HDR is amazing results but leaves behind few traces. Finally, the advent of the new generation of computer processing times more human than with 32-bit files to 16 and stretch out of proportion.
So if you want photos with unimaginable detail and tonal separation and lighting amazing we have to use HDR.
In this tutorial: explore the possibility that this photographic technique offers us understand what tools we need to achieve acceptable results we will see how to apply the technique to individual files.
For a discussion of this topic, I refer you to the site of Vittore Buzzi from which I took over the party.
Below is an example made Topaz Lab
Thursday, January 8, 2009
Build Home Made Minibike
Great shots on the street by following these 20 tips
2 - circuit Exit - Do not limit yourself to shots as a tourist, looking for "real life".
give the full intervention appeared on Creatively translated by digital photography school
1 - Travel light - Do not lug around too much material (and "too" is all that you do not consider essential) a good fifty lets you move easily.
1 - Travel light - Do not lug around too much material (and "too" is all that you do not consider essential) a good fifty lets you move easily.
2 - circuit Exit - Do not limit yourself to shots as a tourist, looking for "real life".
3 - Steal time - Try to imagine what will happen, and anticipates the best time.
4 - Color - Thinking of street photography comes to mind a beautiful black, but not you forget the color, often a peak color can make a difference.
5 - Wallpaper - What's behind the subject? The background serves to contextualize the scene, so make.
6 - Leverage Diagonal - never fixed on the horizon, trying to take on the diagonal, you'll have more coverage and more dynamic.
7 - Opposites attract - Choose something that breaks the rules, defying the norm.
8 - The Performance - Street performers, writers and protesters, can be a nice person.
9 - Across the road - Other places where people congregate can be interesting zoos, parks, fairs, exhibitions, sporting events, can offer good ideas.
10 - New Perspective - Find the best angle for your shots. Do not be afraid to kneel or stand on the walls, remember to move.
11 - Practice makes better - Do not think about the mistakes we commit, but makes use of every moment you spend on the road. Time and experience will make your work even better.
12 - Be brave - Sometimes the best images are obtained "by hand". Find the courage to get closer to the subject, presented talks, and while shooting your pictures.
13 - There is also the only - often seek to reduce the sharp contrast between lit and shaded areas. In street photography but this can be a strength, not to underestimate.
14 - ready to shoot - holding the camera, and you're always ready to shoot. The world is moving, and every moment may be right. Snap, snap, snap, the technique is not everything.
15 - Back at - There is only the spontaneity or the sudden. If you hit a place do not hesitate to make the scene you want, or wait until it happens close to what you expect.
16 - Freezes movement - The road is a place of movement. 1 / 125 is the basis for still images, but by no means is prohibited blur controlled experiment, with slower times you can follow pedestrians, bicycles and cars.
17 - Disguise - Try to be discreet, not to attract ettenzione, be quick and silent.
18 - Fisheye-A minor focal length will give you great depth of field and very "edge". Leverage your wide angle.
19 - Be nice - some people are suspicious if they see a nearby photographer. Try to be polite and smiling, trying to put people at ease, and you're ready to avoid any conflict.
20 - Travel light - I repeat, why is this the essence of street photography. Less material, less equipment, less weight, less bulk. You will be more free to move, moving, and less intrusive to a walking study.
Monday, January 5, 2009
Ap Bio Lab 6 Questions
David Lauriola
This post is dedicated to David Lauriola, photographer in Turin. Beautiful
his photo reportage:
www.davidelauriola.it
Bravo David!
This post is dedicated to David Lauriola, photographer in Turin. Beautiful
his photo reportage:
www.davidelauriola.it
Bravo David!
Saturday, January 3, 2009
Shoppers Drug Mart Ice Cream Dye
Roman New Year
returned from a wonderful New Year's past Rome took advantage of the day of "rest" to update the website adding some photos taken in the capital.
returned from a wonderful New Year's past Rome took advantage of the day of "rest" to update the website adding some photos taken in the capital.
There are two galleries: one in the "Travel " with some photos that show as I've seen these days in Rome and the other in the "Report " some shots during a wild New Year's Eve at the Coliseum ( 200 000 people ...) with a concert by Gianna Nannini.
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