Some of the less washed out photos:

Citrus carrot juice, and my iPhone. :-)

Fresh produce. I love the colors and textures.

"Indian English" that made me laugh out loud... they have no concept of punctuation!

My yoga master (on the right) and the Physiotherapist (on the left), during a lecture on the anatomy of the shoulder girdle. The anatomy lessons are rather dry, but necessary.

And then dinner: Indian vegetarian food - all this cost $2.50!

Reckon I'll take the camera out again tomorrow. :-)

Powered by Zoundry Raven

More pictures to come...

Sitting outside this morning just past the first light, listening to the birds wake up for the day, breathing in the early morning cool air -- just something about it feels so healing.

Seems this little humming bird thinks the same thing, as I captured him the other morning as the day was just coming to life.

So I have had many of you asking for an update on the Misplaced Goose. I had such high hopes for a spring filled stories of the misplaced goose.  Letting you know his daily antics ... but apparently the goose had other plans. I have not seen him since the morning he was calling from the playhouse roof. Jules mentioned in the comments on the post that perhaps the Misplaced Goose was trying to be spotted by the future Mrs. Canada Goose. I lik that idea, and like to think he found his Mrs. Canada Goose. When I hear the call of the geese from the lake I think of him, and am glad he is not misplaced any more.

My youngest child, and only son, has received his posting for the summer. He will stay local, which pleases me very much - it is the post of his choice so he is glad as well. Have I mentioned that my son fights forest fires? Yup, he does - he is the helper of smoky the bear, so make sure those fires are out! I am sure you will hear more of him, as the summer moves forward.

Sullivan has found the volume control on his voice and the stories he tells are so full of expression and depth. If I can figure out how to take video with my camera I will try to capture him so you can hear. It is way to cute! If you know how to do this with a Nikon D-80 please let me know. I know I can look it up online or in the user's manual, and I will probably do this yet -- but it might be quicker if you know how.

Time for me to be off now, and get this day underway. So much to do - so little time! 

I have been working  hard to develop, and test (on my cats) more treats so today I am adding a few  of the more tasty treats that my cats prefered.

If you check out the Photographs  section you will see some of our taste testers.

Enjoy>>>>

Oh, right--it's been fucking promoted EVERYWHERE.

Don't get me wrong--I loved the show, still watch my VHS tapes of certain seasons in addition to owning all six seasons on DVD.  Certain seasons provided much sartorial inspiration (the fourth and six seasons spoke to me, for some reason), but you will never, ever, see the "Which SATC character are YOU?" Facebook application on my profile, nor can I ever order a Cosmopolitan again.  I won't lie and say I was completely immune to that when I was in college when it was on, but that was then, and like the fabulous foursome, we've all gotten a little older (if not a little wiser).

That said, I'll be at the movie opening night, and I'm really looking forward to getting my June issue of Vogue and seeing this photos up close and personal:

Images from Vogue, naturally.

Normally, I'm not a Annie Leibovitz fan but only because I feel like she shows up in every magazine with the same grey-cast photographs, but I really loved these particular shots.  They ooze sex (hello Narciso Rodriguez black wool dress at the Met!) and are erotic without being too tawdry or romance-novel-coveresque...

We were riding around Freo recently, when we came across this amazing labour of love.

Lilacs have been featured in poetry and songs throughout the ages, presumably because the flowers are associated with springtime, first love, and innocence. Or, more likely, that symbolism is WHY they're featured in poetry and songs. Either way.

Personally, I've always felt a stronger emotional attatchment to honeysuckle.

The installation made a strong case for the book's place of honour among the dealer's rare and expensive artifacts, with a video showing its creation, from typesetting to printing to binding, in an old-fashioned process that even Gutenberg might recognize.

The star of the 10-minute video was Michael Torosian, a Canadian little-known outside the small world of rare-book collectors. Since founding Lumiere Press in a garage at the foot of his yard in the west end of Toronto in 1986, Torosian has published 18 handmade books on photography. Printed on his vintage letter press, they are themselves works of art, limited editions in which the editorial content, design and printing is executed with an aesthete's eye, an artisan's hand and a perfectionist's oversight.

Torosian's 19th book, An American Gallery, was produced by special order for the Greenberg anniversary and includes stunning high-tech reproductions of the 25 photographs from the exhibit accompanied by the dealer's commentaries. The book took almost 12 months to produce, slowed down only slightly by the fact that the photos had to be printed separately and then placed by hand into each copy.

Lumiere editions include three volumes on Dave Heath and one each on Lewis Hine, Edward Burtynsky, Paul Strand, Gordon Parks and others. Torosian also has published three books of his own photography work.

The title page of An American Gallery went through 53 different designs before Torosian was satisfied. The typesetting ate up half a year. He took months to figure out how to insert the photographs, which are a different thickness than a normal paper page, to ensure they didn't cause the book to spring open awkwardly.

“You have to be focused: every day, every week, every month. You can't just sort of go through the motions, because it's very unforgiving,” he explains. “I guess it's like someone who makes violins or something: There might be monetary incentive to turn out 100 violins a year, but if you can only really do 18 credibly, then you'd better stick to the 18.”

“No matter how well a conventional mass-market trade book is produced, in their nature as a physical object, they all look the same: this sort of blockish object. They're interchangeable. But when someone picks up one of my books, it has the same pedigree as other books, and yet it's a different species. And that's what they're responding to. It's familiar but it's outside the ordinary.” A number of Lumiere Press books are in the collections of rare-book libraries.

The Samuel Dorsky Museum of Art at the State University of New York currently has a remount of the Greenberg anniversary exhibition, including the Lumiere video installation, which will stay up until June 22.

Excerpted from Simon Houpt, Globe and Mail, May 17, 2008

Lumiere Press

The installation made a strong case for the book's place of honour among the dealer's rare and expensive artifacts, with a video showing its creation, from typesetting to printing to binding, in an old-fashioned process that even Gutenberg might recognize.

The star of the 10-minute video was Michael Torosian, a Canadian little-known outside the small world of rare-book collectors. Since founding Lumiere Press in a garage at the foot of his yard in the west end of Toronto in 1986, Torosian has published 18 handmade books on photography. Printed on his vintage letter press, they are themselves works of art, limited editions in which the editorial content, design and printing is executed with an aesthete's eye, an artisan's hand and a perfectionist's oversight.

Torosian's 19th book, An American Gallery, was produced by special order for the Greenberg anniversary and includes stunning high-tech reproductions of the 25 photographs from the exhibit accompanied by the dealer's commentaries. The book took almost 12 months to produce, slowed down only slightly by the fact that the photos had to be printed separately and then placed by hand into each copy.

Lumiere editions include three volumes on Dave Heath and one each on Lewis Hine, Edward Burtynsky, Paul Strand, Gordon Parks and others. Torosian also has published three books of his own photography work.

The title page of An American Gallery went through 53 different designs before Torosian was satisfied. The typesetting ate up half a year. He took months to figure out how to insert the photographs, which are a different thickness than a normal paper page, to ensure they didn't cause the book to spring open awkwardly.

“You have to be focused: every day, every week, every month. You can't just sort of go through the motions, because it's very unforgiving,” he explains. “I guess it's like someone who makes violins or something: There might be monetary incentive to turn out 100 violins a year, but if you can only really do 18 credibly, then you'd better stick to the 18.”

“No matter how well a conventional mass-market trade book is produced, in their nature as a physical object, they all look the same: this sort of blockish object. They're interchangeable. But when someone picks up one of my books, it has the same pedigree as other books, and yet it's a different species. And that's what they're responding to. It's familiar but it's outside the ordinary.” A number of Lumiere Press books are in the collections of rare-book libraries.

The Samuel Dorsky Museum of Art at the State University of New York currently has a remount of the Greenberg anniversary exhibition, including the Lumiere video installation, which will stay up until June 22.

Excerpted from Simon Houpt, Globe and Mail, May 17, 2008

Lumiere Press

Det gylne snitt vil si deling av en linje eller en flate i to deler slik at den minste delen forholder seg til den største som denne til hele linjen eller flaten.

Uttrykt med (phi) tilsvarer dette et irrasjonalt tall med verdi

Man kan finne det delingsforholdet igjen mange steder i naturen, og spesielt på menneskekroppen. Forholdet mellom lengden fra skulderen til fingertuppene og lengden fra albuen til fingertuppene, knokene på hånda og lengden på bena i forhold til lengden fra kneet til tærne er noen eksempler. Det er også et viktig visuelt virkemiddel innen kunsten. Det gylne snitt var kjent blant grekerne. Det ble mye brukt i renessansen særlig innen arkitektur.

http://no.wikipedia.org/wiki/Det_gylne_snitt

i fotoverden gjøres det som regel litt enklere ved at bildet deles opp i 3x3 ruter. Der en vertikal og horisontal strek krysser hverandre, får vi et punkt (fire totalt) som våre øyne har en tendens til å legge ekstra godt merke til. Det er derfor slik at bilder som har noe interessant i minst ett av disse punktene fremstår som mer interessante.

Jeg valgte dette bildet som illustrasjon. Fremre og bakre del er uskarpe, mens skarphetspunktet ligger der blikket naturlig vil falle. Ble det rett tro?

There is a decent article in Wikipedia about the terrace houses whose design was imported from England - worth a read here.

When we got there, we sat out the back for the necessary coffee. It was a fine day, good weather we have been having recently. Nice and sunny and warm.

For ages, I had been looking forward to getting to the city as I needed a change of subject - a change from the coast and its beaches, the lakes amongst which we live and the small-farming country a little inland. Hard to imagine that you would not want a change from that but it happens.

So there we were, me with camera in hand and shutter finger twitching. I was struck by the planes and shapes of the backs of the houses in the sun, also the colours. Here are a couple of shots.

Here's one in black and white that I like:

So much to see in cities! More to come ...

Firstly we have the Courgettes, I have around a dozen plants, last year was so wet here that my courgettes were a bit of a disaster, the flowers came and the fruits formed, then, promply rotted away, so fingers crossed that this year is better and not so rainy!.   Its my plan to put 10 plants out into the raised beds and keep a couple in the greenhouse, just incase.

Next we have the Coriander or Cilantro as its known in other parts.   My daughter planted the seeds and they are thriving away nicely, i'll be transferring this clump into a bigger pot this coming week.

My tomato plants are growing like mad, I have several different varieties growing here...

Gardners Delight

Microtom

Moneymaker

Totem &

Yellow ones who's name has escaped me (my memory is shocking..will probably remember 2 days time) :) 

My early peas are doing just grand too, these will be hardened off over the next week then planted out into the raised bed.   I have another large batch on the go too which were sown 3 weeks later than these ones.

The chives look fantastic, tiny green spears shooting up towards the sky.. i'll be re-potting these too next week, then hopefully find a space for them out in the garden somewhere.

My daughter's sweetcorn is doing great too, i'll be repotting these into bigger pots this weekend and wait for the weather to warm up before planting them into the garden.

"Para você, sou uma raposa como qualquer outra. Mas se me dosmetica, necessitaremos um do outro. Será único no mundo para mim e eu serei único no mundo para você." (O Pequeno Príncipe)

Durante um refeição num restaurante com um grupo de antiquários, François (Daniel Auteuil) causa espanto a sua sócia por não saber que ela era homossexual. Por não notar nada dela além de dividendos. Fazendo-a perceber que para ele tudo se resumia em comprar algo para depois revender. E ela pergunta se ele tem um amigo de fato. Não apenas colegas de profissão. Ele mente, dizendo que tem. Então lhe pede o nome, e de um apenas. Ele olha para todos, mas em nenhum vê o reconhecimento de o terem como amigo. Aliás, há um que até então o considerava como um amigo, mas que François nem nota.

Por não acreditar no que ele contou, Catherine (Julie Gayet), sua sócia, faz uma aposta. Dando até um prazo para que ele apresente esse amigo verdadeiro. Para tal, escolhe como prêmio um vaso que ele arrecadou para si próprio, mas com o dinheiro da firma. Mesmo estando passando por uma crise no Antiquário de ambos, num impulso, ele lutou num Leilão para obtê-lo; e que o fez sair caro. É que a história do Vaso o fascinara. E para não perdê-lo, François aceita a aposta. Até achando que seria fácil conseguir um amigo em tão pouco tempo.

Acontece que até seria, se ele quisesse de fato ter um amigo. Mas não era somente a timidez que o impedia. Como seu real interesse girava em seu ramo de trabalho, tudo o mais não he dava nenhum prazer. Fazendo de suas relações um clubinho restristo. Beirando quase a um preconceito a outras classes sociais.

Disposto a não perder o prêmio, vai à caça de um amigo. Nessa busca, cruza em seu caminho Bruno (Dany Boon), um simpático taxista que fazia ponto próximo a seu Antiquário. Então ele pede ajuda a ele. E ele se dispõe a ajudá-lo.

Bruno, mesmo com toda a simpatia, seria alguém taxado como o chato-enciclopédia. Pois seu sonho era participar de um desses programas de tv de perguntas. Mas mesmo acertando as respostas durante as entrevistas, o seu nervosismo era tanto, que o reprovavam. Não era alguém talhado para ficar diante das câmeras de tv. Meio incongruente para alguém tão simpático, tão zeloso ao volante.

Assim, ambos estarão se ajudando mutuamente. Dois homens adultos conhecendo a si próprios. E poderem enfim dizer: esse é o meu melhor Amigo. Mais que focar um universo masculino francês, o filme rompe fronteiras. Pois todos nós conhecemos histórias assim, até em quem se ligue a outros por puro interesse comercial. Eu gostei do filme! Até por conta do final.

Por: Valéria Miguez.

Meu Melhor Amigo (Mon Meilluer Ami / My Best Friend). 2006. França. Direção e Roteiro: Patrice Leconte. Elenco: Daniel Auteuil, Dany Boon, Julie Gayet. Gênero: Comédia, Drama. Duração: 94 minutos.

Ecco l'indirizzo della sezione dei videotutorial zbrush il software di Pixologic e quello relativo al primo videotutorial sui concetti base ed introduttivi al software di sculpting: introduzione a zbrush

This was taken while waiting at the parking lot outside Sam Ash. Someone had to go to the bathroom, leaving me out there, free to take photos of asphalt foliage without worrying about holding someone back or looking weird. (Well, I already look weird to begin with, so maybe not so much on that last one.)

Of course, it also helped to keep reminding myself that no one here really knows me. No one will recognize the lady in shorts standing in the middle of the road pointing a camera at filler plants.

With that in mind, I whipped out my little macro conversion lens and kept shooting.

Then it occurred to me that the van was left unlocked, and it kinda wouldn't look good if it got carjacked right under my photoholic nose. Reason finally prevailed, mostly because it's not my car and I'd really like to be welcomed back next time. So I packed it in and ended my little yellow flower shoot.

I swear. One of these days, my sensory oblivion while taking photos may just bite me in the behind.