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Connecting people through photography.

Obiettivo: Industar-50 50mm F3.5 (n.6014833)
Pellicola: AGFA - APX 100 - 135/36 - 100 ASA
Fix: Tetenal Superfix Plus 1+4 05:00 20°
Looks like you're lookin' for trouble and I'd say you found it.
Thought I'd give a brief update on what's been going on with Point of No Return lately.
Basically I've spent the last couple of weeks getting all the VFX up-to-date, so all the mouth animations, colour correction and other visual effects are done for a good 95% of what I've animated. It's been a real confidence boost to properly lock most of the film, so I definitely think I can get this finished before the summer holidays - I might try and time it to be released after series 10 since I'll really be pushing it to get it out before April.
At this point I'm turning my attention to re-doing all the stuff I lost on my hard drive, which if I buckle down and get to it, may only take a few weeks. After that I'll start shooting some B-Roll on the greenscreen for the big battle sequence, which I've just finished storyboarding.
Certainly it's shaping up and I'm feeling confident, hence the reason for this post.
I don't have any other projects on the horizon at the moment, skits or live action or otherwise, so I am concerned that I'll grow bored of PonR shortly without a second project, but yeah, we'll see how it goes. Hopefully there'll be some more updates to follow in the coming months.
And I know I said in the channel update that I wasn't planning on another trailer, but I may have already cut one together.... Admittedly, it does get you excited to work on the project again, but let's just say I'll withhold this one until the month of release this time.
I know I don't use any of the social media pages anymore, and particularly flickr I know not a lot of the Lego community use anymore so dunno who this will reach, but just wanted to say I've finally locked picture on Point of No Return! It's been a long time coming, so it definitely feels like a weight off my chest.
Still got one or two little bits of cleaning up to do with the sound and some mouth animations, but it's very very nearly in the can. The final trailer will come out next Friday the 1st of February with a release date announcement, so stay tuned!
Hurrah! The first part of the Lego Doctor Who series finale has now finished animation, the runtime currently is clocking in at 11 minutes 18 seconds minus the credits/outros. I am out next week but for the last week of the summer holidays I'm aiming to finish all outstanding VFX on the first episode as well as touching up the audio, and I should have a completed product by then.
Part 2 is a different story. It's runtime is currently sitting at 25 minutes with approximately 15 minutes animated and even less finalised with mouth animations and other VFX. My aim is still absolutely to get it finished by the end of the year but I've said that several times before so don't hold your breath.
As such, I'm facing a real dilemma here; do I release Part 1 soon and risk leaving it months for a resolution or upload them closer together and give a longer wait for the final film? I do have other smaller videos in the pipeline at the moment so it's not as though the channel will be empty until PonR comes out, but I'm really not sure. My instinct is to wait and release them closer together but at the same time I've been working on this for so long and want to see it done.
In other news, I'm not sure about these black bars. I think they look quite nice and I'm using them for the trailer but I'm debating whether or not to apply them to the footage for the final films. Anyway, that's a fair way off so we'll see. Whenever the trailer comes out you can see them in action and let me know how they look.
atendendo a pedidos...trouxe a receita do sapatinho de crochê que fiz e que está aqui na galeria...
a única diferença que faço é na ultima carreira tanto da solinha quanto do peitinho do pé é que eu faço a carreira em ponro baixo, mas mantendo os devidos aumentos em...
pois o modelinho é um pouco maior q os de recem nascidos então faço isso pra diminuir um pouco...
e mudo o ponto do caninho também...
Cinq-Mars-la-Pile (Indre-et-Loire).
Du château féodal il ne reste que le logis des gardes, les fossés, ces deux tours et quelques autres vestiges.
A l'origine, le château était constitués de quatre tours, aux quatre points cardinaux, reliées par des bâtiments, le tout entouré de fossés. La forteresse fut rasée "à hauteur d'infamie" sur ordre de Richelieu, en 1642, pour punir la famille du marquis de Cinq-Mars, Henri de Ruzé d'Effiat, qui avait conspiré contre le Cardinal, conspiration qui restera sou le nom de "conspiration de Cinq-Mars", du nom de son instigateur.
Le marquis de Cinq-Mars qui avait pris contact avec l'Espagne, alors qu'on est en pleine guerre de Trente Ans, pour se faire assister dans sa conjuration contre Richelieu, sera condamné à mort, avec ses principaux complices, pour crime de lèse-majesté.
Cinq-Mars sera décapité sur une place de Lyon, avec son ami François de Thou, le 12 septembre 1642.
Vigny dans son roman "Cinq Mars", rapporte :
"Détails du supplice de M. de Cinq.Mars.
C'est une merveille incroyable qu'il ne témoigne jamais aucune peur, ni trouble, ni aucune émotion, ains parut toujours gai, assuré , inébranlable , et témoigna une si grande fermeté d'esprit, que tous ceux qui le virent en sont encore dans, l'étonnement.
M. de Cinq Mars, sans avoir les yeux bandés , posa fort proprement son col, dit le narrateur, sur le poteau , tenant le visage droit, tourné vers le devant de l'échafaud; et embrassant fortement de ses deux bras le poteun , il ferma les yeux et la bouche , et attendit le coup que l'exécuteur lui vint donner assez pesamment et lentement, et s'étant mis à sa gauche et tenant son couperet des deux mains. En recevant le coup, il poussa une voix forte , comme : Ah !... qui fut étouffée dans son sang; il leva les genonx de dessus le bloc, comme pour se lever, et retomba en la même assiette qu'il étoit. La tête n'étant pas entièrement séparée du corps par ce coup, l'exécuteur passa à sa droite par derrière , et , prenant la tête par les cheveux de la main droite , de la ganche il scia avec son couperet une partie de la trachée artère et la peau du cou, qui n'étoit pas coupée;
après quoi il jeta la tête sur l'échafaud , qui de là bondit à terre , où l'on remarqua soigneusement qu'elle ﬁt encore un demi-tour et palpita assez longtemps. Elle avoit le visage tourné vers les religieuses de Saint-Pierre, et le dessus du la tête vers l'échafaud, les yeux ouverts. Son corps demeura droit contre le poteau , qu'il tenoit toujours embrassé, tant que l'exécuteur le tira ponr le dépouiller, ce qu'il ﬁt, et puis le couvrit d'un drap et mit son manteau par dessus; la tête ayant été rendue sur l'échafaud, elle fut mise auprès du corps , sous le même drap."
D'après l'historien Philippe Erlanger, Cinq-Mars aurait été le Mignon de Louis XIII. Cinq-Mars était en tout cas favori du roi et voulu jouer un rôle politique en complotant avec Gaston d'Orléans (frère du roi), le duc de Bouillon et l'Espagne pour faire assassiner Richelieu.
School's now finished up, and I'm putting the summer holidays to good use, depending on your point of view. So far, I've completed 83 seconds of footage for the first part of PonR, and if I crank up the pace a bit it might actually be released. One day.
The picture I've attached shows a completely legal version of After Effects being used to motion track. There are a couple of shots where the camera is moving, so to give the impression that the holograms actually exist I'm trying to make them fit in seamlessly with the rest of the environment. It's proving difficult, so far.
By the time I finish all the filming for Part 1 (which should be reasonably soon when compared to Part 2) I'll post a casting announcement to fill some voice roles, and maybe a trailer, depending on my progress. On the contrary to how it may seem, I would actually like to get this project out. It just doesn't help that I haven't worked on it for the past two years. My bad.
Oi meninas!!! No dia em q eu ia tirar o Jamim eu assisti na Ana Maria uma manicure q fazia francesinha de prata e ouro , ela aplicava uma folha da prata ou de ouro na ponra da unha e e o negocio durava 3 mases na unha, a pessoa podia passar o qualquer esmate e limpava pontinha com acetona q a francesinha estaria lá, o mais legal era o preço, nada mais nada menos q R$400,00, básico né :0
Na hora em q ela fez eu pensei: Puts... eu consigo fazer isso... e como já ia tirar o Jasmim mesmo, se não desse certo não ficaria tão brava assim... mas deu certo e au achei um xuxu... ficou muito fofo e não gastei nadinha ahahah!!! Uma cor q vou fazer pois ficou linda foi o preto com dourado, ficou suuuuuuuuper lindo!!!!
Title : 1932 farm and garden supplies since 1860 : catalog no. 45
Identifier : 1932farmgardensu1932grif
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GRIFFITH & TURNER CO., 205 N. PACA ST., BALTIMORE, MP. 29 CLIMBERS 200. AMPELOFSXS VEITCHII (Boston Ivy) (P)—Dark green leaves, turning to coppery red. Pkt. JOc. 201. BALSAM APPLE—Apple-shaped fruit. Pkt. 10c. 201*4. BALSAM PEAR—Pear-shaped fruit, which is used medicinally. Pkt. 10c. 202. BALLOON VINE (Love in a Puff) (A)—A rapid growing plant; succeeds best in light soil and warm situation; flowers white; half-hardy annual. Pkt. 10c. 203. CANARY BIRD PLOWER (Peregrinum)—A tender climbing annual. Blossoms have curiously wrinkled petals and are light yellow. Soak seed overnight before planting. Pkt. 10c. 204. COBEA SCANDENS (P)—A beautiful, rapid-growing climber, with handsome foliage and large bell-shaped flow- ers; blue; half-hardy perennial; grows 20 to 30 feet high. Pkt. 10c. 205. CYPRESS VINE, RED (Ipomea Quamoclit) (A)—Fern- like foliage and masses of beautiful, small, star-shaped flowers. Sow last of May; 15 feet. Pkt. 10c. 206. CYPRESS VINE, WHITE (A)—Usually grown with the red, making a handsome effect. Pkt. 10c. 207. HEAVENLY BLUE IPOMEA (A)—The flowers are in large, airy clusters, and that lovely hue so rarely seen. Pkt. 10c. 208. MORNING GLORY (Convolvulus Major) (A)—One of the most free-flowering and rapidly-growing plants in cultiva- tion, thriving in almost any situation. Hardy annuals. Pkt. 10c. 209. GIANT JAPANESE MORNING GLORY (A)—These are by far the handsomest of the Morning Glories, of gigantic size. Pkt. 10c. 210A. CONVOLVULUS MAURETANICUS (A) — Lavender blue, for rock work. Pkt. 10c. 210. MOON FLOWER (Ipomoea Noctiflora) (A)—Charming and popular blooming climbers; of rapid growth and showy effects; warm, rich soil, with a sunny exposure, suits them. Pkt. 10c. 211. SCARLET RUNNERS (A)—Very handsome climbing beans, with bright scarlet flowers. Pkt. 10c. 212. JAPANESE KUDZU ZINE (P)—Hardy growing climb- ing plant, with large foliage and rosy-purple pea-shaped blossoms, blooming in August. Pkt. 10c. 213. HYACINTH BEAN (Dolichos) (A)—Climber of quick growth, with bean-like flowers. Pkt. 10c. 215. MIXED GOURD (Cucurbita) (A)—Pkt. 10c. 216. NEST EGG GOURD (A)—White fruit shaped like an egg. Use'l as a substitute for nest eggs. Pkt. 10c. 217. DISHCLOTH GOURD (A)—Many women prefer a dish- cloth made of this Gourd to anything else, as it is always sweet and clean as long as any part is left. Pkt. 10c. 218. DIPPER GOURD (A)—Makes an excellent dipper. Pkt. 10c. 219. MOCK ORANGE (A)—Fruit shaped like an orange. Pkt. 10c. 220. CALABASH or PIPE GOURD (A)—Odd shaped fruit, which is used to advantage in making pipes. Pkt. 10c. ORNAMENTAL GOURDS
Alyssum, Sweet Alyssum, Tom Thumb Aster Antirrhinuum (Some varieties) Bachelor's Button Cockscomb (Half-hardy) Calliopsis Cosmos Gaillardia Strawflower Heliotrope (Half-hardy) Marigold Ponr-o'-Clock POPULAR ANNUALS Mignonette Nasturtium Pansy Petunia Phlox Drummondii Pinks Poppy (Some varieties) Portulaca Scarlet Sage Verbena Vinca Zinnia Sweet Peas Achillea, The Pearl Alyssum, Yellow Ampelopsis Veitchii Aquilegia PERENNIALS (Hardy) Kudzi Vine Marigold Tagates Michaelmas Daisy Phlox Decussata Antirrhinum (Some varieties) Pyrethrum Roseum Centamea, Blue Cobea Scandens Coreopsis Lanceolata Delphinium Foxglove Gypsophila Hibiscus Hollyhock Oriental Poppy Iceland Poppy Scabiosa Caucasia Stokesia Sweet William Wallflower Lathyrus Latifolius (Sweet Peas) SWEET PEAS 0y\ 'if. ft w*'
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.
Identifier : travelsineuropee01prim
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e knew that the brave feUow was amongthe dead. So suddenly—so fearfully! To be sweptfrom among us, in the midst of life and hope. Therewere many, many tears of sympathy that night, andwhen I went below and strove to sleep, the vision ofa fellow-being struggling in the billows around me,drove slumber from my eyelids ; and when it did come,the vision remained among my dreams. Out voyage closed at daylight. We were in Ports-mouth harbor when we rose in the morning. A Britishman-of-war Avas coming in as I came on deck. Shemade a gi-eat circuit round us, and flred a salute forthe admiral of the port. We were at liberty to takethe salute as in honor of our arrival. THE OUTWAED VOYAGE. 29 In port. Lnndins. As this line of packets only touches here to landpassengers, we were taken off in a small boat and setashore in a ponring rain. A dreary, dismal time wchad. But we got tln-ough much sooner than we ex-pected, and at ten oclock on the 24th of April wewere landed on the wharf at Portsmouth.
PORTSMOUTH LIGHTHOUSE. CHAPTER II. FIEST NIGHT IN ENGLAND. The Custom-house—The Parish Church and Church-yard—Hotel—Turned out of my Eoom—Sleej^ing in a Garret—Portsmouth. It was good to plant ones foot on the solid groundafter crossing 3000 miles of treacherous sea, and muchas I loved old ocean, and rejoiced in the winds andwaves that had us in charge, it was better to be onthe bosom of mother earth, and to have a roof overmy head and a bed on which to lie. We went in company—some twenty-five passen-gers—to the same hotel in Portsmouth, and returnedto the Custom-house at an appointed time for ourbaggage, which had to be examined by the officers.We hear much of the annoyance to which travellersare subjected at the British Custom-house, and I wasprepared for delay and vexation. But the examina-tion was a mere matter of form ; the officers were verypolite—made the slightest possible overhauling of theluggage; a small library of books, English, French,and American, was extravelsineuropee01prim
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.
Identifier : principlesofdeco00dresuoft
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. Take ourordinary forms of tea-pot, and see how far the centre of the weight (the centre ofgravity) is from the handle in a horizontal direction, and you will be able to judgeof the leverage acting disadvantageously to the ]Xrson who may pour te;) from such 140 PIIINCIPLES OV DKSIGN. pots. N(i\v if the part which is grasped is to the right or left of a right linepassing througli the centre of gravity of any vessel, there is leverage acting tothe disadvantage of the person desiring to ponr from that vessel, and this leverageincreases just as the point held is removed fnmi the central line spoken of. Fi. 151 would pour when in the position shown in Fig. 15£, but see how farthe hand that holds it would he to the right of the centre of gravity («), which distanceis of -reat disadvantage, as it causes the vessel to appear much heavier than itactually is, and recpnres a much greater expenditure of force in order that the tea-potbe put to its usj than is necessary were it properly formed.
Fig. 101. Fiff. 155. Fig. 153. The law governing the application of handle and spnut to vessels is this, andthe same principle applies whether the vessel be formed of metal, glass, or earthen-ware :—Find the centre of gravity of the vessel, wliich can easily be done by lettinga vertical line drop over it when placed in two different positi(]ns, as m Figs. 153,154, and where the two vertical lines intersect, as in a in Fig. 155, is the centre ofgravity. The position of the handle being iixed on, draw a line through the centreof the handle, and continue it througli the centre of gravity of the vessel. The spoutmust now be at right angles to this line. If this lie the ease the vessel will pourfreely while the handle is just hung upon the thuml) or linger of the person desiringto pour from it, as may be seen from Figs. 15t), 157, in which the straight line A, SPOUTS -IXD HANDLES. 141 passing through the centre of gravity a, is at right angles, as it should bo, with thestraight line pass
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.
esta foto es de tanto animales k son maltratados en otros paises k destruyen la bellesa de los animales k noz an traido k venden su pelaje para k ... para k una ksa se vea mas linda kn una piel kolgada u.u k wea tienen en la kabesa no te dan kuenta k se ven mejor en los animales k komo pueden tener kara para tener eso en sus kasas... los tratan tan mal les sakan la piel a tirones :| los golpean seckos kontra el piso a los animales pero lo mas malo es k es todo kluando tan vivos sienten todo lo k les estan asiendo... pienso pk no ponen a esas personas en el lugar de estos animales para k sientan todo el dolor k le asen a estos animales....... miren la pura foto vena las pesima kndociones k tienen a los animales sienta la pena el susto de estos bellos animales puta tube k er un video en donde muestras km tan de desesperados estos animales u.u pk no se mueren estos hijos de puta k le asen daño u.u
puxa noc k decir toi kn la mente pa la kaga entre llorar de rabia de pena de noc ver a animales tan bellos k los van a matar por una tontera u.u
ojala puedan ponr este video en sus log , flickr en todas partes para k prohiban el maltrato animal !!
si van a llegar a aser algo antes piensalo i ve las kosas k aras k aras muxo daño a muxas personas (I)
Identifier : laphilosophiedes01mene
Contributing Library : Duke University Libraries
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une Devife pourVAffômptfôn de la fainte Vierge> avecce vers de Virgile: toV OMNIS. QUAM CHORUS ET SOC IICOMÏTANTUR OYANTES. yne troupe nombreufe en chantant]laccompagne. Recueil de plujteurs De\tfesè 451 ! I, Vne alloue tte fous un ciel fcrein, CMLO CANORA SERENO.JDurant
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