All Forum Comments
If anything, my Maxsimafoto lasts longer than the Pentax original.
Comment by davidwozhere posted on k5 battery, s at 13/04/2015 - 01:33
I'm glad you made certain everything was in focus in the workshop. It makes for a fascinating study of all the machinery (that huge lathe looks a serious beast!) and the couple in #1 were caught just so.
Comment by davidwozhere posted on Tanfield Railway- War Weekend at 13/04/2015 - 00:58
"Tyronet" posted some Victorian stained glass recently that met with general approval and I commented that they used photographic images of people now and then. A local church has one such and I found one (potential) other example.
The first vicar of the new parish church of St Andrew in Eastern Green, Coventry must have been quite well off for he had the (plain) east windows replaced with a memorial to his wife when she died in 1901. She is the lady on the extreme right. Her face is quite qualitatively different to the others and it is, in fact, a perfect portrait of her, taken from a photograph (on a glass plate I guess).
Right panel with the photograph on the far right
and left panel for comparison
It doesn't end with the simple(!) memorial however. This window has ever deeper symbolism embedded in it with a rather sad pair of interlinked stories. Sophia Sutton was childless (not good in Victorian England and in a 6 bedroomed vicarage). The scene illustrates the Biblical quote of Jesus, "Suffer the little children to come unto me" with Sophia looking on from a distance. The very bottom of the middle panel tells us that the window is indeed a memorial to her.
The whole window with the biblical inscription at the bottom
Right up in the gable end is a roundel with two supporting motifs. The Latin labels translate into the favourite Victorian motto, "Faith, Hope and Charity" (Charity then meant "love"). Faith is illustrated by the cross (left), Charity by the woman and (note) THREE children and Hope by the fowled anchor (right)
Faith Hope Charity
The three children are dressed very plainly and the fourth, looking on and dressed differently, is Sophia Sutton as a child. The Latin labels tell us exactly which Faith, Hope and Charity is shown here, since Saint Sophia achieved martydom having been caught worshipping as a Christian by the Romans. It was traditional at that time to give children names such as Fides, Spes and Caritas and Sophia's children were so named. Each was beheaded with mother forced to watch. Each pleaded with mother NOT to recant her new faith - and she didn't. Then she was beheaded too. And to make it worse, the identical thing happened again, some time later, when the names are traditionally given in Greek, to distinguish them.
Even Sophia's grave has an elaborate, costly memorial, right outside the church porch. The vicar to all intents and purposes rededicated the church from St. Andrew to St. Sophia and the evidence is all there to see.
This last is in the porch of Shakespeare's parish church in Stratford on Avon. It is deeply inset and quite small so I'm not 100% certain that the head of the priest shown in the middle panel is a photograph. Like Sophia's visage, however, it is qualitatively different to the others.
and a crop
It is certainly Victorian and with egos like theirs they wouldn't think of not doing it if they could afford it!
The bottom panel is intriguing too, from a symbolic perspective, as we see the font of new life placed upon a tessellated, black and white floor.
The first vicar of the new parish church of St Andrew in Eastern Green, Coventry must have been quite well off for he had the (plain) east windows replaced with a memorial to his wife when she died in 1901. She is the lady on the extreme right. Her face is quite qualitatively different to the others and it is, in fact, a perfect portrait of her, taken from a photograph (on a glass plate I guess).
Right panel with the photograph on the far right
and left panel for comparison
It doesn't end with the simple(!) memorial however. This window has ever deeper symbolism embedded in it with a rather sad pair of interlinked stories. Sophia Sutton was childless (not good in Victorian England and in a 6 bedroomed vicarage). The scene illustrates the Biblical quote of Jesus, "Suffer the little children to come unto me" with Sophia looking on from a distance. The very bottom of the middle panel tells us that the window is indeed a memorial to her.
The whole window with the biblical inscription at the bottom
Right up in the gable end is a roundel with two supporting motifs. The Latin labels translate into the favourite Victorian motto, "Faith, Hope and Charity" (Charity then meant "love"). Faith is illustrated by the cross (left), Charity by the woman and (note) THREE children and Hope by the fowled anchor (right)
Faith Hope Charity
The three children are dressed very plainly and the fourth, looking on and dressed differently, is Sophia Sutton as a child. The Latin labels tell us exactly which Faith, Hope and Charity is shown here, since Saint Sophia achieved martydom having been caught worshipping as a Christian by the Romans. It was traditional at that time to give children names such as Fides, Spes and Caritas and Sophia's children were so named. Each was beheaded with mother forced to watch. Each pleaded with mother NOT to recant her new faith - and she didn't. Then she was beheaded too. And to make it worse, the identical thing happened again, some time later, when the names are traditionally given in Greek, to distinguish them.
Even Sophia's grave has an elaborate, costly memorial, right outside the church porch. The vicar to all intents and purposes rededicated the church from St. Andrew to St. Sophia and the evidence is all there to see.
This last is in the porch of Shakespeare's parish church in Stratford on Avon. It is deeply inset and quite small so I'm not 100% certain that the head of the priest shown in the middle panel is a photograph. Like Sophia's visage, however, it is qualitatively different to the others.
and a crop
It is certainly Victorian and with egos like theirs they wouldn't think of not doing it if they could afford it!
The bottom panel is intriguing too, from a symbolic perspective, as we see the font of new life placed upon a tessellated, black and white floor.
Comment by davidwozhere posted on Old churches, Victorian stained glass using photographs at 10/04/2015 - 01:35
The otter is magnificent.
Comment by davidwozhere posted on Martin Mere at 06/04/2015 - 01:04
Getting back to the Victorian stained glass, the Edwardians went one better with dedications and would include a photographed head on a traditional stained glass body. I will go and get an example tomorrow as I know where there is one locally.
Comment by davidwozhere posted on Old Churches. at 06/04/2015 - 01:01
Palani
Nearly everything, whether a macro or a portrait, is isolated from any context with concentration on the immediate detail
Nearly everything, whether a macro or a portrait, is isolated from any context with concentration on the immediate detail
Comment by davidwozhere posted on Towards a personal style at 06/04/2015 - 00:53
The Pre-Raphaelite one of the crucifiction is a stunner but I can't work out the symbolism of the sun and the (obscured) moon. Unfortunately, I can't read the text either!
Comment by davidwozhere posted on Old Churches. at 05/04/2015 - 01:27
Good thing you don't know what a Vogon is Carl
Great interpretation of the title, dressing gown or not
Great interpretation of the title, dressing gown or not
Comment by davidwozhere posted on Hitchhikers Guide to The Galaxy at 03/04/2015 - 22:31
The first two are quite magnificent
As for 3am - that's when I normally go to bed !
As for 3am - that's when I normally go to bed !
Comment by davidwozhere posted on Good Friday in WA at 03/04/2015 - 22:28
Just wonderful -- you lucky so and so!
Comment by davidwozhere posted on Barn Owls at 03/04/2015 - 22:24
