A handful Amazing e Footage
E. Fownes & P. Sorg (LOC)
Image by The Library of Congress
Bain News Service,, publisher.
E. Fownes & P. Sorg
[between 1910 and 1913]
1 negative : glass ; 5 x 7 in. or smaller.
Other Bain negative of same subject is also identified as depicting Gilbert P. Taylor driving Emil Seeligs horses. (LC-B2-2454-12) (Source: Flickr Commons project, 2010)
Title from data provided by the Bain News Service on the negative.
Photo shows the London whip Ernest Fownes (driving) and Paul A. Sorg (died 1913) at start of a coaching race. (Source: Flickr Commons project, 2008)
Forms part of: George Grantham Bain Collection (Library of Congress).
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Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.11143
Call Number: LC-B2- 2476-10
Olympus E-PL1 Teleport test 1120mm handheld
Image by hto2008
Olympus E-PL1 Teleport test 800mm 1120mm handheld
Tokina 80-400mm Kenko 1.4x
HuaTongOversea Blog Claim:
Most of the photos in my Flickr were taken with my Nikon D90 + 35mm f1.8G + 50mm f1.8D + 18-200mm VR II + Tokina 12-24 f4 + Tokina 80-400mm, or Olympus E-PL1 + Olympus 14-42mm + Panasonic 20mm 1.7
Sometimes in order to describe something I do use a few photos I got from online, these photos will be marked and credited to the original owners if I know. If I dont know, I still normally apply heavy photoshop on them to the extend of recreation or recovery. If you can still recognize it or the difference is too small with your liking, as the original owner you should inform me, I will take them down immediately once I confirmed the ownership.
Those photos taken by me are credited and licensed to hto2008 flickr account and
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Image by flikr
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Image by dynamosquito
Sasanian king Bahram IIs rock relief at Sarab-e Bahram (Bahrams fountain), showing an audience scene.
The old Iranian art of carving royal rock reliefs raised a high point under the ruling of Bahram II, as this king gave up all the traditional standards ruling the previous royal rock cut imaging his predecessors set. He introduced new kind of sceneries: images of intimacy like Sarab-e Qandil or Barm-e Dilak, fight against lions like Sar Mashhad, or enthroned frontal representations such as this one. Unlike the previous Sasanian kings, he also ordered the carving of reliefs in new sites that were never carved before his ruling either by the Sasanian or by any previous dynasty. He left nonetheless but 10 rock relieves for the posterity, some being unfinished.
Unique panel carved into a quadrangular frame, the relief like most of Iranian ones is located near the water. In this case, a spring lay below the relief from what it took its name: Cheshm-e Sarab-e Bahram, meaning the eye of Bahrams fountain. The place is also located on the ancient road connecting the ancient main cities or capitals of Fars to those of the north under Sasanian (Ishtakr, Bishapur & Gur to Ctesiphon) but also previous dynasties (Anshan then Persepolis & Pasargadae to Susa under Elamite then Median then Achaemenian era). As seen on many other sasanian relieves, the frames dimensions are that of a golden rectangle (ideal proportions obeying to the mathematical suite of Fibonacci)
Badly damaged by erosion, the relief shows a static scene, completely lacking any movement. The king faces the spectator, seating on a throne, his 2 hands on the top of his sword whose pick lay on the groud. He wears his typical winged crown from which 2 diverging ribbons are stirred up by the wind , with 2 allowing archaeologist to name Bahram II despite the lack of inscription. Above the crown, one can see the kings korymbos, big spherical hairdressing maintained by a veil. At each side of the king, 2 characters can be seen paying tribute to the monarch by curving their 2nd finger in his direction before their mouth, typical sasanian tribute gesture. Although eroded, some remarkable details can seen on the hats of some characters, allowing their identification: At the left of the panel, a bearded man wears a hat on which a sign (sort of stylized bird flying) can be distinguished, sign of a very high social ranking or function (Vanden berghe identifies him as Papak, a vizier). Between Papak and the king, a beardless figure wearing a scissors signed hat is clearly identified as being Kartir, a Moebed (zoroastrian high priest). Such character has a very big importance under Bahram IIs period, being the one that struggled against Christian expansion, instituting zoroastrism as the official state religion. Kartir had that great influence on state affairs that he is the only non royal person who could not only be shown on royal rock reliefs, but also could ordering the addition of his own image on other previous kings reliefs such as Ardashirs at Naqs-e Rajab, or even carve his own inscriptions. 2 other characters at the right of the scene might be courtiers, royal princes, or very high rank noblemen. Both of them salute with their right hand at the back of the scene, and hold their harnessed swords with their left ones. All the non royal characters are standing in the frontal plan, while their feet and heads are turned (towards the king for the heads, exterior of the characters for their feet). The composition is not only static, but is perfectly symmetric. The importance of the king is enhanced by the lack of isocephaly: despite sitting, the kings head is on a higher level than the other characters heads, this impression is increased by the voluminous korymbos passing through the upper level of the frame. Technically, the execution of the carving is of a very good quality, a special attention has been paid to the clothes showing beautiful and fine details despite the erosion.
Taken at Sarab-e Bahram, vicinity of Noorabad, Fars province, Iran, May 2009.