There a fantastic bird noise between The Roman Antonine Wall sites much further North than Hadrian’s Wall and nearby The Carriden The Witches Stone
There really was.
There is a bird flying Centre Dark on Bright Right to Left at 22 Seconds.
This film was shot between the two outcrops of The Roman Antonine Wall in sight of The Firth of Forth much further North and Hadrian’s Wall and nearby The Carriden The Witches Stone.
Title in description is, “There a fantastic bird noise.”
Title in film, “There was a fantastic bird noise.”
Both are correct, one is issued more emphatically than the other. If you like one better then that is the title that works for you. If the titles do nothing for you then who needs a title, to this presentation?
This day was a slice of beauty and history with intricate involvement with Sun and Sky, Woods and Birdlife galore.
You sir are a magnificent Bull in Bo’ness near Carriden The Witches
Stone and Roman Antonine Wall Sites here with Pictish Burghead in
Moray overlay
This magnificent
Bull in Bo’ness had me thinking of Pictish Art and their Symbol
Stones. Their animal symbols survive to this day where their language
is now none existent. The wonderfully evocative decorated stones are
found at Pictish Sites with the striking lines flowing and curling
like waves of energy form both the outlines and internal structure of
the subjects. At Burghead in Moray several Bull symbols were found
leading some to believe that the Bull was a symbol venerated here,
maybe a marker not unlike those later used in Heraldry to tell a
story of identity that is linked to landscape and to those who
control it. The notion of totems as good luck and potent identifying
markers of person and of people, of individual and of tribe to set a
motif of identity within this material world and an icon within all
spiritual realms too.
This particular
carved stone is displayed in London in The British Museum and thought
so highly of that a replica cast is held in Edinburgh at The National
Museums Scotland. This Bull is also incorporated into the current
Logo for The Moray Society Elgin Museum. There is a cast in The
Elgin Museum amongst other Pictish Symbol Stones. The symbol stones
from Burghead are numbered 1-6 and this one is catalogued as,
Burghead 5, Moray,
Pictish symbol stone
Measurements: 0.53m,
W 0.53m, D 0.08m
Stone type:
sandstone
Place of discovery:
NJ c 109 691
Present location:
British Museum, London (1861.10-24.1) (cast in Elgin Museum)
Evidence for
discovery: one of many bull carvings said to have been found during
quarrying of the wall of the upper citadel to find building stones
from around 1800 onwards, of which six have survived (Macdonald
1862). This stone was found sometime before 1809, when it was
exhibited at a meeting of the Society of Antiquaries of London, and
it was in private hands in London for many years before being
presented to the British Museum.
Present condition:
good.
Description
The triangular shape
of this slab may indicate the preferred form for these bull stones
from Burghead. One broad face is incised with the most ferocious
image of a bull to have survived, pacing angrily towards the right
with his head lowered far down and his tail swishing across his rump.
Date: seventh
century.
This is a cast of a
stone found at Burghead in Moray. It is one of a number of stones
carved with bull symbols, found in and around the site of the Pictish
fortress at Burghead. They date from between 500 and 800.
Like the other
stones, the bull is naturalistically depicted, with scrolls defining
the joints where the limbs meet the body.
The large fort at
Burghead was a major Pictish settlement. A number of carvings have
been found there, many depicting bulls. Various theories have been
put forward to explain their significance, including religious,
territorial emblems or clan totems.
“Interpretation of
the stones' original role has varied. Some scholars have suggested
they were displayed on the fort's ramparts as symbols of power;
others have seen them as having a votive role in a frieze as part of
a pagan fertility cult; while others argue they were standing stones
lining a processional route through the ramparts, a role suggested by
their likely original kite-shaped form.”
Noble, Gordon
(2019). “Fortified settlement in northern Pictland,” Noble,
Gordon; Evans, Nicholas, The King in the North: The Pictish Realms of
Fortriu and Ce, Birlinn, Edinburgh. Quote p.54, ISBN 178027551X.
1788851935, 9781788851930
The British Museum,
reference below, records,
Exhibition history
Exhibited:
2001-2002 12 Dec-28
Feb, Leeds, Henry Moore Institute, The Unidentified Museum Object
1998 18 Apr-12 Jul,
Japan, Tokyo Metropolitan Museum of Art, Celtic Art
Camore, reference
below, records.
Exhibited at the Society of Antiquaries in
London in 1809.
A
moment in the tower of the church erected upon Egil’s island,
Egilsay, Egilsey and even Eagleshay where Saint Magnus Erlendsson an
Earl of Orkney was martyred
The
island has been recognised under several names and the church here
has been venerated as the site of the martyrdom of Saint Magnus. The
legend of Saint Magnus Erlendsson an Earl of Orkney born in 1080 and
died on 16 April 1117 has been passed down to us even if some
believed it more and less. Please see the quote below for those that
found a proof to substantiate the legend into history, the vita that
is the living even holy writings of a hagiography.
“The
island is largely farmland and is known for St Magnus Church,
dedicated or re-dedicated to Saint Magnus, who was killed on the
island in 1117 by an axe blow to the head. For hundreds of years the
story of St. Magnus, part of the Orkneyinga saga, was considered just
a legend until a skull with a large crack in it, such as it had been
stricken by an axe, was found in the walls of St. Magnus Cathedral in
Kirkwall.”
Maybe a Manic either Bunny or Bear Shadow Feature Creature on the
wall with Fujinon 75mm f5.6 - f45SWD Super Wide Deluxe EBC Electron Beam Coating
I do
not wish to dwell on the traits and fates of Gladiators. The history
of Murmillo and their opponent does show the Roman attitude of
barbarian til the Gauls in this case were subdued and turned into a
Client Kingdom so their former bestial character was withdrawn from
the Arena and the Murmillones needed a new opponent in their live
action and potential death games. The helmet here has a history and a
continuing present.
Using
a Sinar camera with artistic lens and a Sony digital mirrorless
camera gives a warm feel to to the pictures. The Fujinon 75mm f5.6 -
f45
SWD Super Wide Deluxe EBC Electron Beam Coating is great older lens.
It has features and characteristics developed from previous models
and made wonderful in this incarnation of the lens. “Fujifilm also
pioneered Electron Beam Coating (EBC) which according to Fujifilm,
represented a new high in lens precision and performance*.” Up to
18 coatings can be applied by Fujinon to improve lens capabilities
reducing and even eliminating flare whilst improving contrast. In old
lens debates the coatings are heated topics of conversation,
discussion and complete disagreement. The coating debate can get
hotter and less controlled that Fujinon’s once fame platinum
crucibles designed and used to obtain the purest glass. Many
photographers are finding that old lenses and camera enclosures can
work marvellous well with new digital cameras. Old cameras, lenses
and equipment are current enjoy a second, third, fourth and more life
as they are looked to again to produce the detail they were imagined
for and the production of wonders that they were never designed for.
Murmillo
The
murmillo (plural murmillones) or myrmillo wore a helmet with a
stylised fish on the crest (the mormylos or sea fish), as well as an
arm guard (manica), a loincloth and belt, a gaiter on his right leg,
thick wrappings covering the tops of his feet, and a very short
greave with an indentation for the padding at the top of the feet.
They are heavily armoured gladiators: the murmillo carried a gladius
(64–81 cm long) and a tall, oblong shield in the legionary style.
Murmillones typically fought a thraex, but occasionally the similar
hoplomachus.
Thraex
The
Thraex (plural Thraeces, "Thracians") wore the same
protective armour as the hoplomachi with a broad rimmed helmet that
enclosed the entire head, distinguished by a stylized griffin on the
protome or front of the crest (the griffin was the companion of the
avenging goddess Nemesis), a small round or square-shaped shield
(parmula), and two thigh-length greaves. His weapon was the Thracian
curved sword (sica or falx, c. 34 cm or 13 in long). They were
introduced as replacements for the Gaulish gladiator type after Gaul
made peace with Rome. They commonly fought myrmillones or hoplomachi.
Hoplomachus
The
hoplomachus (Romanised Greek for "armed fighter", Latin
plural hoplomachii) wore quilted, trouser-like leg wrappings,
loincloth, a belt, a pair of long shin-guards or greaves, an arm
guard (manica) on the sword-arm, and a brimmed helmet that could be
adorned with a plume of feathers on top and a single feather on each
side. He was equipped with a gladius and a very small, round shield.
He also carried a spear, which he would have to cast at his opponent
before closing for hand-to-hand combat. The hoplomachi were paired
against the myrmillones or Thraeces. They may have developed out of
the earlier '"Samnite" type after it became impolitic to
use the names of now-allied peoples.
Some
Sinar Camera Details
“The
name SINAR is an acronym that encompasses the prime applications in
the fields of still, industrial, nature, architectural and
reproduction photography.”
At
times the name SINAR is rendered into different titles the above
quote and link is from an English version of a 2011 press release,
“Sinar Photography AG Acquires the Brand Rights of Sinar AG,”
Zürich: Sinar Photography AG. April 2011. The S in Sinar has also
been stated as standing for studio, Sache, or science.
Whilst
Sinar still make amazing cameras this is an older version and it is
not the latest and greatest. In fine age it is still a picture taking
marvel, but not easy, not handy and not great to transport. Then you
luxuriate into the results and suddenly the struggles of lifting and
moving of the all manual operation and friendly challenges of light
metering seem to be gone for a few treasured moments of appreciation
and even longer still as you think where next for a Sinar experience.
Artistic gentle focus lens Rodenstock Imagon 300 mm H=5.6 with a
little history of the Murmillo Thraex as Gaulish replacement and
Hoplomachus Gladiator
I do not wish to dwell on the traits and fates of Gladiators. The
history of Murmillo and their opponent does show the Roman attitude
of barbarian til the Gauls in this case were subdued and turned into
a Client Kingdom so their former bestial character was withdrawn from
the Arena and the Murmillones needed a new opponent in their live
action and potential death games. The helmet here has a history and a
continuing present.
Using
a Sinar camera with artistic lens and a Sony digital mirrorless
camera gives a warm feel to to the pictures. The Rodenstock Imagon
300 mm H=5.6 gives several versions of itself through itself without
additions and then through aperture and diffusion discs sometimes
referred to as sieve apertures and they are also called sink
strainers. Many photographers are finding that old lenses and camera
enclosures can work marvellous well with new digital cameras. Old
cameras, lenses and equipment are current enjoy a second, third,
fourth and more life as they are looked to again to produce the
detail they were imagined for and the production of wonders that they
were never designed for.
Murmillo
The
murmillo (plural murmillones) or myrmillo wore a helmet with a
stylised fish on the crest (the mormylos or sea fish), as well as an
arm guard (manica), a loincloth and belt, a gaiter on his right leg,
thick wrappings covering the tops of his feet, and a very short
greave with an indentation for the padding at the top of the feet.
They are heavily armoured gladiators: the murmillo carried a gladius
(64–81 cm long) and a tall, oblong shield in the legionary style.
Murmillones typically fought a thraex, but occasionally the similar
hoplomachus.
Thraex
The
Thraex (plural Thraeces, "Thracians") wore the same
protective armour as the hoplomachi with a broad rimmed helmet that
enclosed the entire head, distinguished by a stylized griffin on the
protome or front of the crest (the griffin was the companion of the
avenging goddess Nemesis), a small round or square-shaped shield
(parmula), and two thigh-length greaves. His weapon was the Thracian
curved sword (sica or falx, c. 34 cm or 13 in long). They were
introduced as replacements for the Gaulish gladiator type after Gaul
made peace with Rome. They commonly fought myrmillones or hoplomachi.
Hoplomachus
The
hoplomachus (Romanised Greek for "armed fighter", Latin
plural hoplomachii) wore quilted, trouser-like leg wrappings,
loincloth, a belt, a pair of long shin-guards or greaves, an arm
guard (manica) on the sword-arm, and a brimmed helmet that could be
adorned with a plume of feathers on top and a single feather on each
side. He was equipped with a gladius and a very small, round shield.
He also carried a spear, which he would have to cast at his opponent
before closing for hand-to-hand combat. The hoplomachi were paired
against the myrmillones or Thraeces. They may have developed out of
the earlier '"Samnite" type after it became impolitic to
use the names of now-allied peoples.
Lens
details Rodenstock Imagon 300 mm H=5.6 (for 13×18 cm)
In a
joint effort with the pioneering photographer Heinrich Kühn, who, as
a pictorialist, was artistically seeking for "romantic softness
without sugariness, blurring without a woolly effect"[1] in
images and had been experimenting with binocular lenses and soft
filters and rasters in the 1920s already,[1] the lens was technically
designed by Franz Staeble [de],[1][2] founder of the optical company
Staeble-Werk [de] in Munich, Germany.[1] The resulting lens was
marketed as Anachromat Kühn. Later in 1928,[1] the lens became the
Tiefenbildner-Imagon, which was introduced by Rodenstock in 1930/1931
and produced up into the 1990s. The unusual term Tiefenbildner is a
German composition, which can be best translated as "depth-of-field
creator, modulator or painter" in an artistic sense; this
designation was later dropped.
“The
name SINAR is an acronym that encompasses the prime applications in
the fields of still, industrial, nature, architectural and
reproduction photography.”
At
times the name SINAR is rendered into different titles the above
quote and link is from an English version of a 2011 press release,
“Sinar Photography AG Acquires the Brand Rights of Sinar AG,”
Zürich: Sinar Photography AG. April 2011. The S in Sinar has also
been stated as standing for studio, Sache, or science.
Whilst
Sinar still make amazing cameras this is an older version and it is
not the latest and greatest. In fine age it is still a picture taking
marvel, but not easy, not handy and not great to transport. Then you
luxuriate into the results and suddenly the struggles of lifting and
moving of the all manual operation and friendly challenges of light
metering seem to be gone for a few treasured moments of appreciation
and even longer still as you think where next for a Sinar experience.
Too much eye colour, I put my iris into some mono pictures and so now
obviously I have gone too far with the process
There is a film file with 15 of these loch side portraits without the
coloured eyes. After initially setting my iris from the original
colour pictures into 7 of the mono versions I should have stopped
having gained all the information required. The original pictures are
taken with the selfie camera and in processing they have been resized
to that of the front camera. From 2880 x 3840p they have been
enlarged to 3060 x 4080p. Yet dpi is down from 96dpi to 72dpi. The
quick cut original colour iris of the eyes with a touch of brightness
is not very fitting to a calm portrait, but it does show the edge of
detail and the strength of separation in contrast and definition. If
the pictures were from either a better lit scene, or from a better
resolution lens and camera then the iris would be easier to select
and better to view. By using the small iris as the target in the
pictures the quality of the image is shown when a viewer enlarges the
image to look just how well fitting the coloured iris appears in the
images. Overall for a selfie camera on a phone the selective colour
on the portraits is very good indeed.
Loch
Ness quick self portraits taken in between experiencing the wonders
available in, on and around this iconic location. The location chosen
here was the near anonymous car scene, rather than the amazing beauty
and of course the changeable wonderful views available just beyond
the confines of the near anonymous vehicle. Of course we saw the
monster(s) and they were very friendly and also maybe most
importantly there was no ‘chompy chomp chomp’ whilst in the loch.
They requested no pictures please at this time as they were scale
moulting for their Winter Sheen coat, so instead you have images of
the monstrous elusive me. My eyes as pictured have been edited in
Adobe Lightroom both ‘Sclera’ and then ‘Iris and Pupil’
functions were jiggered with. There are 15 portraits in total in the
film version, I will not load them all as JPEG files, rather a I will
just share a couple of examples. The tests mentioned are to jog my
memory of settings and functions and to learn how best to record a
scene for my digital memories that are my proposed ‘ones and zeros’
for future viewing happiness. Tech can be kind and emotionally
supportive as we all finding out, it can also fail drastically.
Meanwhile momentarily meandering if that is at all personally pose
possible
Loch Ness quick self portraits taken in between experiencing the
wonders available in, on and around this iconic location. The
location chosen here was the near anonymous car scene, rather than
the amazing beauty and of course the changeable wonderful views
available just beyond the confines of the near anonymous vehicle. Of
course we saw the monster(s) and they were very friendly and also
maybe most importantly there was no ‘chompy chomp chomp’ whilst
in the loch. They requested no pictures please at this time as they
were scale moulting for their Winter Sheen coat, so instead you have
images of the monstrous elusive me. My eyes as pictured have been
edited in Adobe Lightroom both ‘Sclera’ and then ‘Iris and
Pupil’ functions were jiggered with. There are 15 portraits in
total in the film version, I will not load them all as JPEG files,
rather a I will just share a couple of examples. The tests mentioned
are to jog my memory of settings and functions and to learn how best
to record a scene for my digital memories that are my proposed ‘ones
and zeros’ for future viewing happiness. Tech can be kind and
emotionally supportive as we all finding out, it can also fail
drastically.
