Tag Archives: nice

Nice Marilyn Monroe photos

A few nice Marilyn Monroe images I found:

analisa forex paling mudah Marilyn Monroe
Marilyn Monroe
Image by aclbraga

منتدى الاسهم السعوديه Marilyn Monroe by Jock Carroll, June, 1952
Marilyn Monroe
Image by thefoxling
Jock Carroll’s photos taken during the filming of "Niagara" are some of my favourites from this time. His book, "Falling For Marilyn" is well worth tracking down if you can.

jobba hemifrån anställd Marilyn Monroe
Marilyn Monroe
Image by aclbraga

Nice Live Skilled Live Fulfilled photos

Check out these live skilled live fulfilled images:

jobba hemifrån yrken Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Heading to Safety
live skilled live fulfilled
Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Heading to Safety

Photo By: SMSGT Munnaf Joarder

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

موشر الاسهم السعودي U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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شركة forex Army Photography Contest – 2007 – FMWRC – Arts and Crafts – There is a Place
live skilled live fulfilled
Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – There is a Place

Photo By: MAJ Aaron Haney

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

forex öppettider arlöv U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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http://justicesunday.com/blog/wp-admin/ hotforex server 6-52 Soldiers get Summer Safety training
live skilled live fulfilled
Image by USAG-Humphreys
Story and photos by Capt. Austin Liu
6-52 Air Defense Artillery Battalion

SUWON AIR BASE — With the summer season just around the corner, Soldiers from the 6th Battalion, 52nd Air Defense Artillery recently went through a comprehensive summer safety training here, learning how to prevent and react to some of the common safety hazards associated with this time of the year.
The training, from May 23-25, consisted of classroom instruction and practical exercises on topics such as fire and grilling safety, hot weather injury prevention, survival swimming, and motor vehicle safety training.
Sergeant Keith Myles is an avid swimmer who is looking forward to the wide variety of water sports available in Korea. So he welcomed the chance to hone his skills at the survival stroke, a technique which conserves energy and prevents muscle fatigue in case a swimmer needs to stay afloat for a prolonged time.
“This is great training,” Myles said. “Soldiers are learning how to prevent overexertion and increase survivability in the water if they ever fell overboard on a boat or hurt themselves during water sports.”
According to Myles, all swimmers, no matter the skill level, are “susceptible to muscle fatigue,” so it is crucial for everyone to learn the survival stroke.
The instructors separated the advanced swimmers from less skilled ones and provided individual feedback on ways to improve.
“I cannot emphasize how important water safety training is, especially as we head into summer,” said 1st Lt. Steve Bonner, one of the primary instructors and a former Army diver.
Myles concluded, “The training has definitely made me feel more prepared and more equipped next time I go into the water.”
In addition to water sports, motorcycle riding is another popular summer past time here on the Peninsula.
First Lieutenant Steve Voglezon has been riding motorcycles for over a year now and is planning to explore the beautiful Korean countryside this summer with his Hyosung GT650R motorcycle.
During the motorcycle safety portion, Voglezon goes over his safety checklist three times to make sure he and his bike are ready for the road. Voglezon is participating in the battalion’s motorcycle mentorship club, which teaches riders safety lessons on conducting inspections and checks, as well as donning appropriate protective gear.
An essential part of the motorcycle training included road familiarization.
“We paired inexperienced riders with experienced riders to foster a creative environment for responsible riding,” said Capt. Jeffrey Freeman, officer in charge of the battalion’s motorcycle mentorship program.
As the team of Harleys and Japanese sports bikes cruised through the winding roads of Osan and Pyeontaek, participants also learned valuable lessons on group riding techniques.
“There is a common misconception that it is dangerous to ride in Korea,” said Lt. Col. William Darne, 6-52 commander and a motorcycle enthusiast. “However, through the motorcycle mentorship program, we want to educate everyone that by wearing the appropriate protective gear, practicing defense riding techniques, and maintaining constant situation awareness, riding motorcycle in Korea can indeed be fun, fulfilling, and safe.”

For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys’ official web site or check out our online videos.

Nice On The Shoulders Of Giants photos

A few nice on the shoulders of giants images I found:

غرفة مملكة تداول الاسهم السعوديه Image from page 172 of “Wild nature’s ways” (1903)
on the shoulders of giants
Image by Internet Archive Book Images
Identifier: wildnaturesways00kear
Title: Wild nature’s ways
Year: 1903 (1900s)
Authors: Kearton, Richard, 1862-1928
Subjects: Birds Insects Natural history
Publisher: London, Paris, New York Melbourne, Cassell and company, limited
Contributing Library: American Museum of Natural History Library
Digitizing Sponsor: Biodiversity Heritage Library

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book

Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
magically vanishes into a small grey cloud ofmist. By a series of indescribably rapid motionsit makes the web upon which it rests vibrateuntil it becomes invisible. When the little members of a family of spidersleave the cocoon in which they have been hatched,they spin for themselves webs upon wliich totake exercise and enjoy the sunshine. One day, whilst walking alongside an olddry wall, I noticed a peculiar black knob betweentwo of the top stones. At first sight it appearedto be attached to nothmg at all, but a closerinspection revealed the fact that it was a familyof baby spiders resting on a crude and scantyweb, which harmonised so completely with thegrey sky behind as to render it almost invisible. After photographing the happy assembly asI found it, I put another plate into position, andtouching one of the threads of the web, made itvibrate. There was an instant stampede, and Ire-photographed the tiny creatures scattering forsafety as shown in the picture on page 149. CHAPTER V.

Text Appearing After Image:
BIRDS OF WOODLAND AND HEDGEROW. WmODS are frequently^ solitary and silent,or restless with life andringing wdth song, accord-ing to the character of thetrees growing in them. In Southern England,where hazel – bushes, ashstoles, and slender birchesgrow in c 1 u m ps withbramble – clad glades be-tween, and occasional oakand beech trees sending forth their giant arms toshadow primrose or bluebell-decked banks, therewill the ring dove clatter his wings and coo softlyto his mate, the nightingale ravish the palemoonhght ^^ith sweetest song, the inquisitive jaychatter and the willow wren warble all day long,to say nothing of a dozen other species. The deep shadows and solitude of pine forestssuit the habits of few birds, saving such as thelong-eared owl, and are generally painfully silent, PHOTOGRAPHER ONAUTHORS SHOULDERS 152 WILD NATURES WAYS. except for theoccasionaltwitter of anadventuroustit huntingthe needle-

Note About Images
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.

http://francesdowell.com/?p=1754 تداول السوق Memories of Klamath, July 2010-6
on the shoulders of giants
Image by kern.justin
LIFE IS WHAT HAPPENS TO YOU WHEN YOU’RE BUSY MAKING OTHER PLANS…
It’s funny how much can change in a few years. I’ve been going through my archives to try and put some organization and structure around terabytes of images I have collected since mid-2010. Part of that effort is to put some words next to these images, to tell the pieces of the story that aren’t recorded in pixels.

We moved to California in July of that year and spent a week before we started working exploring points north. In memory and in reality this was a charmed time: filled with the promise of a new start in California, unburdened by the responsibilities of work or the pressures of a changing professional landscape that eventually pushed us toward a career change. Driving north along the Avenue of the Giants where it winds without shoulder between coastal sequoias, to quote Dylan Thomas, we rode the daft and happy hills bareback.

Two weeks after the moving truck had departed, we slid over the Golden Gate northbound through Marin and then Sonoma and then Mendocino counties until we arrived at Prairie Creek Redwood State Park. Along the way we navigated the lost coast stopping and staring in awe at the giant redwood trees.

What can one add by writing a few words about the California redwoods that Muir or others haven’t added already? What can I tell you that you can’t already guess about the effect these giants have on the inner child that grew up on the great, flat expanses of the Midwest?
Note photographer for scale.
Note photographer for scale.

The Chandelier Tree.
The Chandelier Tree.

They were then and remain to me now the promise of the future and the lure of western lands made fibrous, ruddy flesh. Fragrant, seemingly-immortal and utterly silent they remain, basking even now in the California sun.

I’ve written previously about how I think there are at least two predominant modes of photographic consumption: the first being the instantaneous "this is what I’m doing" and the second being the "this is who we were." During the last few years advances in technology have driven the first of these to new heights. It is easier and faster and cheaper than ever to take and edit and share innumerable photographs. Despite these changes, however, it is my belief that the limitations on producing powerful imagery remain at the intersection of a photographer’s capabilities and the import of what he or she documents. These photographs wouldn’t be as precious to me if they weren’t as crisp or if they didn’t encapsulate so nicely our excitement at beginning a new chapter in our lives.

If I didn’t take and instantly share some photographs with my iPhone of this first of our northbound adventures then I surely did in subsequent trips. But whatever became of those photographs is anyone’s guess. The ones that survived are the ones you see here, made carefully and methodically for posterity and reminding me through the intervening years of stress and joy and change of who we once were and who we still are today.

justin-kern-onnz.squarespace.com/the-golden-sieve/memorie…

"THEY WERE THEN AND REMAIN TO ME NOW THE PROMISE OF THE FUTURE AND THE LURE OF WESTERN LANDS MADE FIBROUS, RUDDY FLESH."

I REMEMBER BEING TIRED…

The ride was a long one and we had made plans to set up camp that night at a spot inside the park. I’ll admit now to being reticent to tackling a more cumbersome route when my wife first suggested the detour through the Avenue of the Giants. Whatever hesitation or frustration might have existed melted at the sight of these trees and the unceremonious way the more spectacular groves were marked with a simple plaque and a dusty patch of earth where you were expected to park, get out and walk among giants. I had learned by this point that my navigator was an adept at finding new and interesting spots via a small detour.

We found a felled tree and I climbed aboard, able to stand fully extended in the cavity formed by a fire scar or some other calamity scaled to the enormity of these pines. We stopped a bit later where a particularly rich patch of clover covered the forest floor like knotted carpet, I remember there was a road sign that reported the distance to San Francisco and one or two cars riding the ribbon of asphalt south. We drove on, through dappled sunlight and the late afternoon until we had to regain the main road to make camp.

If memory is indeed a golden sieve, then perhaps I was exhausted despite the excitement, but rather than fatigue I remember leaving the Avenue of the Giants filled with elation and wonder. I didn’t know we were about to find an idyllic and utterly abandoned beach filled with driftwood and elk and fog. Nor did I anticipate the spectacular shape our hikes through the coastal redwood forests would take. And even if I did, the specifics, the 20/20 vision of hindsight has wiped whatever expectations I had from my mind. Instead I’m left with this collection of photographs that follow, breadcrumbs that trace a path I hope to re-blaze with Val, Oliver and whoever might follow in the years to come.

Nice Forza Horizon 2 photos

Some cool Forza Horizon 2 images:

مواعيد العمل في سوق الاسهم السعودي 395
Forza Horizon 2
Image by PixelGhostClyde

طريقة بيع وشراء الاسهم 246
Forza Horizon 2
Image by PixelGhostClyde

http://greatest-trends.com/?komynalkaarabov=%D8%A7%D9%84%D8%A3%D8%B3%D9%87%D9%85-%D8%A7%D9%84%D8%B3%D8%B9%D9%88%D8%AF%D9%8A%D8%A9-%D8%A7%D9%84%D9%8A%D9%88%D9%85-%D9%85%D8%A8%D8%A7%D8%B4%D8%B1&411=be الأسهم السعودية اليوم مباشر 248
Forza Horizon 2
Image by PixelGhostClyde

Nice B Wells Was photos

Check out these b wells was images:

بنك الامارات دبي الوطني الاسهم When It Comes to Aboriginal Art, It Can Branch Out Into the Imagination!
b wells was
Image by antonychammond
This artwork was hanging on the wall of our room in our B & B in Trieste. If anyone can identify the artist, I will gladly give him/her credit.

Indigenous Australian art or Australian Aboriginal art is art made by the Indigenous peoples of Australia and in collaborations between Indigenous Australians and others. It includes works in a wide range of media including painting on leaves, wood carving, rock carving, sculpting, ceremonial clothing and sand painting. This article discusses works that pre-date European colonization as well as contemporary Indigenous Australian art by Aboriginal Australians. These have been studied in recent years and have gained much international recognition.

There are several types of aboriginal art, and ways of making art, including rock painting, dot painting, rock engravings, bark painting, carvings, sculptures, and weaving and string art.

On modern artwork, dots are generally applied with bamboo satay sticks. The larger flat end of bamboo satay sticks are more commonly used for single application of dots to paintings, but the sharp pointier end is used to create fine dots. To create superimposed dotting, artists may take a bunch of satay sticks, dip the pointy ends into the paint and then transfer them onto the canvas in quick successions of dotting.

Certain symbols within the Aboriginal modern art movement retain the same meaning across regions although the meaning of the symbols may change within the context of a painting. When viewed in monochrome other symbols can look similar, such as the circles within circles, sometimes depicted on their own, sparsely, or in clustered groups. Depending upon the tribe of which the artist is a murnanember, symbols such as campfire, tree, hill, digging hole, waterhole, or spring can vary in meaning. Use of the symbol can be clarified further by the use of colour, such as water being depicted in blue or black.

Many paintings by Aboriginal artists, such as those that represent a "dreamtime story", are shown from an aerial perspective. The narrative follows the lie of the land, as created by ancestral beings in their journey or during creation. The modern day rendition is a reinterpretation of songs, ceremonies, rock art and body art that was the norm for many thousands of years.

Whatever the meaning, interpretations of the symbols should be made in context of the entire painting, the region from which the artist originates, the story behind the painting, and the style of the painting, with additional clues being the colours used in some of the more modern works, such as blue circles signifying water.(Source: Aboriginal Symbols – Indigenous Australia)

Story-telling and totem representation feature prominently in all forms of Aboriginal artwork. Additionally, the female form, particularly the female womb in X-ray style, features prominently in some famous sites in Arnhem Land.

In 1934 Australian painter Rex Batterbee taught Aboriginal artist Albert Namatjira western style watercolour landscape painting, along with other Aboriginal artists at the Hermannsburg mission in the Northern Territory. It became a popular style, known as the Hermannsburg School, and sold out when the paintings were exhibited in Melbourne, Adelaide and other Australian cities. Namatjira became the first Aboriginal Australian citizen, as a result of his fame and popularity with these watercolour paintings.

In 1966, one of David Malangi’s designs was produced on the Australian one dollar note, originally without his knowledge. The subsequent payment to him by the Reserve Bank marked the first case of Aboriginal copyright in Australian copyright law.

In 1988 the Aboriginal Memorial was unveiled at the National Gallery of Australia in Canberra made from 200 hollow log coffins, which are similar to the type used for mortuary ceremonies in Arnhem Land. It was made for the bicentenary of Australia’s colonisation, and is in remembrance of Aboriginal people who had died protecting their land during conflict with settlers. It was created by 43 artists from Ramingining and communities nearby. The path running through the middle of it represents the Glyde River.

In that same year, the new Parliament House in Canberra opened with a forecourt featuring a design by Michael Nelson Tjakamarra, laid as a mosaic.

The late Rover Thomas is another well known modern Australian Aboriginal artist. Born in Western Australia, he represented Australia in the Venice Biennale of 1991. He knew and encouraged other now well-known artists to paint, including Queenie McKenzie from the East Kimberley / Warmun region, as well as having a strong influence on the works of Paddy Bedford and Freddy Timms.

In the late 1980s and early 1990s the work of Emily Kngwarreye, from the Utopia community north east of Alice Springs, became very popular. Although she had been involved in craftwork for most of her life, it was only when she was in her 80s that she was recognised as a painter. Her works include Earth’s Creation. Her styles, which changed every year, have been seen as a mixture of traditional Aboriginal and contemporary Australian. Her rise in popularity has prefigured that of many Indigenous artists from central, northern and western Australia, such as Kngwarreye’s niece Kathleen Petyarre, Minnie Pwerle, Dorothy Napangardi, Lena Pwerle, Angelina Ngale (Pwerle) and dozens of others, all of whose works have become highly sought-after. The popularity of these often elderly artists, and the resulting pressure placed upon them and their health, has become such an issue that some art centres have stopped selling these artists’ paintings online, instead placing prospective clients on a waiting list for work.

Current artists in vogue include Jacinta Hayes, popular for her iconic representation of "Bush Medicine Leaves" and "Honey Ants", Rex Sultan (who studied with Albert Namatjira), Trephina Sultan and Reggie Sultan, Bessie Pitjara and Joyce Nakamara, amongst others.

Despite concerns about supply and demand for paintings, the remoteness of many of the artists, and the poverty and health issues experienced in the communities, there are widespread estimates of an industry worth close to half a billion Australian dollars each year, and growing rapidly.

In 1971–1972, art teacher Geoffrey Bardon encouraged Aboriginal people in Papunya, north west of Alice Springs to put their Dreamings onto canvas. These stories had previously been drawn on the desert sand, and were now given a more permanent form.

The dots were used to cover secret-sacred ceremonies. Originally, the Tula artists succeeded in forming their own company with an Aboriginal Name, Papunya Tula Artists Pty Ltd, however a time of disillusionment followed as artists were criticised by their peers for having revealed too much of their sacred heritage. Secret designs restricted to a ritual context were now in the market place, made visible to Australian Aboriginal painting. Much of the Aboriginal art on display in tourist shops traces back to this style developed at Papunya. The most famous of the artists to come from this movement was Clifford Possum Tjapaltjarri. Also from this movement is Johnny Warangkula, whose Water Dreaming at Kalipinya twice sold at a record price, the second time being 6,500 in 2000.

The Papunya Collection at the National Museum of Australia contains over 200 artifacts and paintings, including examples of 1970’s dot paintings.

For further information please visit en.wikipedia.org/wiki/Indigenous_Australian_art and www.google.co.uk/search?q=aboriginal+art&biw=1344&amp…

Nice Tom Hanks photos

Some cool Tom Hanks images:

http://zso.sokolka.pl/?polca=gra-na-gie%C5%82dzie-przez-internet gra na giełdzie przez internet Cloud Atlas Stars Halle Berry und Tom Hanks
Tom Hanks
Image by Telefónica in Deutschland
Weitere Informationen unter: blog.telefonica.de/2012/11/europapremiere-in-berlin-o2-mo…

Foto von der Cloud Atlas Europapremiere in Berlin / Potsdamer Platz am 5. November 2012
Fotograf: facesbyfrank.com/ im Auftrag von Telefónica in Deutschland
BC1T3080

Tom Hanks mit Cloud Atlas Produzent
Tom Hanks
Image by Telefónica in Deutschland
Weitere Informationen unter: blog.telefonica.de/2012/11/europapremiere-in-berlin-o2-mo…

Foto von der Cloud Atlas Europapremiere in Berlin / Potsdamer Platz am 5. November 2012
Fotograf: facesbyfrank.com/ im Auftrag von Telefónica in Deutschland
BC1T2549

Nice Non-profit photos

A few nice non-profit images I found:

Solar Liberty
non-profit
Image by 100isNow
Solar Liberty installs and leases photovoltaic (PV) solar panel systems for homes, businesses, schools, government facilities, and non-profits. Based in Buffalo, NY.
Credit: Stephen Yang / The Solutions Project

Pat Mitchell and Rita Henley Jensen
non-profit
Image by WeNews
Women’s eNews Gala 2010
Gala Benefit Dinner
21 Leaders for the 21st century
www.womensenews.org/21Leaders