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Tour đảo Nha Trang - Nên đi 4 đảo hay 3 đảo??
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10 Secrets That Experts Of Dog Photography Don’t Want You To Know
Dog photography is a popular photographic medium nowadays. This might be a picture of your furry friend for your Instagram feed. Or a professional drawing at a dog show. Knowing how to photograph dogs is a great way to practice Photography in general. You don’t need your own dog photo studio to take great pictures. Read all the ten secrets information you need to do Photography. Focus Your Dog Character For Photography Taking Photography of dogs makes a lot of sense if you can focus/capture their behaviour in a photo. It’s fun to enjoy a popular activity, such as taking Photography of dogs in their favourite spots, tapping on the porch, or grabbing a Frisbee. To capture a dog’s character, ask yourself what is unique about your dog and try to capture that character in front of the camera. Use A Lens Fast For Dog Photography. Dogs don’t stay! Wink, you’ll miss their paradox, so it’s essential to use a faster lens and a faster shutter speed. My go-to lens is a 70-200mm f2.8 telephoto lens that is fast enough to freeze motion on that all-important shot, and you can zoom in and out quickly if needed. It also draws well in the background when taking photos. Base lenses are also great – 50mm or 85mm works well. Make sure you open your roller shutter. Of course, opening the shutter will give you faster shutter speeds and fantastic bokeh. But it can also obscure parts of your subject’s face. Use Dog Photography Natural Light. You don’t have to worry about flashes and complicated lighting settings when shooting dogs Photography. The best option is to use natural and constant light; this won’t scare them or make red eyes on your photos. https://www.clippingpathclient.com/dog-photography/ Whether you use ambient or studio lighting, the general rule is to choose bright, diffuse lighting that will help create a more pleasing portrait. If you’re in a slightly darker environment or your puppy doesn’t respond well to bright light, you can always increase the ISO for faster action shots, even in dark weather. High ISO, you can shoot quickly! When taking photos outdoors, sunny weather is ideal for balanced, diffused lighting. A sunny day is more challenging to take pictures than a sunny day, so don’t worry if the weather is sunny. Focus On The Dog’s Photography Eyes Your dog’s eyes should become the focus of your Photography. As humans, we are well connected with eye contact. Please focus on the dog’s eyes and use them to your advantage for dog photos. This, of course, draws the viewer’s attention to the subject. Focus on the eyes first, then reset focus as needed and apply the method again. The moving picture of a dog gets attention. It’s like a picture of a man. You can use your eyes to create depth, an unusual eye colour, or to create a sense of privacy. Use a wider aperture (f / 2.8 or less) to improve this feel! https://www.clippingpathclient.com/car-photography/ Add People To Dog Photography. The best photo of the dog alone or the owner is a classic photo. Use automatic lighting to prevent lightning from disturbing animals. The standard 50mm lens is ideal for this type of image. Shallow DOF (Depth of Field) focuses on the object in the centre of the frame, so keep your eyes focused. Remember to live fast when taking photos like this, as animals can quickly get into trouble if they take photos outdoors. Choose An Excellent Background For Dog Portrait Photography The background of the frame is as important as your content. Get a beautiful background in a different colour from the dog. Tree trunks, wood, gates, benches, bricks, and doors make beautiful backgrounds or frames for photographing dogs.
Ait Ben Haddou Kasbah
The ksar, a group of earthen buildings surrounded by high walls, is a traditional pre-Saharan habitat. The houses crowd together within the defensive walls, which are reinforced by corner towers. Ait-Ben-Haddou, in Ouarzazate province, is a striking example of the architecture of southern Morocco. Located in the foothills on the southern slopes of the High Atlas in the Province of Ouarzazate, the site of Ait-Ben-Haddou is the most famous ksar in the Ounila Valley. The Ksar of Aït-Ben-Haddou is a striking example of southern Moroccan architecture. The ksar is a mainly collective grouping of dwellings. Inside the defensive walls which are reinforced by angle towers and pierced with a baffle gate, houses crowd together - some modest, others resembling small urban castles with their high angle towers and upper sections decorated with motifs in clay brick - but there are also buildings and community areas. It is an extraordinary ensemble of buildings offering a complete panorama of pre-Saharan earthen construction techniques. The oldest constructions do not appear to be earlier than the 17th century, although their structure and technique were propagated from a very early period in the valleys of southern Morocco. The site was also one of the many trading posts on the commercial route linking ancient Sudan to Marrakesh by the Dra Valley and the Tizi-n'Telouet Pass. Architecturally, the living quarters form a compact grouping, closed and suspended. The community areas of the ksar include a mosque, a public square, grain threshing areas outside the ramparts, a fortification and a loft at the top of the village, an caravanserai, two cemeteries (Muslim and Jewish) and the Sanctuary of the Saint Sidi Ali or Amer. The Ksar of Ait- Ben-Haddou is a perfect synthesis of earthen architecture of the pre-Saharan regions of Morocco. Criterion (iv): The Ksar of Ait-Ben-Haddou is an eminent example of a ksar in southern Morocco illustrating the main types of earthen constructions that may be observed dating from the 17th century in the valleys of Dra, Todgha, Dadès and Souss. Criterion (v): The Ksar of Ait-Ben-Haddou illustrates the traditional earthen habitat, representing the culture of southern Morocco, which has become vulnerable as a result of irreversible socio-economic and cultural changes Integrity (2009) All the structures comprising the ksar are located within the boundaries of the property and the buffer zone protects its environment. The earthen buildings are very vulnerable due to lack of maintenance and regular repair resulting from the abandonment of the ksar by its inhabitants. The CERKAS (Centre for the conservation and rehabilitation of the architectural heritage of atlas and sub-atlas zones) monitors, with difficulty, respect for the visual integrity of the property. Authenticity (2009) In comparison to other ksour of the region, the Ksar of Ait-Ben-Haddou has preserved its architectural authenticity with regard to configuration and materials. The architectural style is well preserved and the earthen constructions are perfectly adapted to the climatic conditions and are in harmony with the natural and social environment. The large houses in the lower part of the village, with well conserved decorative motifs, are regularly maintained. The construction materials used still remain earth and wood. The inclination to introduce cement has so far been unsuccessful, thanks to the continued monitoring of the «Comité de contrôle des infractions» (Rural Community, Town Planning Division, Urban Agency, CERKAS). Only a few lintels and reinforced concrete escaped its vigilance, but they have been hidden by earthen rendering. Particular attention is also paid to doors and windows giving on to the lanes, to ensure that the wood is not replaced by metal. Protection and management requirements (2009) Protection measures essentially relate to the different laws for the listing of historic monuments and sites, in particular the Law 22-80 concerning Moroccan heritage. The Ksar of Ait-Ben-Haddou currently has a five-year management plan (2007-2012). This management plan is the result of two years of reflection and workshops involving all the persons and institutions concerned with the future of the site, in particular the local populations. The recommendations of this plan are being implemented. Furthermore, two management committees have been established (a local committee and a national one) in which all the parties are represented and cooperate in decision-making. As well as managing the property, CERKAS ensures coordination in the implementation of this management plan. visit our site for more informations...
Meenakshi Amman Temple
Meenakshi Amman Temple, also known as Minakshi-Sundareshwara Temple, is one of the oldest and most important temples in India. Located in the city of Madurai, the temple has great mythological and historical significance. It is believed that Lord Shiva assumed the form of Sundareswarar (the handsome one) and married Parvati (Meenakshi) at the site where the temple is currently located. Renowned for its amazing architecture, the Meenakshi temple was nominated as one of the wonders of the world, but failed to make the list of the "Seven Wonders of the World". However, the temple is definitely one of the "Wonders of India". It is also one of south India's top attractions with thousands of devotees crowding it every day. During the "Tirukalyanam Festival", which takes place over a period of 10 days, the temple attracts more than one million devotees. Even though many people visit it every day, the temple is well maintained and was named the "Best Iconic Place of Swachh" (the cleanest iconic place) in India. According to a legend, Meenakshi emerged from a "Yajna" (sacred fire) when she was a three-year-old girl. The "Yajna" was performed by a king named Malayadwaja Pandya along with his wife Kanchanamalai. Since the royal couple had no children, the King offered his prayers to Lord Shiva, asking him to grant them a son. But to her dismay, a three-breasted girl emerged from the sacred fire. When Malayadwaja and his wife expressed concern about the girl's abnormal appearance, a divine voice ordered them not to worry about the girl's physical appearance. They were also informed that the girl's third breast will disappear as soon as she meets her future husband. The relieved king appointed her Meenakshi and, in due course, crowned her as his successor. Meenakshi ruled the ancient city of Madurai and also went on to capture the neighboring kingdoms. Legend has it that he even captured Indralok, the abode of Lord Indra, and was also on his way to capture Kailash, the abode of Lord Shiva. When Shiva appeared before her, Meenakshi's third breast disappeared and she knew she had met her half-orange. Shiva and Meenakshi returned to Madurai where their wedding took place. It is said that the wedding was attended by all the gods and goddesses. Since Parvati herself had assumed the form of Meenakshi, Lord Vishnu, Parvati's brother, handed it over to Lord Shiva. Even today, the wedding ceremony is celebrated every year as "Chithirai Thiruvizha", which is also known as "Tirukalyanam" (the big wedding). The history of the Meenakshi temple dates back to the first century AD.C. and scholars claim that it is as old as the city itself. Kulashekarar Pandyan, a king who ruled the Pandyan dynasty, is said to have built the temple according to instructions given in his dream by Lord Shiva. Some religious texts belonging to the first to the fourth century AD.C speak of the temple and describe it as the central structure of the city. Texts dating from the early sixth century describe the temple as a place where scholars met to discuss important issues. However, the temple as it stands today was rebuilt throughout the sixteenth century, as it was destroyed by Muslim invaders. During the fourteenth century E.C., Malik Kafur, a commander of the Delhi Sultanate, led his army to most of southern India and looted many temples, including the famous Meenakshi Temple. Valuables such as gold, silver and precious gems were brought to Delhi. Since temples in those days had an abundance of valuables, most of the temples were destroyed and left in ruins. When the Vijayanagar Empire seized Madurai after defeating the Muslim Sultanate, the temple was rebuilt and reopened. The temple was further expanded in the late sixteenth and early seventeenth centuries by Vishwanatha Nayakar, a king of the Nayaka dynasty. According to the researchers, while rebuilding the temple, the rulers of the Nayaka dynasty followed the architectural style of 'Silpa Shastras'. 'Silpa Shastras' is a set of architectural laws found in ancient texts. The temple was once again expanded by Thirumalai Nayak, who ruled Madurai from 1623 to 1655. During his reign, many "Mandapams" (aisles with pillars) were built. Later, the temple was expanded by many later rulers of Nayaka before the arrival of the British East India Company. The temple was again degraded and parts of it were destroyed during British rule. In 1959, Tamil Hindus began restoration work by collecting donations and collaborating with historians and engineers. The temple was completely restored in 1995.