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Your grandma just left you an oil painting and you need a few copies; one for appraisal purposes and two for your siblings who would love to have a copy, too. A trip to the professional photographer involves a set up fee, print cost, and a negative that is unavailable for sale. The painting is too big for a flat bed scanner so digital copies are not feasible. One solution is to copy it yourself. A good 35mm SLR camera with a normal lens will probably focus to two and one half feet. Even better is a six or eight megapixel DSLR or EVF camera. Use an ISO setting of 100 or slower. Critical is the correct use of lighting. Allowing the surface texture to show in your copies prevents displaying the true color and values of the picture. Ideally, two identical incandescent lamps in reflectors angled at forty-five degrees will minimize surface reflections. Place the painting vertically and line up the camera on a tripod exactly perpendicular to the painting. An alternative is to use the sun at a forty to fifty degree angle. Any other unbalanced source (single) is to be avoided. Fill the view finder to about 80% of the viewfinder and check to see that all edges are parallel. The circle of light cast by the lamps determines the distance from the lights to the picture. Make sure all of the painting surface is evenly lit. Use an 80B filter with outdoor film or set your digital white balance at incandescent. A filter is not needed if electronic flash is the source of light. Electronic flash must be metered with a flash meter or calculated using the guide on the back of the flash. Equalize the distance from each flash to the center of the painting and aim the center of the cone of light at the furthest edge of the painting. Bracket your exposure one stop over and under the recommended F stop. F8 or F11 are the sharpest F stops. The resulting proofs are NOT a good guide to choosing the negative with the best quality. If a digital camera was used then print a small test picture before making the enlargement. When viewed over a well lit white surface, it is not too difficult to choose the negative with the best color and contrast. A slight increase in contrast is generally considered a plus. When done properly, it is difficult for the average person to tell the difference between the copy and the original when viewed from a normal distance. vimax cheapest penis enlargement pills online vigrx vimax penis enlargement program penis enlarement cream pro solution pill review penile enlargment free penile enlargement video pro solution pills

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The caves at Trois Freres in France hold some fascinating images. This is a brief discussion around those paintings. What was their significance? Cave paintings hold a powerful fascination. They are one of our most direct ways of touching our ancestors. Those men and women who lived by primitive means would have been more aware of the world around them than we are. The nature of their lives would have caused them to be more in touch with seasons and the patterns of life. Life and death depended upon their knowledge of food supplies and seasonal variations Was this the reason for the cave paintings? Deep into the Trois Freres ( Three Brothers ) Caves in France the visitor can see vague ancient images of figures and animals. One of these figures in particular has attracted international attention. Many believe it to be one of the first depictions of a shaman. When I first saw the images from these caves in France I was stunned by their graphic nature. The pictures of cattle and other beasts that surround the central figure high up on the cave roof are vague now but skilfully drawn. The central figure is about 2 and ½ feet or 70 cm tall. His appearance is strange, part animal part human. On his head are deer's antlers, probably reindeer, his mask has owl eyes below this there appears to be a long beard. His hands are hidden inside lion or bear paws. The back is shaped like that of an animal, is he wearing an animal sin? The tail is that of a fox covering his erect penis. My copy of the Animal Master is at www.mask-and-more-masks.com/The-Shaman-of-Trois-Freres.html Around this figure there are many comments and speculations as to its true nature. It is general accepted that he is a figure in a mask and animal disguise. That he has some spiritual / magical significance to the animals surrounding him makes sense. It is also widely thought that he is a shaman. Below the shaman there is a plethora of animals drawn over the top of each other. Almost like a sketch pad. I know at times I draw in this manner. I try forms and shapes sometimes they flow from the pencil at other times it seems much harder to achieve the effect that I want. As I scribble the page becomes full of overlapping images too busy to cope with. Ideas and notation. A place to be returned to in the future for a captured image to be reworked. But that's me and perhaps many other modern day artists. What of the artist in the dark of those caves? These images created, was it 14,000 years ago, or longer? Who really knows? Can we assume that these artist of the paleolithic period were not of the same mind set as now? Art for us is a process of recording, expression, a reflection of our inner nature and sometimes of the divine. What were these artist expressing or communicating? Lets accept one thing before I continue in this vein. It would seem that some natural talent was used by the artist in these times as the quality of painting and use of line shows to us. Often the figures were enhanced by colour sprayed through a tube, the paint blown from the mouth. Were these artists part of the magical process or were they paid in some way? Did they come from within the tribe or from elsewhere? Was it the Shaman who created the art for his own rituals? Most of these questions are impossible to answer. What is possible is to use the knowledge that we have of tribal peoples and their traditions. The shaman or healer or priest / holy man / woman is a figure still in existence today in some cultures. In fact the shamanic knowledge is being handed on to certain members of Western cultures. Shamanic practices have been well documented by anthropologists over the last 150 years. The shamanic practices through out the world have several features in common. The shaman is a link to the spirit world. By going into a trance the shaman enters the other world and communicates with the spirits of animals or ancestors. These spirit guides help the shaman to resolve problems for individuals or whole groups. The spirit world is divided into three sections Middle Earth where we live The Underworld land of spirits and the dead The Upperworld the place of Gods and Guardians To reach a state of trance the shaman has several methods, dance, meditation and drugs being the main ones. When he enters the other world the shaman seeks his spirit guide to help him resolve his quest. In these early times as in more recent recorded events the shaman would communicate with the spirits of the animals who, would be or had been killed. Keeping a balance to the order of nature was necessary. At times of shortage he would communicate with the spirits to help him bring food to his people. At times of drought he would sing for rain. This still does not answer the question as to why these pictures are there hidden deep in a dark cave away from prying eyes. As the shaman enters trance he begins the journey into the underworld the cave could well represent that journey. The pictures on the walls are the images seen on the journey. This could simply be a way of recording a spirit journey. A way to hold the images. It could even be used as a teaching device for new initiates. Perhaps this is why there so many overlapping animals. Can you imagine the impact of such paintings on the uninitiated visiting the cave. In the dim light the images would have been clearer and brighter than today. The shaman could well have been dressed as the picture. The drum would be beating. Incense could well be burning. Certainly a great setting in which to induce hallucinatory experiences, or if you prefer, induce the beginning of a journey into the spirit world. There are many other depictions of what have been called Animal Masters in caves around Europe and Asia. They link with the antlered and horned figures of Nordic mythology and Pan in Greek mythology. Whatever the true explaination is you can allow your imagination to run over the possibilities and no doubt add to my speculation. Biblography Van James Spirit and Art: Paleo-shamanic Iconography See www.theosophical.org/questmagazine/janfeb04/james George Frazer The golden Bough Nevill Drury The Shaman and The Magician Michael Harner The Way of the Shaman ©Ian Bracegirdle 2005 http://www.mask-and-more-masks.com You may use this article freely on condition that you include this copyright line and URL and that people who subsequently use this article follow the same conditions. 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My mother wouldn't leave the house without her big black leather handbag. The leather strap tucked neatly over gloved arm, like a waiter's napkin, she would proudly set off with her tribe of four tucked neatly in behind her. Mother Duck and the Ducklings. I've since come to realize that the proud tilt of her chin and her upright posture was simply her smug self-satisfaction in knowing that no matter what catastrophe may befall her, there'd be something in her handbag to remedy any situation. Thirty years on, the style and shape of her handbag may have changed, but I guarantee you would still be able to change a spare tyre or prevent nuclear war by poking through the contents of my mother's handbag. Alas, it seems to be a trait that has passed from mother to daughter, because I'm the one amongst all my gal pals who can always be counted on to produce a Bandaid for a cut finger, or the perfect lip gloss for a touch up. Oh, and I'm always the one with the spare tissues and tampons. I would like to ask Dr Freud about my peculiar predilection for carrying the entire contents of my bedroom (and kitchen, and bathroom) in my handbag, but he would probably relate it to some female sexual inadequacy problem. (Penis envy sounds like a good one!) What never ceases to amaze me is what on earth can the celebs who walk down the red carpet at those gala events possibly fit into an evening bag the size of a matchbox? Heck, they look like they haven't got room for a match let alone a matchbox. I always imagine their mother, or assistant, or hanger-on person, inconspicuously lugging their oversized Louis Vuitton traveling case through the rear tradesman's entrance. After all, what celeb would leave home without a complete makeover kit, change of underwear, spare toothbrush (or teeth!) and an extra bottle of Moët in case of an emergency? Most men who tell you women are mysterious creatures have never witnessed the full monty, so to speak, of a woman's handbag. I don't know if they would have the physical or mental strength to deal with it. As the nurturers and carers of the world, I'd like to think that as a woman, my handbag is an expression of my humanitarian global-thinking persona. I'm the one who will always be there to help another human being in need. As long as they wear the same shade of lipstick as me.