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hello all comes back to me now to bring the article back to all of you,…. this time I will give some collection of portrait photography
please to be seen

Portrait photography is a different kind of photography in which the beautiful face and expressions are first. Portrait photography mainly used to show different facial expressions. Most of the portraits contain only face looking directly at camera. A portrait is not normally a snap, but a composite image of someone in a position yet.

There are some types of portrait photography as a constructivist environment, candid and a few other creative approaches. Capture professional portrait composition requires perfect lighting. There are many ways to light the face of a subject with multiple lighting plans as Three-Point Lighting, lighting, etc. Butterfly

History records Borobudur is the largest temple ever built for the veneration of the Buddha. Just imagine the building reaches a height of 14.000m with up to 35.29 sq. m. An inscription Cri Kahuluan derived from IX century (824 AD) who researched by Prof Dr JG Casparis, Wangsa uncover genealogical three successive dynasty that ruled in those days, the King Indra, the son Samaratungga. Later, his daughter called Samaratungga Pramodawardhani.

The location of this temple is located in the hills above the village of Borobudur, Mungkid, Magelang or 42 km north of the city of Yogyakarta. Surrounded Hill Manoreh stretching from east to west. While on the east side there is Mount Merapi and Merbau, and to the west there is Gunumg Sindoro and Mountain Cleft.

It takes no less than 2 million stone blocks andesite or equal to 50.000m Borobudur temple square to build this. Overall weight of the temple to reach 3.5 million tons. Like most buildings of the temple, Bororbudur has 3 parts of the building, namely the legs, body and top. Foot building called Kamadhatu, which tells the story of consciousness filled with lust and animalistic traits. Then Ruphadatu, which means a level of human consciousness are still bound by lust, materials and shapes. While no longer bound Aruphadatu passions, materials and shapes depicted in the form of an empty main stupa. This can only be achieved with the desire and emptiness.

Prince Raden Saleh visited many European cities, as well as Algiers. While in The Hague (Netherlands), a lion tamer allowed him to study his lions, and subsequently wild animal scenes brought Prince Raden Saleh great fame.

Prince Raden Saleh returned to Indonesia in 1851, having lived in Europe for over 20 years and subsequently married into the family of the powerful Sultan of Yokyakarta. He continued to paint, producing portraits of Javanese aristocrats, and many landscapes. Prince Raden Saleh died on April 23, 1880, after returning from a second extended stay in Europe.

One of Prince Raden Saleh’s most touching creations is his oil painting ‘The Capture of Prince Diponegoro’ which was returned to Indonesia from the Royal Palace of the Netherlands in 1978. It is now on display at the Museum Istana in Jakarta. In the painting, Prince Raden Saleh deliberately made the heads of the Dutch big, a reference to their pomposity and arrogance, and also to make them ‘laughable’ figures in comparison with the well-balanced figures of the Indonesians.

It is believed that the Javanese man covering his face with his hands, standing behind Prince Diponegoro, and the Javanese man standing with his head bowed in the crowd at the bottom of the stairs, are both self-portraits.

A prerequisite for a historical painting during the 19th Century was the existence of a nation, since the nation – not a client – was the address for the topic. Or to put it the other way around: by creating images of national historical events, you created a virtual nation as well. In a way the Dutch created the idea of Netherlands India through paintings like Pieneman’s Subjugation of Diponegoro.

And Raden Saleh created a nation in waiting by painting the Arrest of Diponegoro the way he did. The introduction of the topic historical painting meant the introduction of the idea of nationhood.

By accepting this interpretation of Raden Saleh’s Arrest of Pangeran Diponegoro, we have to reinterpret Prince Raden Saleh’s role in Indonesian history as well. He has to be placed right at the beginning of a long line of Indonesian modernizers and proto-nationalist figures.

That his message was little understood by his fellow Javanese has something to do with timing: he stepped too early onto the stage of Javanese social and cultural modernization.

But nevertheless he broke the ground. He proved that Javanese could excel in European cultural techniques as well. The painting was among the first to introduce the topic history and historical painting to Southeast Asian art. It is the first representation, interpretation, and comment on the contemporary.

For the first time a local artist left anonymity to proclaim that it is his job to comment the world. For the first time in Southeast Asian history the artist as a topos established himself in the middle of society and took self-assured his seat in the front row, next to the political elites.

This was an immense modern act. It was the prerequisite for the beginning of a new era, a prerequisite for modernity.