275,413 items / 2,166,669 views
of expensive cars
bekar ..they come
with hope from
near and far
be the next
maut ka kya
Saturday, May 4, 2013
275,413 items / 2,166,669 views
Muslim Motherhood ... Betrayed Misplaced Jehad Failed Crusade, a photo by firoze shakir photographerno1 on Flickr.
on the streets
asking for alms
pleading for aid
want her as
with her child
by muslim laid
society a failed
My Grandchildren Know Life As It Touches Them Too, a photo by firoze shakir photographerno1 on Flickr.
275,411 items / 2,166,607 views
at the temple
this is what
as they grew
we are beggars
is it not true
This is the Bandra Blind boy I shot this last year , and both handler and the boy , take life in their stride , after making good money they will head back to Murshidabad W Bengal.. take a break of a few years and again return back to good old beggar friendly city Mumbai .. Amchi Mumbai.
I Have Been Shooting This Blind Boy Since 8 Years, a photo by firoze shakir photographerno1 on Flickr.
275,405 items / 2,166,605 views
This was shot a long time back, after several failed eye operations rendered by a few generous people , he and his handler disappeared , than once again they returned to Mumbai..
The blind boy much older now , about 17 or more , the handler an old relative has aged too.
They beg in Bandra , mornings at Bandra Reclamation signal near the Fire Brigade office , later near Sahibaan signal .. they no more sit at Boran Road ..
They hail from Murshidabad W Bengal, most migrant Muslim beggars comr from Murshidabad mostly ladies ...
I am a pictorial story teller , I shoot and try to avoid text , text confounds me ..but pictures need description , and I am bad at grammar syntax of words ..I shoot the grammar of spectral silence ..the pain the pathos , people born poor die poor , born homeless die homeless .. and a God disinterested in his own creation , he sends them down and lets cosmic fate take over the reins of survival, livelihood,,,
My genre is street photography and it embodies the angst of the beggars I shoot,
Someone has to throw light on their universal state of darkness , their uncomplaining nature and their Dharma and Karma.
Beggars I have shot at Bandra , live and beg with dignity , Jaffar Bhai, Maria the leper lady.
Time has hardened them , they suffer , but they dont dump their sufferings on others ...
These beggars are timeless beggars not the rags to riches beggars..
I met a guy who used to beg at Mahim dargah, sit among the hungry beggars at Mahim eateries , where you buy food for the beggars.. he became a police informer they say and is allegedly a big shot builder happily married in the distant suburbs of Mumbai.
Mostly beggars come beg disappear ...than there are those beggars that seasonally beg at the various dargahs at Urus time ... Kashmiri beggars at Mahim urus. Muslim beggars at Pitru Paksh Banganga Walkeshwar.
Than you have the tribal traffic signal beggar kids unclothed and in rags , they become parents themselves moment they attain puberty.. incestuously created for more kids .. new born kids are lucrative give on rent drugged and bring in more money.
Indian society promotes beggars and corrupt politicians ...both strong pillars of our essence and ethos.
So now you know why I shoot beggars but dont ever ask them why they beg or became beggars .. we are all beggars in one way or the other.
Turquoise is an opaque, blue-to-green mineral that is a hydrous phosphate of copper and aluminium, with the chemical formula CuAl6(PO4)4(OH)8·4H2O. It is rare and valuable in finer grades and has been prized as a gem and ornamental stone for thousands of years owing to its unique hue.
In many cultures of the Old and New Worlds, this gemstone has been esteemed for thousands of years as a holy stone, a bringer of good fortune or a talisman. The oldest evidence for this claim was found in Ancient Egypt, where grave furnishings with turquoise inlay were discovered, dating from approximately 3000 BC. In the ancient Persian Empire, the sky-blue gemstones were earlier worn round the neck or wrist as protection against unnatural death. If they changed color, the wearer was thought to have reason to fear the approach of doom. Meanwhile, it has been discovered that turquoise certainly can change color, but that this is not necessarily a sign of impending danger. The change can be caused by light, or by a chemical reaction brought about by cosmetics, dust or the acidity of the skin.
The pastel shades of turquoise have endeared it to many great cultures of antiquity: it has adorned the rulers of Ancient Egypt, the Aztecs (and possibly other Pre-Columbian Mesoamericans), Persia, Mesopotamia, the Indus Valley, and to some extent in ancient China since at least the Shang Dynasty. Despite being one of the oldest gems, probably first introduced to Europe (through Turkey) with other Silk Road novelties, turquoise did not become important as an ornamental stone in the West until the 14th century, following a decline in the Roman Catholic Church's influence which allowed the use of turquoise in secular jewellery. It was apparently unknown in India until the Mughal period, and unknown in Japan until the 18th century. A common belief shared by many of these civilizations held that turquoise possessed certain prophylactic qualities; it was thought to change colour with the wearer's health and protect him or her from untoward forces.
The Aztecs inlaid turquoise, together with gold, quartz, malachite, jet, jade, coral, and shells, into provocative (and presumably ceremonial) mosaic objects such as masks (some with a human skull as their base), knives, and shields. Natural resins, bitumen and wax were used to bond the turquoise to the objects' base material; this was usually wood, but bone and shell were also used. Like the Aztecs, the Pueblo, Navajo and Apache tribes cherished turquoise for its amuletic use; the latter tribe believe the stone to afford the archer dead aim. Among these peoples turquoise was used in mosaic inlay, in sculptural works, and was fashioned into toroidal beads and freeform pendants. The Ancestral Puebloans (Anasazi) of the Chaco Canyon and surrounding region are believed to have prospered greatly from their production and trading of turquoise objects. The distinctive silver jewellery produced by the Navajo and other Southwestern Native American tribes today is a rather modern development, thought to date from circa 1880 as a result of European influences.
In Persia, turquoise was the de facto national stone for millennia, extensively used to decorate objects (from turbans to bridles), mosques, and other important buildings both inside and out, such as the Medresseh-I Shah Husein Mosque of Isfahan. The Persian style and use of turquoise was later brought to India following the establishment of the Mughal Empire there, its influence seen in high purity gold jewellery (together with ruby and diamond) and in such buildings as the Taj Mahal. Persian turquoise was often engraved with devotional words in Arabic script which was then inlaid with gold.
Cabochons of imported turquoise, along with coral, was (and still is) used extensively in the silver and gold jewellery of Tibet and Mongolia, where a greener hue is said to be preferred. Most of the pieces made today, with turquoise usually roughly polished into irregular cabochons set simply in silver, are meant for inexpensive export to Western markets and are probably not accurate representations of the original style.
The Egyptian use of turquoise stretches back as far as the First Dynasty and possibly earlier; however, probably the most well-known pieces incorporating the gem are those recovered from Tutankhamun's tomb, most notably the Pharaoh's iconic burial mask which was liberally inlaid with the stone. It also adorned rings and great sweeping necklaces called pectorals. Set in gold, the gem was fashioned into beads, used as inlay, and often carved in a scarab motif, accompanied by carnelian, lapis lazuli, and in later pieces, coloured glass. Turquoise, associated with the goddess Hathor, was so liked by the Ancient Egyptians that it became (arguably) the first gemstone to be imitated, the fair structure created by an artificial glazed ceramic product known as faience.
The French conducted archaeological excavations of Egypt from the mid-19th century through the early 20th. These excavations, including that of Tutankhamun's tomb, created great public interest in the western world, subsequently influencing jewellery, architecture, and art of the time. Turquoise, already favoured for its pastel shades since c. 1810, was a staple of Egyptian Revival pieces. In contemporary Western use, turquoise is most often encountered cut en cabochon in silver rings, bracelets, often in the Native American style, or as tumbled or roughly hewn beads in chunky necklaces. Lesser material may be carved into fetishes, such as those crafted by the Zuni. While strong sky blues remain superior in value, mottled green and yellowish material is popular with artisans. In Western culture, turquoise is also the traditional birthstone for those born in the month of December. The turquoise is also a stone in the Jewish High Priest's breastplate, described in Exodus 28.
In many cultures of the Old and New Worlds, this gemstone has been esteemed for thousands of years as a holy stone, a bringer of good fortune or a talisman. It really does have the right to be called a 'gemstone of the peoples'. The oldest evidence for this claim was found in Ancient Egypt, where grave furnishings with turquoise inlay were discovered, dating from approximately 3000 BC. In the ancient Persian Empire, the sky-blue gemstones were earlier worn round the neck or wrist as protection against unnatural death. If they changed colour, the wearer was thought to have reason to fear the approach of doom. Meanwhile, it has been discovered that the turquoise certainly can change colour, but that this is not necessarily a sign of impending danger. The change can be caused by the light, or by a chemical reaction brought about by cosmetics, dust or the acidity of the skin.
Some natural blue to blue-green materials, such as this botryoidal chrysocolla with quartz drusy, are occasionally confused with, or used to imitate turquoise.
The Egyptians were the first to produce an artificial imitation of turquoise, in the glazed earthenware product faience. Later glass and enamel were also used, and in modern times more sophisticated ceramics, porcelain, plastics, and various assembled, pressed, bonded, and sintered products (composed of various copper and aluminium compounds) have been developed: examples of the latter include "Viennese turquoise", made from precipitated aluminium phosphate coloured by copper oleate; and "neolith", a mixture of bayerite and copper phosphate. Most of these products differ markedly from natural turquoise in both physical and chemical properties, but in 1972 Pierre Gilson introduced one fairly close to a true synthetic (it does differ in chemical composition owing to a binder used, meaning it is best described as a simulant rather than a synthetic). Gilson turquoise is made in both a uniform colour and with black "spiderweb matrix" veining not unlike the natural Nevada material.
The most common imitation of turquoise encountered today is dyed howlite and magnesite, both white in their natural states, and the former also having natural (and convincing) black veining similar to that of turquoise. Dyed chalcedony, jasper, and marble is less common, and much less convincing. Other natural materials occasionally confused with or used in lieu of turquoise include: variscite and faustite; chrysocolla (especially when impregnating quartz); lazulite; smithsonite; hemimorphite; wardite; and a fossil bone or tooth called odontolite or "bone turquoise", coloured blue naturally by the mineral vivianite. While rarely encountered today, odontolite was once mined in large quantities—specifically for its use as a substitute for turquoise—in southern France.
These fakes are detected by gemmologists using a number of tests, relying primarily on non-destructive, close examination of surface structure under magnification; a featureless, pale blue background peppered by flecks or spots of whitish material is the typical surface appearance of natural turquoise, while manufactured imitations will appear radically different in both colour (usually a uniform dark blue) and texture (usually granular or sugary). Glass and plastic will have a much greater translucency, with bubbles or flow lines often visible just below the surface. Staining between grain boundaries may be visible in dyed imitations.
Some destructive tests may, however, be necessary; for example, the application of diluted hydrochloric acid will cause the carbonates odontolite and magnesite to effervesce and howlite to turn green, while a heated probe may give rise to the pungent smell so indicative of plastic. Differences in specific gravity, refractive index, light absorption (as evident in a material's absorption spectrum), and other physical and optical properties are also considered as means of separation.
An early turquoise mine in the Madan village of Khorasan.
Turquoise is treated to enhance both its colour and durability (i.e., increased hardness and decreased porosity). As is so often the case with any precious stones, full disclosure about treatment is frequently not given. It is therefore left to gemologists to detect these treatments in suspect stones using a variety of testing methods—some of which are necessarily destructive. For example, the use of a heated probe applied to an inconspicuous spot will reveal oil, wax, or plastic treatment with certainty.
Waxing and oiling
Historically, light waxing and oiling were the first treatments used in ancient times, providing a wetting effect, thereby enhancing the colour and lustre. This treatment is more or less acceptable by tradition, especially because treated turquoise is usually of a higher grade to begin with. Oiled and waxed stones are prone to "sweating" under even gentle heat or if exposed to too much sun, and they may develop a white surface film or bloom over time. (With some skill, oil and wax treatments can be restored.)
Material treated with plastic or water glass is termed "bonded" or "stabilized" turquoise. This process consists of pressure impregnation of otherwise unsaleable chalky American material by epoxy and plastics (such as polystyrene) and water glass (sodium silicate) to produce a wetting effect and improve durability. Plastic and water glass treatments are far more permanent and stable than waxing and oiling, and can be applied to material too chemically or physically unstable for oil or wax to provide sufficient improvement. Conversely, stabilization and bonding are rejected by some as too radical an alteration.
The epoxy binding technique was first developed in the 1950s and has been attributed to Colbaugh Processing of Arizona, a company that still operates today. The majority of American material is now treated in this manner although it is a costly process requiring many months to complete. Without such impregnation, most American mining operations would be unprofitable.
The use of Prussian blue and other dyes (often in conjunction with bonding treatments) to "enhance"—that is, make uniform or completely change—colour is regarded as fraudulent by some purists, especially since some dyes may fade or rub off on the wearer. Dyes have also been used to darken the veins of turquoise.
Perhaps the most extreme of treatments is "reconstitution", wherein fragments of fine turquoise material, too small to be used individually, are powdered and then bonded to form a solid mass. Very often the material sold as "reconstituted" turquoise is artificial, with little or no natural stone, and may have foreign filler material added to it.
Since finer turquoise is often found as thin seams, it may be glued to a base of stronger foreign material as a means of reinforcement. These stones are termed "backed," and it is standard practice that all thinly cut turquoise in the Southwestern United States is backed. Native indigenous peoples of this region, because of their considerable use and wearing of turquoise, have found that backing increases the durability of thinly cut slabs and cabs of turquoise. They observe that if the stone is not backed it will often crack. Early backing materials included the casings of old model T batteries, old phonograph records, and more recently epoxy steel resins. Backing of turquoise is not widely known outside of the Native American and Southwestern United States jewellery trade. Backing does not diminish the value of high quality turquoise, and indeed the process is expected for most thinly cut American commercial gemstones.
Valuation and care
Slab of turquoise in matrix showing a large variety of different colouration
Hardness and richness of colour are two of the major factors in determining the value of turquoise; while colour is a matter of individual taste, generally speaking, the most desirable is a strong sky to "robin's egg" blue (in reference to the eggs of the American Robin). Whatever the colour, turquoise should not be excessively soft or chalky; even if treated, such lesser material (to which most turquoise belongs) is liable to fade or discolour over time and will not hold up to normal use in jewellery.
The mother rock or matrix in which turquoise is found can often be seen as splotches or a network of brown or black veins running through the stone in a netted pattern; this veining may add value to the stone if the result is complementary, but such a result is uncommon. Such material is sometimes described as "spiderweb matrix"; it is most valued in the Southwest United States and Far East, but is not highly appreciated in the Near East where unblemished and vein-free material is ideal (regardless of how complementary the veining may be). Uniformity of colour is desired, and in finished pieces the quality of workmanship is also a factor; this includes the quality of the polish and the symmetry of the stone. Calibrated stones—that is, stones adhering to standard jewellery setting measurements—may also be more sought after. Like coral and other opaque gems, turquoise is commonly sold at a price according to its physical size in millimetres rather than weight.
Turquoise is treated in many different ways, some more permanent and radical than others. Controversy exists as to whether some of these treatments should be acceptable, but one can be more or less forgiven universally: This is the light waxing or oiling applied to most gem turquoise to improve its colour and lustre; if the material is of high quality to begin with, very little of the wax or oil is absorbed and the turquoise therefore does not "rely" on this impermanent treatment for its beauty. All other factors being equal, untreated turquoise will always command a higher price. Bonded and "reconstituted" material is worth considerably less.
Being a phosphate mineral, turquoise is inherently fragile and sensitive to solvents; perfume and other cosmetics will attack the finish and may alter the colour of turquoise gems, as will skin oils, as will most commercial jewellery cleaning fluids. Prolonged exposure to direct sunlight may also discolour or dehydrate turquoise. Care should therefore be taken when wearing such jewels: cosmetics, including sunscreen and hair spray, should be applied before putting on turquoise jewellery, and they should not be worn to a beach or other sun-bathed environment. After use, turquoise should be gently cleaned with a soft cloth to avoid a build up of residue, and should be stored in its own container to avoid scratching by harder gems. Turquoise can also be adversely affected if stored in an airtight container.
Hi! Trust you are doing well and staying safe in these tough times. Just wanted to send out a personal note praying for good health an...
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