#postmortem photography (face)

[dreamsofalife]

((TAG DUMP~))

#out of the grave (ooc) #despite everything it's still you (about) #deep thoughts with shy wyatt (thoughts) #unearthed remains (headcanons) #postmortem photography (face) #cracker barrel street justice (crack tag) #cryptie shut up (mun speaks) #music speaks when words fail (music tag) #pink is the new black (wardrobe) #delicate decay (aesthetic) #i'll be there to cheer you on! (promo) #you'll hear the blacktop calling your name (dash games) #whispers from beyond (dash comm) #paint and paste (mun art) #candy hearts and paper flowers (ship tag) #keepsakes (likes) #blow out your candles (wishlist) #at the beginning with you (open rp) #call and response (calls tag) #a song of endless wonder (ic status) #sugar and spice and everything nice (food tag) #start another story (au tag)

[the-blind-assassin-12]

Unfinished - Part One: Love is Like Ghosts

A/N: Happy Spooky Season, friends! This story has been marinating in my brain for the last few months, and I am super excited to share it with you. It's my first stab at something truly spooky, and though this part is mostly set up, the next few should hopefully bring the scares. If anyone is curious about the inspiration for this story, please please please feel free to ask because I have LOADS to say about it! I hope you guys enjoy my ghosties!

*Chapter title comes from Love Like Ghosts by Lord Huron*

Warnings: death, illness, murder, infidelity (not Reader and Marcus) mention of loss of parent, language

Word Count: 4,723

Summary: Maplewood Manor has a long history, not all of it pleasant, and not all of it known. You and Marcus also have a long history, and when you reunite for a few days, both of those long histories become intertwined.

Maplewood Manor - October 30, 1868

Henry Ashford stood at the window of his wife’s sickroom with a decision to make. 

His hands gripped the wood that framed the panes of glass as he watched three bright orange leaves swirl through the chilly autumn air on their way to the ground. Ever since he was a child he had been fascinated by the colorful display of the changing fall foliage, the leaves seemingly celebrating their own impending demise by turning as bright and beautiful as they could before departing from the branches they were born to. Once they’d fallen, he would traipse through the grounds in search of the right one - one with perfectly shaped edges or the most vivid golden hue. Bringing it back inside he would take it to his mother, the woman pressing it under glass to preserve it through the colorless winter. Henry would hang the glass encased leaf in his window like a suncatcher, marveling at the ghost of autumn he’d captured until Spring came again with its buds and blossoms. And then the leaf would be discarded, the glass awaiting its next specimen until he outgrew the childish hobby. 

Or perhaps outgrew was the wrong word for it. The fascination with preserving the beauty of things that had died stuck with him, stoked and fed by his father’s work in the burgeoning field of photographic technology. James Ashford was the owner of the largest camera company on the East coast, and the invention of the daguerreotype took his sales to new levels, solidifying the Ashford fortune for generations to come. At the same time it solidified Henry’s interest in a new method of preservation - postmortem photography. 

It was a strange thing for a young man to be interested in, and as such, Henry himself was regarded as a bit strange. Nevertheless when the time came to marry, a suitable match was made for him in the form of Eliza Cutwright, the daughter of a wealthy banker from Philadelphia. It was not a marriage of romance, nor was it one of shared interests. Though she was wed to one of the most influential men in the photography industry, Eliza preferred the majesty of oil based portraits and pencil sketches to the cold reality of anything caught by a camera lens. It was rendition, interpretation, that she found fascinating - the way an artist would paint their version of the truth, the world as it was through their eyes, with emotion and passion. Not the scientific chemical process of taking and developing photos. 

The Ashfords though, like any respectable family of the time, functioned as they were meant to. They hosted and attended high society events, Eliza playing the role of the ever-devoted wife, always a smile on her face, her arm always linked with Henry’s while they laughed and hobnobbed with investors and socialites. They had two children - a son, Edwin, and a daughter, Josephine - ensuring that their family legacy would live on for future generations. On paper, Henry and Eliza Ashford were an enviable couple. 

Behind closed doors though, they hardly had anything to do with one another. Each year that passed seemed to widen the gap between their mindsets, every bit of growth that Henry’s company saw driving Eliza further into her love of the traditional arts. He spent more and more time in their townhome in the city, giving the excuse that he was busy with running his father’s company and leaving Eliza on her own at Maplewood, only returning when decorum called for it. It kept both of them happier and made it easier for Henry to stomach his wife’s obsession with fighting against modernity. 

In turn, Eliza felt freer in her husband’s absence to commission artwork for their home, to visit galleries and meet with artists. In the Spring of 1868, while at tea with a friend, she was reacquainted with one of the first artists she had ever met - Calvin Harper. 

Cal was the son of the artist that Eliza’s parents had commissioned to create both individual and family portraits of the Cutwrights, and he would tag along with his father when he came for sessions. While the rest of Eliza’s family had their turns sitting for Cal’s father, she and the boy, roughly the same age, would play in the gardens or else in one of the house’s many rooms. The only time Cal would be at his father’s side, watching each painstaking stroke of the brush, was when Eliza was his subject. Mr. Harper would later credit Eliza for Calvin’s interest in art. Their friendship, though not one of equal social status, was allowed to continue even after Cal’s father had completed his work, but it was terminated the minute Eliza was betrothed to Henry. It wasn’t proper for a married woman to keep company with bachelors. 

Especially bachelors that same married woman had always harbored affection for. 

But when she saw a piece hanging in her friend Grace Felton’s parlor, the same movement and light present in every brushstroke and the familiar C.H. signature in the corner, she knew at once that it was Cal’s work. Grace had purchased some of his paintings and had taken his information so that she could hire him to do portrait work. At Eliza’s request, she put the two old friends back in touch, and though it had been nearly a decade since they’d seen each other last, nothing had changed between them. Their friendship was rekindled as though it had never been dampened, Eliza inviting Cal to Maplewood and commissioning him for the same work that her father had hired his for. 

He started with portraits of Edwin and Josephine, the children taking an instant shine to their mother’s childhood friend, running to greet him when he arrived, stuffing little bouquets of wildflowers or interestingly shaped rocks into his hand as gifts. Josephine had even made him a drawing, once, the girl beaming as he heaped praise upon it. He reciprocated with sweets and the occasional small toy. By the time both of their portraits were finished, Cal had himself two little shadows that sat and watched in awe as he painted, just as he used to watch his father. The way that they interacted only made Eliza’s heart grow more fond of him, and he more so of her. She began to imagine what it would have been like had she and Cal never been separated, daydreaming a life where they’d been together the entire time, where Edwin and Josephine were his and the four of them were a family. Where she’d never met Henry Ashford and never had to pretend to be anyone other than who Cal Harper knew her to be. 

The affair seemed inevitable, largely because neither party did anything at all to stop it. It began while Eliza sat for her portrait, the little willpower that either of them had to keep things plutonic vanishing entirely once Cal’s eyes studied every detail of her face, once she watched the lick of his tongue against his lips as he concentrated. They were careful not to let the maid or the butler see, and they never shared more than a brief embrace in front of the children, not wanting to drag any of them into things should Henry arrive home unannounced. But during the week or so that Cal stayed at Maplewood while he worked on a painting of the house and grounds, he and Eliza took every chance they could to slip away to the meadow at the edge of the property, or else up and away into one of the many spare rooms. 

The one that ended up being the last room either of them ever set foot in, actually. The room that eventually became Eliza Ashford’s sickroom. 

Just as the affair itself seemed imminent, so too was Henry catching wise to it. He met Cal on a visit back home, the artist taking the opportunity to start Henry’s individual portrait while he was available, setting Eliza’s aside to finish once he was gone again. Nothing happened then to tip him off about what happened while he was away, the two men saying very little to one another but remaining civil. Despite his affinity for photography, Henry was actually quite pleased with the outcome of Cal’s work, bestowing a handshake on him. It wasn’t until all four Ashfords were sitting as a family that Henry picked up on the attraction humming between the artist and his wife - and between the artist and his children. 

It wasn’t as though he remained loyal to Eliza while he was away. Henry had at least two women in Philadelphia that Eliza knew about. But a man of his stature was almost expected to have a mistress, and so long as there were no bastards involved and no one important caught wind of the man stepping out on his wife, it was like it never happened. 

What enraged Henry about Cal and Eliza’s tryst was the fact that it occurred in their home. It was the fact that Eliza had allowed Cal to become close with the children. It was the idea that Edwin or Josephine might slip and mention their mother’s good friend who spent long weekends at Maplewood while their father was gone. It was the ramifications of a leader in the camera industry’s wife spreading her legs for a common artist. It was pride, more than anything. 

He knew for certain that something existed between the two when Eliza fell ill and Cal still came to Maplewood. He’d given the excuse of needing to refine the painting of the house - more detail in the cornices or better color matching to the stained glass windows - but that hadn’t kept him from making a stop to see her. The final nail in the coffin had been the sketches Cal had brought to show Eliza, hoping that they would lift her spirits - sketches of her, not a stitch of clothing to cover her body, sketches of the two of them together in positions he dreamed of during their ten years without contact. Sketches that included birthmarks that only Henry should know about on Eliza’s body. Sketches that fell out of his bag and that Henry found on the floor of the hallway outside Eliza’s room. 

The doctors said it was consumption, but the medical world would likely later redefine her condition as a type of lung disease, non-infectious, which was why no one else caught what was killing her. She may even have survived her illness given a few more weeks to recover. But those sketches became her true cause of death. Cal’s, too. 

Edwin and Josephine had been sent to stay with their governess at the townhome in the city while their mother was sick since no one knew that it wasn’t contagious. The staff had been pared down to just the housekeeper, who had gone into town to go shopping, so there was no one home to hear the gunshot that tore through Cal’s skull, and there was no one home to stop Henry from aiding Eliza’s death with a pillow over her face. 

Which led Henry to the decision that he needed to make. The way he saw it, he had three options. 

The first was to turn himself in for the murder of his wife and her lover. He would go to prison. His father’s company, his company, would be dragged through the mud, and Edwin and Josephine would likely never speak to him again, let alone have anything of his to carry on which was the whole point of their births. This was the option he gave the least amount of thought to. 

Option number two was to follow Eliza and Cal by swallowing a bullet of his own. In his eyes it was preferable to prison. There was even the possibility that when the three bodies were discovered, authorities would assume it was a murder-suicide committed by Cal. The children would grow up traumatized by the story of their parents’ murders, but Henry figured that would already be the case after losing their mother so young. The company would survive, and nothing of the estate would be liquified. Henry didn’t want to die, though, so he put that one out of his mind, too. 

That left the third and final option - disposing of Cal’s body before anyone returned, and passing Eliza’s murder off as a natural cause. Because he hadn’t shot her, there was no wound. It would be easy to say she’d died in her sleep. Cal had fallen in the center of an area rug, which meant that the mess was contained and would be simple enough to bundle up and drag into the cellar. The floorboards were removable, and there was plenty of space for a 5’11” corpse to never be found. 

Turning from the window pane and back to the gruesome scene in front of him, he made his choice. 

It wasn’t until both bodies had been dealt with that Henry noticed the easel in the corner of the room, Eliza’s half-finished portrait staring through him from an otherwise featureless face. 

–  –  –  

Maplewood Manor - October 30, 2023

You sat at the long elegant dining table going over the notes for your lecture and listening to the murmur of the crowd as people shuffled into the next room to take their seats. 

Sounds like a full house out there. 

As a member of the Society for the Restoration of Maplewood Manor, you were obligated to host one fundraising event that was open to the public a year, and whenever you could, you chose to do something that had a Halloween spin on it. Other members chose things like tea parties, dinner dances, or summer barbeques on the sprawling lawns. People from the area - and even some from further away - would purchase tickets, and then whoever was in charge of the event would round up sponsors to donate whatever was needed so that 100% of the profits could go back into the maintenance and repair of a two hundred year old estate. 

Maplewood had been in rough shape until the fifties, the deed falling into the township’s hands when the last owner had passed and there was no one looking to move in. It was turned temporarily into an art gallery, which had done severe damage to the walls and floors, not to mention the botched job that some electrician had done with the wiring of overhead lights. Eventually the property was purchased by a local university and that’s when the serious repair work had begun and the Society formed. Years later you would end up attending the college, which was how you got involved with the restoration, and though you’d graduated almost twenty years ago, you were still an active member. 

The event that you were hosting was entitled Unfinished Business: Ghosts Caught on Canvas. You’d decided to go with something that combined your interests and skills. You were an artist by trade, but your focus was very atypical. Though you did also create your own original works, you’d made your name in the art world by completing works that had been left incomplete by their creators’ deaths. Sometimes the families of the artists would commission you, other times you were contacted by museums, universities and private collectors. In a way, you felt like you were bringing closure to the people who hired you, and to the actual pieces of art themselves. Your lecture didn’t include any of the pieces that you’d worked on, all of the ones you’d chosen to highlight still unfinished and baring all of the sketchy lines and over-painted areas that showed how their artists were still unsure or undecided about how that portion of the piece would look when it was done. 

To your surprise, the event sold out in under a week when normally tickets for these events would still be available at the door. You were glad that you’d been able to contribute something so beneficial to the restoration society. But an even bigger surprise came in the form of one of the attendees on your guest list - Marcus Pike. 

You smiled to yourself as you recalled the message you’d sent him as soon as you saw that he had purchased a ticket. This really you? You’d sent it along with a screenshot showing his RSVP, and within seconds he had responded. Do you know any other Marcus Pikes? It had made you roll your eyes and snort, but at the same time it filled you with excitement. You hadn’t seen much of Marcus in the past few years while he was in Texas, and hadn’t spent a Halloween with him since the year after the two of you graduated college. 

Which sucks, because he’s so much fun around this time. And… and I miss him. 

Though you’d remained as close as you could from so many states away, nothing beat the few times you’d visited one another when he had time off from work. But none of those visits had been in the month of October. Another smile climbed your cheeks - along with a splash of heat - as you thought back to the first Halloween you spent with him, and the night that the two of you met. You and Kelly, your roommate, were hosting a costume party, and you were meeting her new boyfriend for the first time. Though their relationship wouldn’t last, you had formed a friendship with the cute guy from 2E who showed up in an impromptu sheet-ghost getup that would at times border on something more but never truly solidified into anything official. You’d kissed a few times, even slept together once, and more than a few of both of your friends had assumed that you would end up together. 

But then Marcus had moved south to start his career, and the will they won’t they question seemed to be answered with a won’t. And then he met and married Erin, and even when the marriage quickly came apart, you never really considered that the two of you would shift gears. 

And then there was Teresa. 

You wrinkled your nose at the thought of the woman and the bullshit that you knew she put Marcus through. In a way, you were glad that they hadn’t worked out, because you didn’t think you could stomach being nice to someone who had toyed with your best friend the way that she had. But at the same time, you felt for him, because you knew that when Marcus went in on a relationship, he went all in. He fell hard, which made it hard for himself to get back up sometimes. Moving back East to D.C. was good for him in that regard, and selfishly, it was good for you, too, because him being only two hours away meant that more regular visits were back on the table. 

Your phone chimed on the table next to your notes, and you couldn’t help the way your face broke into a grin as you read the text displayed on the screen. Just got here. Place looks great, can’t wait to hear your lecture! Another text bubble popped up that made you pull your bottom lip between your teeth. And to seeing you. 

Before you could respond, Xander, one of the grad students who was part of the restoration society, poked his head into the room where you sat to let you know that you were all set to start. 

“Thanks, X.” You smiled at him and gathered your note cards before heading into the next room. 

Thanking everyone for coming - and honing in on Marcus as you said it - you launched right into your presentation. 

“Real quick, before I start, how many of you all have been on a supposed haunted tour? Of a house or a city or graveyard?” You paused to let people respond, counting the raised hands in the room. About half of them were in the air. Not surprised. You smirked. “Now keep your hand up if you actually saw a ghost on any of those tours.” A ripple of laughter went through the room as every hand dropped back down. “That’s what I thought. Now, show of hands, how many of you really truly believe in ghosts?” 

This time, only a few people put their hands up. Again, not surprised. But you acted surprised anyway. “Really? Almost everyone in here has paid money to go on a ghost tour, but only four of you actually believe in ghosts?” 

That got another round of chuckles, Marcus’ hitting your ear over the rest. “Well, don’t worry. I’m not asking you to believe in ghosts tonight. The word belief implies that I’m expecting you to put your blind faith in something without being able to prove that it’s true. But I have proof. Solid, physical proof of ghosts that exist here in our world. So I’m not asking you to believe. I’m telling you that ghosts are real. And now I’m going to show them to you.” 

You could feel the rush of anticipation in the room, everyone going from joking and laughing to scooting forward in their seats at your promises. For the next hour and a half, you went over the selected works, pointing things out and connecting each piece with its artist, sharing facts and stories about them when they were relevant or entertaining. 

“You can still see the sketches underneath, right here. In this corner of the image. It’s almost as though the artist hadn’t decided yet - should the wings be unfurled or folded? The pencil lines here and here would indicate that originally they were open, spread wide. But from the beginnings of the brushstrokes over here it seems like maybe he was considering a different pose. And we’ll never know which way it was intended to be, or if the wings would even still be there in the final piece. So in a way, the painting itself is haunted, full of the ghosts of the artist’s original intentions.”

You finished up your talk by briefly explaining how you did your job - how you tried to immerse yourself in the mindset of the artist by gaining access to their journals, letters, photographs or any information about their life at the time that they were working on the piece, and then do your best to match the different styles and color palettes to complete the picture. Wrapping it up by thanking everyone again, you let people know that refreshments were available in the dining room and that you’d be available for any questions for about a half hour. Most people made their way in for snacks, but a few lingered for your informal Q & A. You gave them your undivided attention, which was difficult knowing that Marcus was hovering just beyond the small group that had formed around you and the six easels behind you. 

But there was no urgency, no rush to finish up and spend time with him, because he had four days off and was planning to spend three of them catching up with you. When you were finally done and the last person had thanked you for your time, you turned to Marcus and blew out a huff. “Well that went well I think.” 

He grinned wide, the expression lighting up his eyes. “You think?” Without warning, he moved in to wrap you in a hug, arms winding around you and giving a brief, tight squeeze. “You did great.” 

Returning the hug, you laughed. “Thanks, Marcus.” The scent of his cologne hit your nose and you had to stop yourself from burrowing into his neck to inhale again. Instead, you pulled back to see the smile he was still wearing. “I’m so glad you could make it. Been a while since we’ve been in this building, huh?” 

Marcus glanced around the room and nodded. “It has. Brings back a lot of memories.” He looked back at you and winked. “Good ones.” 

It does. 

Marcus hadn’t been in the restoration society with you while you were in school, but there were a number of campus activities that happened at Maplewood Manor, so you’d both been in the old mansion plenty of times before that night. 

You kissed me in the parlor room junior year. Doesn’t get better than that, Marcus. 

You wondered if that was the memory that came to mind for him, but before you could get too caught up in that thought, he spoke again. “Not to rush you out of here or anything, but I’m starving. You ready to go grab dinner? On the way here I noticed that Michael’s Diner is still open and I’ve been thinking about those disco fries since then.” 

Your eyes widened. “Of course Michael’s is still open, that place is an institution, Marcus. And yes, I’m also very hungry. Let me just check in with Xander and the other student volunteers to  see if they need anything before we head out.” 

“Sounds good. I’ll be here.” 

Verifying that Xander had everything he needed to close up once the remaining guests had cleared out, you thanked the kid and rejoined Marcus. “Alright, all set. Let’s go pig out like we used to.” 

–  –  –  

You’d made it halfway through your meal and most of the way through listening to Marcus tell you about his latest case when your phone rang. Reaching to silence it, you noticed Xander’s name on the I.D. “Sorry, I need to…” You trailed off pointing at your phone and showing him the screen. “Xander probably forgot his key or something.” 

Marcus held up both hands, palms facing you. “Of course, go ahead. No need to apologize.” 

Nodding, you answered. “Xander? Everything o-” 

“You need to get back here. Now.” 

The young man’s voice was thin and shaky and it made your stomach drop. Something was wrong, very wrong. It wasn’t just a forgotten key or a lock he couldn’t figure out, and the fear in his voice made your stomach drop. Your expression must have given you away because Marcus’ eyebrows pinched together in concern as he sat across from you. 

“What happened, X? You okay?” Your pulse pounded in your brain as you asked. 

What could have happened? I haven’t been gone that long. 

“There’s… someone…” He gasped a breath and swallowed, saying your name. “I called the police already, they’re on their way and I’m across the street at the security booth, but… There’s a body - a dead body in one of the bedrooms upstairs. I… I was doing a sweep before I closed up and…” 

“Oh, shit.” You breathed the two words out, ice flooding your veins as the concern on Marcus’ face went full-blown. “Oh, shit, Xander. I…” 

“There’s… s-something else, too.” You heard him swallow again. “When I came back downstairs there was… You only had six paintings in your lecture, right?” 

Blinking quickly, you nodded even though he couldn’t see you. “Yeah, why? Is one missing?” 

“No. No, nothing’s missing. It’s… there are seven now.” He paused. “Where… how are there seven now?” 

“Okay, X. Alright, sit tight until the police show up.” At the mention of the police, Marcus shifted into law enforcement mode, eyes laser focused and hands already moving to pull his wallet out and drop cash on the table. “I’ll be there in ten minutes, okay?” 

How the fuck… a dead body? What the… how? When did that happen, I was up there earlier in the day and then the door to the staircase was locked and- 

“Hey.” You looked up at Marcus as you both stood from the table. He shook his head. “What’s going on?” 

“Xander said he… Marcus, there’s a body. At Maplewood. Someone was killed, and… and there’s another painting that I didn’t bring with me now. I… I don’t-” 

“Alright.” He reached for your biceps, taking a deep breath and letting it out to try to get you to do the same. “Okay. Leave your car here. I’ll drive. Let’s go.” 

You nodded and tried to calm yourself down, the task made easier by the fact that Marcus was with you, and then you let him steer you out of the diner and into his car.

-- -- --

Thank you for reading! If you’d like to be added to or removed from the tag list, please feel free to let me know. You can also fill out the form on my Masterlist! :)

tags: @something-tofightfor @littlemisspascal @mishasminion360 @nyctophiliiiiaaa @alraedesigns @practicalghost @tanzthompson @amb11@harriedandharassed @woodlandmouth @thescarletfang  @trickstersp8 @princessxkenobi @imtryingmybeskar @haylzcyon@wildmoonflower @mswarriorbabe80 @theredwritingwitch @silverstarsandsuns  @pedro-pedrito-pascalito @jedi-in-crocs @hannahkatharine @anoverwhelmingdin @chiyo13 @myloveistoolittle @spishsstuff @Noisynightmarepoetry

#marcus pike x female reader #marcus pike x you #marcus pike x reader #marcus pike fic #pedrostories #marcus pike the mentalist #marcus pike #spooky story #love is like ghosts #unfinished #pedro pascal character #marcus pike fanfiction

[sofarfarout]

Included how he looked before the mods

His name was, obviously, Blue Moon but he changed it

Name: Black Moon

Gender: male

-body modification enthusiast and scarification artist, one of few in Equestria that will do scarification on the face and one of extremely few that does branding, branding is typically associated with gang and cult activity so a lot of ponies are put off by it

-has a number of body mods, from his carved front hooves to his full body blackout tattoo to his piercings to his tattooed eyes to his hoof insets, wants to get dark magic runes carved into his horn

-tall and very thin, lives on energy drinks

-low-key, even tempered, reserved and generally well mannered, can be snarky or sarcastic but doesn't intend to be rude

-nonconfrontational and noncompetitive, has no interest in debate or fighting back and is most likely to ignore you or say whatever will make you shut up faster, lacks the drive or killer instinct to try and be the best and is content where he is

-artistic and detail oriented, does beautiful, intricate scar patterns that, while time consuming, look absolutely gorgeous

-lives life at his own pace and on his own terms, never in a rush, we're all gonna rot in the ground anyway so might as well enjoy ourselves while we can

-defines his outlook on life as "nothing matters, but written in cyan comic sans in front of a pug on a skateboard"

-adventurous, always willing to try anything once, especially in the realm of body mods

-distant, has difficulty trusting others and keeps himself guarded

-appreciates the quiet moments, hyperactive and chatty ponies wear him out and agitate him

-favorite memories growing up are from helping out at his stepmom's tattoo parlor as a teenager, always admired her work, especially her vibrant coloring

-likes grindhouse films, freakshows, photography, collecting postmortem photos and underground comics, hobbies include sword swallowing, modeling and freelance illustration

Base by box-of-ideas and SelenaEde on dA

#art #fan character #mlp #my little pony #mlp original character

[pink-room]

Title: Postmortem Portraits Series

Author: Daniel Amorós / Daniel Loves The Sodomites

Year: 2012-13

Measures: 20 x 25 cm

Dimension: Gelatin silver prints

Location: Barcelona

POSTMORTEM PORTRAITS

From my personal experience with death, I started to do research on the mark that the end of  life left on my memories. I immersed myself in the imaginary of postmortem photography in which I intended to discover the interstices of “the last breath” and “the mask of death”. By using a black veil I tried to make the last memory eternal: the face of the people I photographed as if they were the ones I lost, as if it was done in the XIX century with the death masks.

What I assumed in the past as a research of “what remains” of those who were not around me anymore and the wound that their “last breath” marked in my consciousness was really my own death row, a metaphorical and transitory death that witnessed the denial process I was going through as a queer person.

#dlovesthesodomites #danielovesthesodomites #pinkroom #pinkroomthealbum #pinkroomthevisualalbum #pinkroomtheexhibition #habitacionrosa #habitacionrosaalbumvisual #habitacionrosaexposicion #habitacionrosaalbum #habitaciorosa #habitaciorosaalbum #habitaciorosalbumvisual #habitaciorosaexposicio #habitaciorosaalbumvisual #chambrerose #chambrerosealbum #chambrerosealbumbvisuel #chambreroseexposition

[ghostlycheuwing]

Why does Fanny appears on photographs?

Or: what is the secret behind Fanny pics?

TW: death

My theory is that Fanny's body was photographed shortly after her death. Post-mortem photography was a thing in the late nineteenth and early twentieth century, and would be quite common in the Victorian up to the Edwardian era. Such photographs were meant to be a comforting reminder of the deceased, a way to keep them close to you.

Now, I admit that this theory is not perfect.

1) I will say that I'm not sure if Fanny's husband, who chose to fling his wife out of the window and pawned a priceless jewel, would have the intention and the means to keep his wife close to him... Perhaps he would have had to do it to preserve the appearances? Playing his part as a grieving husband after a tragic accident?

2) Fanny was pushed out of a window... I'm not entirely sure how she would look like after her fall. Would her face be intact afterwards? (even if they knew how to make up the faces of the dead/"photoshop" the pictures to make them more lively)

That being said... Maybe it was not Fanny's husband who chose to take a photograph of her. Her family might have wanted to keep a token in their grief. Perhaps there was a police inquiry and the police took a photograph of the scene (the police definitely used photography at that time) or even the press (less sure why they would take a Fanny picture though - I'm not 100% sure how pictures were used in papers for such cases at the time).

Postmortem photography would explain why Fanny appears on pictures... and why she is the only ghost who can. That practice was popular in her time, but not for the other ghosts.

...

Another hypothesis is that Fanny might have been photographed shortly before her death? On Mike's ghost chart (I love that he has a chart omg), her appearance is very similar to the one we see on the show:

(at first, I looked at that photo to see if it could have been a postmortem portrait, but it doesn't look like it to me... Then again, Victorian/Edwardian photographers knew how to make bodies look alive - even painting their eyes open on the pictures!)

Fanny wears the same clothes and hairdo as she does in death, so maybe it was taken mere hours before her death?

I'll say that I dislike that hypothesis though, because it makes Fanny's case much less original. With the development of photography, many people would get photographed moments before their death - meaning that ghost pictures would be much more common in Ghosts' universe! We know that Fanny is a relatively special case though, so it makes more sense to me that the process of getting photographed happened shortly after her death, a practice that is tied to her period.

#bbc ghosts #tw: death #fanny button #lady button #fanny pictures #the grey lady #martha howe douglas #postmortem photography #edwardian practices #bbc ghosts meta #my meta

[lichdolly]

Some of my tags are unique, so I’m gonna make a quick list in case ppl wanna blacklist anything:

•Cute food - all food I post is tagged with this. I do not tag food separately but I can be requested to do so.

•Open the armory - all weapons are tagged as this, this doesn’t include razors and menhera as I tag those separately

•morbid tag - cemeteries, postmortem photography, generally just morbid things related to death. I tag animal death for taxidermy separately.

•horror tag - can include guro, disturbing images, etc.

•SCP Containment dump - anything SCP, including art and memes

•fungus among us - all mushrooms, fungi are tagged here.

•bug bash - all insects, arachnids, etc, are tagged as this.

•Eden speak - my tag where I post my occasional thoughts or feelings on lolita/jfashion related topics or just pure bullshit. If you don’t want to see those, feel free to blacklist.

•Cat tag - If you need a pick-me-up on a bad day, I have a cat tag! It’s all cute kitties. 💕

•Beginner Help - I have a beginner help tag for EGL fashion! It mostly consists of asks I’ve received that ask for help specifically.

•Current News - Date of post will always be added afterwards to notate whether the post is current or not.

•vroom - all cars; vintage vehicles, muscle cars, etc.

•Cheese! For everyone! - Skyrim and Elder Scrolls posts

•It’s Eden tag - my coords, my face, etc are in this tag

•Pokémon Spam tag - Pretty self explanatory. Pokémon.

•Máni in the Moon - Moon and space pics

•Secret Language on the Tongue - Witchcraft posts, witchy art, etc.

•Velveteen dreams - Velveteen/Velvet tag!! All velveteen items go here.

•Fenrisúlfr - Wolves, large canines

•Eden arts - my art

•Secret language on the tongue - witchcraft related things that evoke reminders of my religion (Norse Pagan; devoted to Hel and Loki)

•Tracing of sparrow on snow-crested ground - Snow! Derived from the canticle of Simon and Garfunkel’s Scarborough Fair

•Lolita History - history about EGL fashion, one of my special interests that I have been into for nearly a decade.

•Swamp mana - swamps, wetlands, etc.

•My darling dearest - posts that remind me of my beloved boyfriend

I also tag commons triggers such as pills, blood, guro/gore, animal death, death in general etc. Food, morbid things, and insects mentioned above. You can certainly request I tag things if need be, and I’ll try to (reasonably) accommodate!

#Eden speak #updated: 09/05/2023

[obeysword]

@arcanalight​ - chihaya !! 👻

     When photography first arrived in Japan, people believed that the camera could steal soul. POSTMORTEM PHOTOGRAPHS became a type of morbid photography that held a special significance in Japanese history. Yu’s only read a little about it, not able to understand why anyone would find COMFORT in seeing pictures of loved ones resting in eternal slumber. The booklet wedged inside his bag holds too many questions and he lacks the answers. But the pictures are beautiful. Locked in time, whoever took them had an unrivaled talent in the field. He’s not sure if he particularly wants them, either. But before the book arrived from Yukiko in Inaba, he’d found another CAMERA OBSCURA. It looked just like Yukiko’s from all those years ago. But along the box was a distinct crack, like it’d been dropped. The cover was broken but held the box shape. No wonder it was for sale. The moment Yu saw it along JINBONCHO he couldn’t ignore it, however. Antique bookstores often accumulated rare findings from paperbacks to items: tea sets, figurines, clocks, furniture. The old camera, able to take photos of ghosts and other objects unseen by the naked eye, is different from Yukiko’s. This one holds compound lenses.

      Another camera, this old book of photographs, and even Akira had discovered one on the sketchy website he frequented. It’s too perfect to ignore the threads of fate are binding them in the direction of the dead once again.

      Yu will never forget the mansion, the shrine, the ROPES, and the mirror. Tingling bells still manage to send chills up his spine and heightened his already unnatural awareness. How many nightmares did he have of that place? It was supposed to be an outing to satisfy Yukiko’s curiosity of legends and myths, and Yu wasn’t going to let her go alone -- and he hadn’t found a convenient way of getting out of it with his thoughts stalling after hearing the tale. He got more than he bargained for going there. The mansion was haunted with ghosts and curses and all ill-manner of supernatural phenomenon. Women with BROKEN NECKS, hanging from the sakura trees, and a gateway to Hell that needed to be binded with the bloody ropes of the strangled maiden. He survived the horror story and lived to tell his own tale. But of course there would be other cameras, other places shrouded in death. There were rumors all over Inaba-shi regarding legends of the sunset and the mountain that loomed in the distance.

      It’s with heavy thoughts that he approaches the table and the woman with gentle features and pretty blonde hair. There’s an odd serenity that comes over him being in her presence. Where there’s no need for secrets, he can be open with his thoughts and the records of his life. Yu’s soul is old, older than what one lifetime prior can tell of it. And he can tell, it’s never found peace until his current cycle. Tragedy and death always seem to line his wake. It’s almost poetic if he thought about how unfortunate it all was.

      ❝Mifune-san. You might not remember me...❞ Polite and honorable as can be, but Yu knows how IMPOSSIBLE it is to forget his face. Pale hair, striking eyes, handsome features unrivaled by anyone who comes in contact of him. He’ll never be left alone, and will never be truly forgotten no matter the years that pass. Yu is an entity unlike any other; even his grace and perception remains unparalleled. Traits that he once resented, he’s embraced. It’s probably made him even more beautiful as a result. ❝But I came to you about a year ago. You gave me a reading and told me I was at the crossroads to RUIN if I ignored what was going on around me and didn’t allow my partner to help.❞ It’s frightening how accurate everything turned out. She couldn’t have predicted a reality driven by a sociopath with a god-complex, but there was a purpose for it as well. Yu won’t thank Maruki. He hopes he’s lying face down in a ditch somewhere. But he’s happier than he ever was.

      ❝I was hoping you’d be able to help me with something, and maybe even listen to a story or two.❞ A cocky uplift of the corners of his mouth, and mirth flickering through sharp grey eyes. Untrained gazes could see it as flirtatious. With Yu, it’s DANGER and a warning, like thunder booming in the distance and the storm growing closer. One could count the seconds before the lightning split open the dark sky. The topic isn’t going to be as light as his calm voice alludes. Small animals would sense the underlining tension coming from him and scurry off to the safety of the underbrush. ❝Can I sit down?❞

#arcanalight #▼ VERSE FATAL FRAME △ ( arcanalight - closed ; in this cage ) #another baby monster has escaped from the womb :c #i just realized how gross that sounds but ohhh gosh !! #omg i'm so excited for this !! #and yu got to meet chihaya again 🥰

[acosmic]

thots on dolls, i'm curious abt how u got into them/what u like abt them

dolls are neat! sometimes you’re a fourteen-year-old kid with unrestricted internet access living in a town without art and a best friend who you hate as much as you hate yourself -- but this friend has good taste sometimes and oh no

they show you, or you find, this, and it’s the most beautiful thing you’ve ever seen. (taste is an acquired thing, i don’t know what i was thinking). and then there’s her (it’s been eight years and i’d still sell my soul for her) and her and these and these and even this hideous fucker has amazing detailed construction and tiny intricate details if you look closely even though he’s ugly as all hell (his owner and i are no longer friends, he was not a factor but i’m so glad i get to trash him because jesus christ what IS that). and you look into it a bit further and holy shit you can customize them, they come in one colour and sometimes in pieces and when you’re doing their makeup you’re actually pretty much adding their skin since they don’t have blood vessels or freckles or anything. and you can make their clothes and wigs and shoes (it’s way cheaper that way) and there are wildly different sizes and styles and levels of poseability and they only really became a thing in the late 90s so the older ones look simplistic and awkward but they still look sweet. some of them have intense expressions, or stylized ones, but most of them only come with one face and photographing them is like making postmortem pictures look lifelike.

they have this weird sense of personality to them, even the serene-looking ones. when i bought ada (third link above), it was kind of terrifying? she was tiny and fragile and the seller didn’t put her head on and she came in a pink child-size shoebox with all these tiny tiny clothes and accessories with her face painted on (here she is) and she was literally seventeen centimetres tall. i hate kids, i’m not a fan at all, but it was like seeing a new baby. and then she was a brat! she doesn’t like holding poses, her limbs snap around, her head lolls around on its socket, and she goes cross-eyed if you bump her slightly. she can’t decide on a hairstyle or eye colour, she hated her original face and she hates how i redid it, and she’s too tiny and delicate to take anywhere. i love her so fucking much. i’ve had her since i turned sixteen, and i’m twenty-two now. the reason i like lola so much isn’t just that hesitant alien is a kickass album, it’s because there’s this weird little creature and it’s you and it’s also not you and it’s your best friend and a strong critic of your every move and it’s cute and it’s fuzzy and it’s not real like a person but it’s kind of more real than that?

other dolls are cool too. i’ve spent more time with this $40 impulse purchase than i have with all $200 USD of ada, and i love her a lot too, but in a different way. some people use dolls to “shell” their characters, but mine tend to just happen, and ada’s character is more important than emi’s, no matter how cooperative emi is. one of my other oldest dolls is a pair of legs (because she’s the type you can buy as separate parts) and i keep putting off assembling her entire body because she feels like art and she’s kind of my favourite weird sculpture now. even the ones that don’t work out are really neat to have around -- most doll hobbyists sell members of their collection that don’t work, some are like revolving doors, others keep everything, so there’s always a secondhand market going that you can add to or pull from, or just look at for inspiration.

the customization aspect is really fun, too. some of them you have to reinvent from the ground up (i finally got a blythe and that’s what i’ll be doing with her as soon as my WIP list is at a better point), others you have weirder tasks on, like dyeing or repainting a body to revitalize it/suit a character (doing that to a unoa kit like the one pictured above) or modifying it to improve poseability or visuals (i’ve been hacking at a barbie body so she can bend her legs to fit in her wheelchair). sculpting your own dolls is a super-involved process, but i’ll do that eventually too (reading books about it is really meditative, especially since they tend to be in other languages so you have to inspect the pictures super closely. it’s like targeted dreaming). making doll clothing was a really strong draw for me for a while -- i wasn’t happy with how i exist in a body and it’s never the way i want, so i used dolls as kind of clothing horses for styles or designs i wouldn’t or couldn’t wear myself. now that i feel better about that, the dolls just kind of get what they want (and i’ve been neglecting them to sew for myself lmao but they don’t mind).

my phases run in weird cycles, so i’m really out of the loop on new developments relating to anything other than mattel inc. (the fashion doll community on tumblr is great), but it seems like the hobby is getting a lot more creative and a lot less stale than it was the first couple of times i was really into it. it’s this fluid, ever-changing thing that makes jumping back in really interesting (and a lot of work), but there’s still this comforting base to it that stays the same (use respiratory protection and high-quality materials when doing faceups, don’t buy recasts, volks/fairyland/alchemic labo are popular and cute). and if you swap doll types, there’s months/years more of entertainment. (i have big gay autism, or, like, adhd-autism crux/combination, and research is so fun)

dolls are great! they’re like muses, photography subjects, OCs, clothes horses, mascots, art projects, and (sometimes) investments all at once. whatever kind of phase i’m in, there’s something i can do with them. and they’re good company, and great for decoration and indulging your goth sensibilities and freaking out your visitors if you feel like it

random bag of onions to finish off: creepy and cute are accidental and if you deliberately aim for them you’ll get boring off-base results, what kayla said about s*x dolls applies to other types of doll too (if you try to put too many conventionally attractive features together you’ll just end up with something uncanny and grotesque instead of something really beautiful), toyetic design is for babies, doll hobbyists esp. forum communities still have a lot of unconscious biases esp. racism and homophobia to unpack, recasting is art theft and is killing the community via its artists but barbie/blythe/integrity knockoffs are basically a moral responsibility, and art dolls with huge hips are the new minifee chloes

#this got long because i. dolls. #asks #vampixie

[heycasbutt]

Serial Love

A/N: Hi all, here is part 1 of a miniseries I’m doing. It’s just cute and fluffy You and Spence in a secret relationship ala Will and J.J..  

Enjoy lovelies!!!

———————

“Good Morning Agents, I trust your flight was good. I am Detective Y/L/N of the Indianapolis PD. Thank you for coming out,” You smiled sweetly at the 2 agents in front of you. 

“Good morning, I’m SSA Derek Morgan and this is SSA Dr. Spencer Reid,” The broad shouldered one spoke and held out his hand. You shook his hand politely and reached your hand out to the young doctor who simply waved. 

“The amount of germs passed through a handshake is staggering it’s-” Dr. Reid was quickly cut off by his colleague. “Spencer! Not right now!” Agent Morgan hissed through his teeth and turned back to you. 

“It’s safer to kiss,” You smiled softly, finishing the factoid. “I have a BS in Chemistry and Biology. But here I am, working in a police department, go figure,” You laughed softly and brushed your hair from your eyes and walked over to the cork board that housed all the crime scene photos and maps. 

Spencer was never good with the ladies, that was always Morgan and Rossi’s job. But something about you inspired him to change that. He tucked a lock of hair behind his ear and smoothed out his shirt. 

“So, what do you have so farl?” Spencer questioned coming to stand near you and examining the locations of the latest victims on the map. 

“We had a Jane Doe here, 28 year old Melissa Suarez over here, and 24 year old Elise Smith right here,” you pointed to the three red tacks. “This one is our latest victim, 31 year old Hannah Morris. All are blonde, average build and height and all have respectable jobs. The ones we know have jobs” You added sticking in one more tack among the three already there. 

“Is there any sign of sexual assault?” Spencer asked picking a file up and flipping through it. You stood in awe of how quickly he read. 

“Um no. That was inconclusive, but they were all starved for at least 4 days before they were killed. Bones broken postmortem,” You shuddered softly at the thought of what these girls had to endure. 

“What’s this marking on their inner thigh?” Derek questioned pulling a photo out of the file and showing it to you and Spencer. It was a lowercase letter ‘a’ inside a pentagram. No one knew what it meant. 

“We don’t know. That’s why we called you guys in, we think these might be ritualistic killings.” You mulled over the photos a bit longer with the two agents and answered their questions. Spencer continued to spout off seemingly random facts which made you smile and made a blush rise to his cheeks. 

——————————

The BAU had been occupying your town for 6 days now and in that time you had come to know each one of them. Although Spencer was the ever elusive one, the two of you had grown closer due to your love of facts, classic literature and coffee. The two of you had probably emptied 7 pots of coffee in the first three days alone. 

He joined you their 4th night there when you stayed late to work the case. The two of you, coffee in hand, poring over photos and reports. That was the first night you kissed him. You were leaving and you offered him a ride back to the hotel. Before he got out, you gently pressed your lips to his, and he kissed you back. His soft lips moving against yours.

“Good night, Dr. Reid,” You whispered as he got out of your older model Suburban and hurried into the hotel and across the lobby to the bank of elevators. What you didn’t know was that Spencer would be replaying that kiss in his mind for days. Thinking of the way your sweet perfume wafted into his nostrils, the way your lips felt on his, soft, heavenly. The way your hand softly cupped his face. 

 The next morning Spencer arrived before any of the other agents having taken the bus in. You were the only one in the bullpen. You hadn’t slept much the night before and decided to get as much done as you could. 

“Dr. Reid, why are you here so early?” You yawned and stretched. Spencer took 3 long strides to reach you and pressed his lips to yours in a heated kiss. You smiled against his lips and looped your arms around his neck. 

“That’s why,” He whispered softly and kissed your nose before stepping away. It was nearly 7:30 and you knew the other agents would be pouring in soon. No sense in distracting them with the fact you had a huge crush on one of their colleagues. 

——————

It took the BAU 3 more days to catch the killer. But you were okay with it. It gave you three more days with Spencer. You had agreed once this case was over the two of you would alternate weekends between Virginia and Indianapolis. Still keeping your relationship on the down-low so that you could have something to yourselves for once. 

You offered to help the BAU take their stuff to the airport. Rather, it was just an excuse to see Spencer before he left. As you unloaded the last of the stuff from the car and watched the last agent go through the door of the plane, you pulled Spencer in for a hug and whispered in his ear “I’ll see you next weekend,” You subtly kissed his cheek so the others wouldn’t see. And with that he was gone. Up the stairs, taking your heart with him. 

—————

A week and a half seemed to drag by and you couldn’t believe your eyes when it was finally 4:00 on Friday afternoon and time for you to catch a plane to DC for the weekend. You quickly packed up your desk, and headed out. Not bothering to wait for anyone else. You ran down the stairs to your car and sped to the airport, half tempted to put your siren on to get you there quicker. 

“You’re here!” Spencer laughed softly when he found you at the airport. He wrapped you in a hug and kissed your head. 

“I know! And we have 3 days together. I took Monday as a personal day so I can fly back but I got a late flight so we can spend the day together.” You smiled and kissed Spencer, not afraid of anyone seeing you kiss in the airport. You imagined it was quite a sight a police detective from Indianapolis kissing a federal agent in the middle of a crowded airport. 

“Forever is never enough time with you,” Spencer whispered and took your bag from you. One hand in yours, he led you to his car. You knew he didn’t like driving but you appreciated the effort he put in. He drove back to his apartment, one hand on your knee, the other on the steering wheel. You smiled at the physical contact, anytime Spencer touched you it seemed to set your whole body alight. 

“Here is my apartment, I uh I have a guest room if you don’t want to share my bed,” Spencer stuttered and looked down. You smiled softly and shut the door, walking over to him. 

“Of course I want to share a bed with you, Spence,” You wrapped your arms around his neck and gave him a chaste kiss on the lips. 

“Y-You do?” Spencer asked incredulously. His hands came to rest on your hips and he pulled you as close as he could. 

“Of course I do, I mean, we’re both adults in a relationship.. I think it would be okay for us to share a bed.” You smirked and kissed him softly. “I can think of some other things we would be able to do in that bed, but we can wait on that,” You said against his neck. 

“Mmm, I’m always in the mood to ravish you, but I have to remain gentlemanly if I want to keep you around,” Spencer chuckled softly and pulled away, grabbing your bag and your hand, gently tugging you to his room. 

——————————

The next 2 days were spent going to museums, trying new foods, and falling asleep in Spencer’s bed watching foreign films. The two of you hadn’t gotten past the kissing aspect in your relationship, but to you, that was just as intimate as making love when done with the right person. 

Sunday night, the two of you were lying in bed, Spencer’s long fingers running through your hair as you hummed softly. You drew shapes on his chest absentmindedly, kissing him every once in a while. He grabbed your hand softly and kissed it gently.

“You’re amazing, Y/N,” Spencer whispered as he pulled you close and kissed you deeply. 

Before long, the two of you were a tangle of limbs and sheets. The only sounds that permeated the air were your breathing. Spencer grunted softly and you groaned in response. When all was said and done, the two of you lay skin to skin on the large down mattress. A thin lavender sheet was the only thing that preserved your modesty as both of your bodies glistened with sweat. 

“You’re the amazing one, Spence” You whispered and kissed him one last time, falling asleep quickly in his arms. 

Monday morning dawned all too quickly and you didn’t want to get out of bed, to leave the warm embrace of Spencer. 

You sat up in bed, reveling in the sunlight coming through the window, the sheet pulled around your front as you gazed out the window. Your hair was mussed from sleep and you ran a hand through it, pulling it loosely on top of your head. You felt the bed dip under you but Spencer didn’t come and sit by you or try and pull you back into bed. That’s when you heard the sound of a camera go off. 

“Spencer Reid!” You whined and flipped around, pinning him to the bed. 

“What? You looked like an angel. Like a goddess sent from above. I still can’t wrap my mind around why you’re with me,” Spencer smiled and showed you his phone. Your naked body was outlined by the morning sun. Tendrils of hair floated across your neck. It even took your breath away. It was a simple silhouette but there was no denying Spencer had an eye for photography. 

“I really like that Spence,” you smiled and kissed him gently. 

“I really like you,” Spencer smiled against your lips pulling you closer to him. 

“Can we stay in bed all day?” You laid your head on Spencer’s chest and hummed softly as his long fingers massaged your scalp. 

“I’d like that,” Spencer chuckled softly and pulled a blanket around the both of you. You laced your fingers with Spencer and for once, everything seemed right. You were content and happy for the first time in a long time, all because of a serial killer that brought Spencer to you and you to Spencer. 

#Spencer Reid #Spencer Reid Fanfiction #reid x reader #Matthew Gray Gubler #Matthew Gray Gubler Fanfiction #SR #MGG #criminal minds fandom #Criminal Minds Fanfiction #criminal minds

[olliemackk]

Historical vs Contemporary Portraiture.

Historically, portraiture was typically exclusive to the likes of famous persons and family traditions. In 1839 when photography was originally invented by Louise Daguerre, the public was widely hesitant to accept it as a new form of fine art. Thanks to this, in the coming years portraiture was used only as a form of documentation for the sciences, never especially acknowledged as apart form until the 1900s. To combat the general publics wariness around the medium, photographers took to taking celebrity portraits. These such portraits were very traditionally shot with perfect technicality, as the photographers didn’t have an awful lot of artistic freedom whence shooting with the purpose of documentation. As time went on, portrait photographers begun to be employed to preserve history. Photography became the staple way to document and preserve historic events; photographers were allowed on the front line of war zones in order to take portraits of the soldiers fighting for their lives. They also began to assist in regards to criminal mugshots and postmortem images, all of which was integral for both criminology and the police forces. Many victorian era photographers even got portraiture jobs photographing recently passed family members. Death by disease and illness was very frequent in victorian children due to lack of modern medicines and the general lack of sanitisation throughout that period, and as such photographers were often paid to photograph recently deceased family members, pinned up as though they were photographing taxidermy.

Compared to its origins, portraiture photography in the modern digital age has a far greater creative element attached. Where portraits throughout history were typically documenting certain people or events, modern day portraiture allows the photographer far more artistic liberty in ho exactly they wish to conceptualise their image. Often times photographers will use differentiating lighting techniques to convey a certain feeling and atmosphere. Things like composition and the ways photographers pose their models in portraits has changed rather drastically over the years, and every photographer shoots differently from one another. The difference in photographic technique is far more distinct nowadays than it ever has been.

Photography as a whole comes down to simply how the artist controls the light, and it is crucial to understand exactly how to control it as lighting can make or break a portrait very easily. Certain types of studio photographic require very bright hard light, which can sometimes be hard to make use of and still create an artistically pleasing image.

Baby portraits in particular often exhibit little to no shadows as well as a white backdrop, as is seen in this image shot by Paul Wilkinson. Using a key light as a Rembrandt source the left, Wilkinson successfully illuminates his model beautifully against the white backdrop. Filler boards are most likely in use on the opposite side as to soften any shadows showing, however with evidence of only one specular highlight in the yes, no secondary light is in use. The image is shot so high-key to convey the innocence of the child; the bright white and lack of shadows gives a very young impression. This is a fantastic example of creative use of very technical elements; brilliant whites creating an air of purity around the child. Paul Wilkinson specialises in traditional family studio portraits, and it reflects heavily in his stylised work.

On the contrary, here is a photograph shot by Ken Oshima. It is a near polar opposite to Wilkinsons shot in that it is an extremely low-key image with an air of maturity to it. Oshima is one of my personal favourite portrait photographers due to the way he handles light. He often manipulates it in such a way that compliments every model he works with, as is true here with his use of hard light and sharp shadows alongside the intimidating two posing. He exhibits fantastic use of side lighting against the model on the left hand. Judging by this and the catchlights in either models eyes, Oshima key light source is situated on the same left side, however he may be using a fill light in order to follow illuminate the right hand models portrait without any shadow. There is also some creative usage of backlights, assumedly honeycombs, that lightly spotlight the backdrop. 

These two images are very different extremes in terms of light manipulation, one highkey and innocent and the other lowkey and intimidating. There are of course other examples of light manipulation that are not such opposites, instead just showcasing artists differing styles. Many photographers will go out of their way in order to photograph during the golden hour in the morning/evening, as the orange glow is particularly beautiful when controlled correctly and setting an atmosphere. Others can make extraordinary use of soft window light to create illustrious results, allowing the simple sunlight to illuminate their models face in differing ways. Other times, photographers will make creative use of artificial light. See how Martin Parr in particular makes use of flash throughout all of his documentary photographs. Doing so reflects exactly how he as an artist perceives his subject, of which being the British public and their tendencies. He photographs these shots using such a particular lighting mix of natural sunlight and flash as well as putting emphasis on bright colours and contrast. In doing so, Parrs distaste for the general public and their obtrusive habits is very clear in his work.

Every artist will have a different grasp on lighting control, and each distinctive lighting technique conveys a very different feeling through the photograph. Often times exactly how someone photographs a documentary type photo is very telling of their own opinion on the subject matter, and as such the lighting variations used are typically very interesting from an analytical standpoint. 

#hn1photo #preproduction #seeingthelight #photographer analysis

[nofomoartworld]

This Artist Helps Identify Murder Victims

Many a person with a common vocation keeps an uncommon hobby, perhaps one that borders on the downright strange and unconventional. Take the one-time accountant Carl Koppelman, a Los Angeles-based artist who creates digital illustrations of unidentified people using post-mortem photos. Koppelman works with the hope that his pieces will help identify an unknown person even if it's been decades since their death. The time it takes Koppelman to digitally illustrate a person depends on the state of the body, like if the individual has had an injury, or if decomposition has begun. "When someone dies, their mouth changes shape and sometimes their eyebrows spring up—it's these kinds of things I have to edit and illustrate, and depending on this, it takes several hours to a few days," he says. Interested to know more, Creators spoke to Koppelman about what sparked his interest in the subject and how he got started.

"Sumpter County Mystery Couple - This is a young couple who were murdered in Sumpter County South Carolina in 1976. They are still unidentified."

Creators: Hi Carl! You've got quite an interesting hobby here. How did you first start off doing this?

Carl Koppelman: I started back in 2009 when I became a caretaker for my mother, who was ill at the time. For the last eight years I was restricted to being at home and looking after her, so a lot of the time I was at home on my computer. It was then that I really got interested in unidentified decedent cases.

Was there one particular case that really caught your eye?

I was really interested in the Jaycee Lee Dugard case—the story of an 11-year-old girl who was kidnapped in 1991 and was found alive in 2009 at the age of 29. That to me was fascinating. It got me interested in Websleuths, an online forum that deals with unsolved mysteries, current crime stories, missing persons, and so forth, and I became involved in one forum that deals with unidentified bodies. I'm a CPA by trade, but I have always had artistic abilities. I had noticed that the official drawings of unidentified John Does and Jane Does were often not very accurate and since I had the facial drawing skills, I took it upon myself to draw create my own images to enable people to more easily identify the deceased people. Over the past few years, I've done over 100 illustrations of unidentified persons. I also get requests from families of missing persons. They want me to create a photo of their lost loved one and make it them look older—as the person would look years after their disappearance if he or she was still alive. I get so many requests that I'm not always able to fill them.

"Houston WF Teen - This is a young girl whose body was found in Houston Texas in 1982. She was ID'd in January 2014 as Michelle Garvey of New London Connecticut."

Talk me through your creative process

I use Corel Photo Paint, a photo editing software package similar to Adobe Photoshop. I use it as if I'm painting on a canvas. Firstly I get a model photo of someone that might have looked like the person- similar age, sex etc, then I overlay the model face, set to about 90% transparency, over the postmortem photo, and that gives vitality to the lifeless face without making the unidentified person look like the person whose photo I used as a model. There are a number of techniques I use for this- to get the skin tone, muscle tone, and even hairstyles back into the place they would have been. It all depends on what I have to work with.

"This was a man who was hit by a large truck on a highway in Ashley County Arkansas in 1989. He was ID'd in 2016 as Charles Cornell of Battle Creek Michigan."

Was it difficult at first, working with post-mortem images?

I think I'd have a very different reaction if I were to see the bodies in person, but I don't—it's only from a photo. Looking at images of the deceased is not something that I have difficulty dealing with.

I take it some images are more difficult to work with than others?

Yes, it really depends on the quality of the photo and the condition of the body. While some the bodies are quite fresh—they look as though they are sleeping—others are in various stages of decomposition which makes the process a little harder.

"This was a young woman who snuck aboard a tanker car of a train headed north from Las Vegas in January 2014, dressed only in a long-sleeved tee shirt and sweatpants. The train took her into Utah, where the night air was about 18 degrees Fahrenheit (about 8 degrees below zero Celsius). She died of hypothermia. She was ID'd later that year as Amber Eve Brown of Robertsdale Alabama."

Has anyone been recognized?

In 1979, a young girl was murdered in upstate New York. Her name was Tammy Jo Alexander, and she was only 16 at the time. Her family had presumed she had just left home because she had come from a dysfunctional and difficult family life. She had run away but was she was actually murdered in New York not long after she left home. About 35 years later, still nobody knew who this girl was. I recognized her when I came across a new missing person listing on the National Missing and Unidentified Person System (NamUs). I keep a spreadsheet of all my publicly listed missing persons), and as I was updating the spreadsheet, I spotted this new listing of a missing girl from Florida, and recognized her as the unidentified girl found in New York. I reported it and that case got worldwide attention. I had managed to identify someone, having drawn a better illustration of her.

"This was a case of skeletal remains found near Boston Massachusetts in 1994. She was ID'd in 2016 as Millie Alvarado of Fitchburg Massachusetts. I created the reconstruction at the request of the detective in charge of the case. All I had to work from was a photo of a badly deteriorated skull, and two photos of the skull from the crime scene. I had to assemble portions of the three photos to create an image of a complete skull, from which I was then able to recreate her face."

How do you pick an image when you've got quite a lot to choose from?

In some cases, the photos are available online, and in some cases, I've been given access to photos. There's not a set rule with how I pick photos that I want to work with. If I think it might help identify the person, then I tend to pick that case. Back in 1968, a woman was found dead sitting on a bench in a park in LA. Nobody was able to identify her for 48 years. She had a ring on her finger, that had the initials CB to EJ and the date September 4, 1920 engraved into it. A former colleague whom I had worked with 10 years earlier had done some research, and had found that those initials were linked to a couple who were married in Detroit in the 1920s She eventually located the couple's grandson, who turned out to be the deceased lady's brother. He hadn't seen his sister since he was about six or seven years old. I was very excited that my friend had solved this case, because as it brought some kind of resolution to this now middle-aged man, who had wondered for most of his life what happened to his sister.

Related:

Death and the Daguerreotype: The Strange and Unsettling World of Victorian Photography

Portraits of Sleeping People Come to Life in These Embroidered Pillows

A 15-Year-Old Murder Inspires a Haunting Installation

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The 2019 Wellcome photography prize: close focus on the human condition

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The 2019 Wellcome photography prize: close focus on the human condition

The annual awards celebrate the best images of science around the world

A human face lies inert on a surgical tray as if staring up at the team of doctors hovering over it. It has taken them 16 hours of precise, painstaking work to remove it from a 31-year-old female donor, who had died three days earlier. A few seconds after photographer Lynn Johnson captured this extraordinary moment, plastic surgeons in the Cleveland Clinic, Ohio, began the second phase of a procedure that lasted around 30 hours in total. When it was completed, 21 year-old Katie Stubblefield became the youngest person to receive a successful full face transplant.

Taken in 2017 as part of a bigger series documenting Stubblefields groundbreaking surgical transformation, Katies New Face (2017) is one of several arresting images that have made the shortlist for the 2019 Wellcome Photography prize. The aim of the award is to celebrate compelling imagery that captures stories of health, medicine and science. Composed of four categories Social Perspectives, Hidden Worlds, Medicine in Focus and Outbreaks the shortlist perhaps predictably favours documentary and photojournalism. There are some surprises, though, not least the often beautiful abstractions of David Linsteads microscopic image of the capillaries of a human fingertip that had been injected with red ink.

Katies New Face, 2017, Lynn Johnson.

At the age of 21, Katie became the youngest person ever to receive a full- face transplant. This was the critical moment after the donors face was surgically removed before being transferred onto Katie. There was complete silence in the room as the surgical team absorbed the gravity of their mission. The transformational procedure took over 30 hours and was undertaken by a team of around 30 medical professionals at the Cleveland Clinic in Ohio.

From its inception, photography has been utilised to illuminate the mysteries of science and medicine, with Victorian pioneers such as Henry Fox Talbot and Auguste Adolphe Bertsch creating microscopic studies of insects and plants that often resembled ornate line drawings. As the category Hidden Worlds shows, that tradition of cutting-edge experimentation continues apace with an advanced image-mapping of HIV infection undertaken by a team of research scientists that allows us to see four representations of the same cluster of 100,000 cells from a rhesus monkey.

Shroud, Rhne Glacier, 2018, Simon Norfolk and Klaus Thymann

In the Rhne glacier in the Swiss Alps, a family runs an ice grotto as a popular tourist attraction. But, as the Earth warms, the glacier is shrinking and the grotto is under threat an unusual example of how climate change imperils peoples livelihoods. In response, the family has covered part of the glacier with white geosynthetic blankets to reflect away the suns heat and keep the cold in. This slows the shrinkage, but it is only a small-scale, temporary fix.

In the same section, Simon Norfolk and Klaus Thymanns man-altered landscape Shroud, Rhne Glacier, shows the range of approaches and the breadth of subject matter that the prize celebrates. It could be mistaken at first glance for a signature work by the conceptual land artist Christo, famous for his wrapping of monumental buildings and stretches of landscape in fabric. It is, in fact, an attempt by environmentalists to slow down the melting of the Swiss glacier, the heavy thermal material reflecting heat and light that would otherwise destroy the ice. It is an image of an undertaking that seems both surreal and slightly desperate, but the ecological context is calamitous: the Rhne Glacier has lost 350 metres (1,150ft) in ice thickness since 1856 and around 40 metres in the last decade alone.

Zora the Robot Care-Giver, 2018, Dmitry Kostyukov This woman in a nursing facility outside Paris has developed an emotional attachment to Zora the robot. There are at least 15 of these robots currently in use in healthcare settings in France, and more around the world, including Australia, the US and elsewhere in Europe. Controlled remotely by a nurse, Zora can help people with communication and provide comfort and entertainment (including exercise classes). Some people respond very positively to interacting with Zora, others ignore it completely.

Sex and death inevitably feature and, again, it is in the Hidden Worlds category where the contrast is most dramatic. Simone Cerios wonderfully tender and intimate series, Love Givers, is represented by a single understated image of two semi-naked women lying on a bed. Shot from above, it suggests the casual intimacy of longterm lovers, but one of them, Debora, is the first officially sanctioned sexual assistant in Italy, whose role is to support disabled people to explore intimate practices.

Love Givers, 2013, Simone Cerio

Debora is the first sexual assistant in Italy supporting disabled people (male and female) to explore intimate practices. Repression of sexual instincts can cause psychological stress, and this can particularly affect those who are not able to use their bodies fully. By providing physical contact of the right kind in a safe environment, a trained professional can improve a persons wellbeing, increase self-esteem, and prepare them for future intimate relationships.

Cerio has described her project as a physical and mental journey that challenges our perception of the disabled and their most intimate needs. Sexual assistance is a technique of psychophysical approach to disabled people, based on massages, kisses, visual contacts and erotic stimulation, she elaborates on her Facebook page, This project is an opportunity, perhaps the only way for disabled people to have such an experience.

The Morgue, 2017 Luis Henry Agudelo Cano

In a country with high rates of violent crime, many young people in Colombia choose to study forensic sciences or embalming. They seek to discover the identities of the many unknown bodies that arrive at the morgue in the hope that they can then be returned to their families. This busy university teaching morgue in Medellin also doubles as the judicial morgue when the civil service is on strike.

Luis Henry Agudelo Cano has already won second place in the current affairs and news category of the 2018 Sony world photography awards for his black and white series Young People Who Beautify Death. The single image from it included here gives you a sense of its almost ghostly intimacy. Entitled The Morgue, and shot in Colombia in 2017, it is a multiple exposure of one of the young people who are trained to, as Cano puts it, salvage the beauty of the deceased, that those who love them can always remember them. Like his fellow students, this young man is being trained in postmortem techniques to erase the scars and wounds of violent death so that the victims of Colombias prolonged paramilitary-fuelled violence can be viewed by their relatives.

Among the several captured moments of intimacy on display in the shortlist, perhaps the strangest is by Dmitry Kostyukov. His portrait of an elderly resident of a nursery facility near Paris is tenderly observed, but it challenges all our received notions of what constitutes care and, indeed, tenderness. The woman is cradling Zora, a robot remotely controlled by a nurse as an aid to communication, comfort and entertainment of the residents. Many of them ignore Zora, while others take her to their hearts as they would a child.

Mapping SHIV infection in the body, 2018, by Carly Ziegler, Alex Shalek, Shaina Carrol, Leslie Kean, Victor Tkachev and Lucrezia Colonna.

Visualising complex genomic data is hard. In this image, each of the four coloured circles shows the same roughly 100,000 cells from rhesus macaques, with genetically and phenotypically similar cells clustered together. Every dot represents a single cell and the lines connecting them reflect how similar they are. In the bottom right circle, red cells are from monkeys infected with simian- human immunodeficiency virus while blue cells are from uninfected ones. Distinguishing the red and blue cells helps to show which cells change and malfunction during infection, despite treatment with antiretroviral drugs.

Like many of the images that have made it on to the shortlist, Zora the robot care-giver is a glimpse of a future in which new technologies such as advanced robotics and artificial intelligence will inform our lives in ways that, until recently, we would have scarcely imagined outside of the realm of science fiction. It is these glimpses of a future that is already here that makes the selection so compelling. That, and the evidence of the deep humanity that still underlies so much of the work done by those at the forefront of advances in health, medicine and science.

All the winning and shortlisted entries will go on show at the Lethaby Gallery, London, 4-13 July. Category prizes and the overall winner will be announced at aceremony in London on 3 July 2019

Read more: http://www.theguardian.com/us

[meripustak]

Legal Issues in Medical Practice

                                             Buy Now 

Legal issues in Medical Practice - 1st Edition

By: Mahesh Baldwa, Varsha Baldwa, Namita Padvi and Sushila Baldwa

Legal issues in medical practice have been gripping medical doctors by surprise in recent years. Some decades ago legal issues in medical practice never created any problem. A greater awareness is being created by adding doctor’s services within the ambit of Consumer Protection Act, 1986. Neither during the undergraduate training nor the postgraduate courses doctors have ever prepared themselves to deal with real-world situations of litigation related to allegations of negligence. While facing litigation related to allegation of negligence in law courts for the first time, a doctor realizes the importance of medical records, consent and expert witness and searches for help books. There are many books available for reference but this one is a handbook for practising doctors and their lawyers grappled with legal issues culminating in litigations covering a vast number of medical specialties and systems.This book proposes to fill the existing vacuum by creating authentic base required to understand the legal issues in medical practice in India. The esteemed contributors have put in their best efforts to share their knowledge, experience and wisdom with the readers by discussing various landmark legal decisions in the field of (alleged) medical negligence. It aims to make the medical practice safe, ethical, reassuring and hassle-free by discussing various legal issues related to medical practice.

The book is written in usual lucid style covering each topic and made reader friendly by adding “summary” “do’s and don’ts”. MCQs are value addition which will improve recall of important legal issues related to medical practice. It is targeted at doctors of all the systems of medicine—be it allopathic, ayurvedic or homeopathic. It covers all the legal issues not covered by teaching of forensic medicine during the undergraduate or postgraduate courses and yet are required in the day-to-day medical practice. The book will help all the doctors in preventive aspects of medical practice, as well as those facing litigation. It will also be an asset for practising lawyers dealing with cases of medical negligence litigation.

This book is targeted at practising doctors for tension-free and litigation-free medical practice. It also provides much-needed relevant medical knowledge to lawyers and those involved in administration of justice.

About the Author:- Mahesh Baldwa MBBS, MD, DCH, FIAP, LLB, LLM, PhD (Law), MBA has authored many books and is currently medicolegal advisor to several corporate insurance and medical organizations. He is a senior consultant pediatrician, Baldwa Hospital, Mumbai. Earlier, he was Assistant Professor, Department of Paediatrics, TN Medical College and Nair Hospital, Mumbai; Assistant Professor at JJ Hospital, Grant Medical College, Mumbai; and Visiting Professor, Papersetter and Examiner, Department of Law, University of Mumbai.

Varsha Baldwa MBBS, MD is working at PD Hinduja Hospital, Mumbai. Earlier, she has worked at Government Medical College, Surat, and Government Medical College, Kota. She is a graduate from Seth GS Medical College and KEM Hospital, Mumbai. She has contributed to national and international scientific journals. She bagged “STS” award of ICMR.

Namita Padvi MBBS, MD, DNB, Fellowship in Pediatric Anesthesiology is currently working at Emirates Hospital Dubai. She is ex-Assistant Professor, Department of Anesthesia, Topiwala National Medical College and BYL Nair Charitable Hospital, Mumbai. She has contributed to several national and international scientific journals. She is an excellent teacher and a good speaker.

Sushila Baldwa MBBS, MD, DGO is consulting obstetrician and gynecologist at Om Hospital, Apollo Clinic and Nakoda Foundation, Mumbai. She has served as faculty at BJ Medical College, Pune, and Sassoon General Hospital. She has contributed to national and international scientific journals.

Legal Issues in Medical Practice

1 Introduction to Medicolegal Issues 2 Basic of Ethics, History and Ethical Principles of Importance 3 Understanding “MCI Code of Ethics 2002” 4 Doctor–patient Relationship 5 Hospital–Patient Relationship Emerging from Mediclaim Insurance TPA Managed HealthCare through Corporate Hospitals 6. Doctors’ Please Trust your Patients 7. Rights and Duties of Patients and Doctor 8. Help of Communication Skills in Preventive Medicolegal Problems in Medical Practice 9. Laws Applicable to Practicing Doctors, Clinics, Nursing Homes, Dispensaries, Consulting Rooms, Hospitals are Boon or Bane? 10. Medical Documentation and Record Maintenance, Preservation, Destruction Related Legal Issues 11. Medicolegal Issues Related to Audio Taping, Video Recording and Photography on Pen Camera, Smart Phones and Personal Camera   12. Consent, Assent, Approval, Permission and Dissent in Medical Practice 13. Forewarning and Counseling for Disclosure of Risks Prior to Informed Consen 14. Case Laws on Consent, Informed Consent, Dissent 15. Consent Forms, Counseling, Content, Model Forms of Different Types Preparing for the Informed Consent Process 16. Doctor–Patient Confidentiality and its Disclosure 17. Below which Standard of Medical Care it will be Negligence 18. Medical Negligence Under Tort, Consumer Protection Act and Civil Liability 19. Consumer Protection Act and Doctors 20. Errors in Medical Practice 21. Criminal Liability of Doctors 22. Medicolegal Aspects of Sudden Unexpected Death, Difficult Situations in Medical Practice, Brought Dead, Postmortem 23. How to Proceed Medicolegally in a Scenario of Suspected Last Stage Disease like End-of-Life-Care [EOL] and not to Confuse with Euthanasia? 24. Violence against Doctors: A Frightening New Epidemic 25. How to Defend Medical Negligence Case? 26. Vicarious Liability of Medical Negligence 27. Medicolegal Issues Related to Contributory Negligence 28. Medicolegal Issues Related to Multiple Remedies 29. Role of Expert Witness in Medical Negligence Cases 30. Res Ipsa Loquitur 31. Subjudice Matters, Judicial Impropriety, willful Judicial Impropriety, Legal Hierarchy 32. Res Judicata and Estoppel, Law of Limitation and Latches 33. Landmark Judgments on Medicolegal Issues 34. Calculation of Compensation 35. Medicolegal Implications of Delayed Diagnosis, Misdiagnosis, difference in Diagnosis and Wrong Diagnosis 36. Medicolegal Issues Related to Physicians 37. Medicolegal and Ethics Issues in ICU 38. Medicolegal Issues in Pediatric Practice 39. Medicolegal Issue of ‘When not to Resuscitate or to Stop Resuscitating A Newborn/Child’ 40. Medicolegal Issues in Obstetrics and Gynecology Abortion and MTP Cases 41. Medicolegal Issues in Sterilization, Tubectomy and Vasectomy 42. Medicolegal Issues in PCPNDT Act Cases 43. Medicolegal Aspects for General Surgery 44. Medicolegal Issues in Orthopedic Cases 45. Medicolegal Issues during Emergency and Accidents 46. Medicolegal Aspects of Ophthalmology 47. Medicolegal Aspects of Anesthesia 48. Medicolegal Issues in ENT 49. Medicolegal Issues Related to Dental Surgeon 50. Medicolegal Issues in Cardiology and Cardiothoracic Surgery Cases 51. Medicolegal Aspects of Radiology and Sonology 52. Medicolegal Aspects of Pathology and Medical Laboratory Practice 53  Medicolegal Issues Related to Blood Group, Blood Bank, Blood Transfusion and Transfusion Related Transmission of Infections 54. Clinical Use of Forensic Medicine 55. Medicolegal and Legal Issues in Psychiatry 56. Medicolegal and Legal Issues Related to Plastic Surgery, Reconstructive Surgery and Dermatology 57. Medicolegal and Legal Issues Related to Neuro Medical and Neurosurgery Cases 58. Cross Pathy and Cross Speciality Practice in Medicine: Is it Quackery? 59. Medicolegal Issues in Homoeopathy 60. Medicolegal Issues in Ayurved, Unani, Siddha 61. Medical Undergraduate Postgraduate Qualifications Granted by Medical Institutions Inside or Outside India may not be Registerable with MCI 62. Medicolegal Issues Related to Quacks 63. Safeguarding Children Rights to Prevent Abuse: A Challenge to Doctors 64. Medicolegal Issues Related to Mortuary 65. How to Get the Registration for Hospitals and Small Nursing Homes in India? 66. Medicolegal Aspects of Institutional Committee for Medical Research 67. Medicolegal Issues and Adoption, Foster Care, Remand Homes, Borstals and Non-mainstream Children 68. Medicolegal Aspects of Advertising by Doctors in Print, Electronic Media and Issues Related to Telemedicine 69. MCI Norms to Prohibit Doctors from Attending Conferences Financed by Pharma Companies 70. Medicolegal Issues Related to Consumer Organizations 71. Medical Indemnity Insurance and Risk Management 72. Police Cases and Procedures for Doctors 73. Medicolegal Issues of Mishap Reporting by Media 74. Conflict of Interest [COI] 75. Emotions during Practice! Is it Okay to Cry in front of your Patients? 76. Legislating “No-fault” Medical Compensation Law to replace Medical Negligence under Law of Tort

Acts, Rules, Notification, Guidelines and Registers

1. The Prenatal Diagnostic Techniques (Regulation and Prevention of Misuse) Act, 1994 2. Violations Under the PNDT Act and the Penalties 3. The Medical Termination of Pregnancy Act, 1971 4. The Bombay Nursing Homes Registration Act, 1949 5. Summary of the Clinical Establishments (Registration and Regulation) Act, 2010 6. Biomedical Waste (Management and Handling) Rules, 1998 7. The Indian Medical Council Act, 1956 (102 of 1956) 8. The Indian Medical Council Act and Rules,1957 9. The Indian Medical Degrees Act, 1916 (Act No. VII of 1916) 10. The Indian Medicine Central Council Act, 1970 [Act No. 48 of 1970 dated 21st December,1970] 11. The Indian Medical Council (Professional Conduct, Etiquette and Ethics) Regulations, 2002 (Published in Part III, Section 4 of the Gazette of India, dated 6th April, 2002) 12. The Transplantation of Human Organs Act,1994 13. The Homoeopathy Central Council Act, 1973 14. Ethics for Practitioners of Indian Medicine 15. The Protection of Children from Sexual Offenses Act, 2012 16. GR and Notifications for Ayurvedic Doctors

ETHICS

1. The Declaration of Helsinki 2. The Declaration of Geneva 3. Charak Samhita Oath 4. The International Code of Medical Ethics

GUIDELINES

1. Minimum Requirement for Opening of a Nursing Home/Hospital Apart from Some Locality Requirements and NOC 2. Guidelines Related to Easy Understanding of Law Related to MTP 3. Guidelines for Eye Camps 4. Guidelines for Speedy Disposal of Child Rape Cases 5. Guidelines for Safe Kit Protocol for Rape Victim 6. Frequently Asked Questions about Foreign Adoption Agency 7. PCPNDT Act—Guidelines 8. AIDS: Indian Council of Medical Research (ICMR) Guidelines 9. ICMR Guidelines for Preparing Standard Operating Procedures (SOP) for Institutional Ethics Committee for Human Research

REGISTERS

1. Fumigation Register 2. Indoor Case Register 3. Outdoor Patient Register 4. Sterilization of Instruments Register

#Legal Issues in Medical Practice #Legal Issues in Medical Practice 1st Edition #Medical Practice #Medical Practice Books #Legal Issues in Medical Practice Books #Buy Books Online #online book store in india #Law Books #Legal Books #Buy Law Books Online #Legal Books Online #Law Books Online #Medical Books #Medical Books Online #buy medical books online

[funnythingshere0-blog]

'Strange carnival' brings eerie spectacle to uptown Saint John

New Post has been published on https://funnythingshere.xyz/strange-carnival-brings-eerie-spectacle-to-uptown-saint-john/

'Strange carnival' brings eerie spectacle to uptown Saint John

‘Strange carnival’ brings eerie spectacle to uptown Saint John

A sideshow tout with a Quebecois accent paces at the foot of King Street, shouting to passers-by through a megaphone.

“Come one, come all, to the strange carnival!”

The Humanorium is a far cry from the Ex. It’s a motley collection of tents, trailers and shacks housing exhibitions of strange photographs, taxidermy, weird short films, a fake mermaid, and other curiosities. There’s a merry-go-round — but instead of a cheery band of painted horses, it’s an unusual, human-powered contraption with seats made of shopping carts.

Humanorium — either deliciously eerie, or totally unnerving, depending on your point of view — is a free travelling art installation in Saint John from Aug. 1-6. Inspired by the carnivals of the nineteenth and early twentieth centuries, said creator Vincent Roy, the aim is to celebrate humanity in all its forms.

“The carnival gives us the opportunity to speak about humans in strange ways, weird ways, some darker sides of the humans … but in a playful way,” he said. “It’s the line between the funny and the strange, and maybe a little shocking.”

The CBC’s Julia Wright joined the circus for an afternoon and captured these photos.

A hand-painted red-and-white sign advertises the entrance to Humanorium on the Market Square Boardwalk. Inside the gates are 10 tents and trailers which house “ten fabulous attractions.”

“We don’t charge anything for the people so it’s free for everybody,” Roy said. The carnival takes four days to set up, and two days to tear down.

On its first day in Saint John, the installation attracted 2,000 visitors.

“Everyone can have something to like here,” Roy said.

Among Humanorium’s most popular attractions is Le Carousel: a weird metal merry-go-round made of found materials by the Quebec art collective BGL.

Le Carousel is constructed from shopping carts, security fences and city lights.

“You get in shopping carts, Roy said. “People are invited to get in, but also to push. It’s a man-powered carousel and very popular.”

Carnival workers — all paid professional artists — invite visitors to take a seat, then push the carousel by hand until it reaches top speed. After the ride, visitors are invited to take a turn powering the machine.

The carousel is a creation of the trio BGL — Jasmin Bilodeau, Sébastien Giguère, and Nicolas Laverdière — whose work has been presented at international events including the 2015 Venice Biennale, where they represented Canada.

“Rare specimen in the window! A truly sublime beauty! Brace yourself for an unsettling encounter with a one-of-a kind creature!” reads the promotional brochure for “Sirenomena,” a sculptural work by Dgino Cantin.

Cantin, whose work has been shown widely in Quebec and France, aims to “bring together a wide range of forms and materials …to create universes – poetic, unusual spaces that interrogate how we apprehend our surroundings.”

While some of the art in Humanorium is lighthearted and amusing, “it’s not just for fun,” Roy said.

“There’s something maybe deeper to catch.”

In a tiny, pitch-dark trailer, illuminated screens display artistic portraits of human remains: skeletons decked in mouldering finery, disembodied heads floating in a glass vessel.

The photo series, thirty years in the making, was created by photographer Jack Berman. While postmortem images can be unnerving to some, Roy said Berman’s work is both respectful and “poetic.”

“It’s not just gore, or disgusting,” he said. “A couple of times … we had a few negative reactions, but one or two in 10,000.”

Sometimes, he said, “parents are afraid that the child is going to be shocked, but the child is not. The child can take much more than the adults.”

A wall of screens showcases curated images of tattooed, pierced, and otherwise unusual bodies.

The photo series curated by Joan Fontcuberta showcases images of those “unafraid to delve deep into the world of body modification and fearlessly join the massive freak show the interview sometimes becomes.”

Fontcubera’s work has been shown at solo exhibitions including at New York’s MOMA, the Chicago Art Institute, and Maison Européenne de la Photographie in Paris.

Most works of art invite the gaze of the audience — but this work by Sculptor Louis Fortier stares directly back.

Story Continues

The viewer stands in the centre of a semi-circular arrangement of twisted, gaping faces.

It’s intended, according to Fortier, to “pose a series of questions about identity and the passage of time.”

A purple room lined with low shelves showcases taxidermy, sculptures, and other oddities.

The Chamber of Curiosities – a “faraway land of Siamese sculptures and imaginary beasts” — are the work of Dgino Cantin, who also created “Sirenomena,” the mermaid installation also featured in the carnival.

The Chamber is a “self-contained parallel universe where you’re surrounded by objects at once familiar and exotic,” according to Cantin.

“The faraway has never been so near.”

Part of the goal of the temporary carnival, Roy said, is to “create a new public space in the city,” drawing in audiences who don’t usually go to galleries and museums.

After Humanorium ends its visit to Saint John on Mon., Aug. 6, the carnival heads back to Quebec City. Saint John and Summerside, P.E.I. are the only two Atlantic Canadian stops on its tour, which will permanently conclude in Quebec next summer.

Source: https://ca.news.yahoo.com/apos-strange-carnival-apos-brings-110000847.html

[recentnews18-blog]

New Post has been published on https://shovelnews.com/strange-carnival-brings-eerie-spectacle-to-uptown-saint-john/

'Strange carnival' brings eerie spectacle to uptown Saint John

A sideshow tout with a Quebecois accent paces at the foot of King Street, shouting to passers-by through a megaphone.

“Come one, come all, to the strange carnival!”

The Humanorium is a far cry from the Ex. It’s a motley collection of tents, trailers and shacks housing exhibitions of strange photographs, taxidermy, weird short films, a fake mermaid, and other curiosities. There’s a merry-go-round — but instead of a cheery band of painted horses, it’s an unusual, human-powered contraption with seats made of shopping carts.

Humanorium — either deliciously eerie, or totally unnerving, depending on your point of view — is a free travelling art installation in Saint John from Aug. 1-6. Inspired by the carnivals of the nineteenth and early twentieth centuries, said creator Vincent Roy, the aim is to celebrate humanity in all its forms.

“The carnival gives us the opportunity to speak about humans in strange ways, weird ways, some darker sides of the humans … but in a playful way,” he said. “It’s the line between the funny and the strange, and maybe a little shocking.”

The CBC’s Julia Wright joined the circus for an afternoon and captured these photos.

A hand-painted red-and-white sign advertises the entrance to Humanorium on the Market Square Boardwalk. Inside the gates are 10 tents and trailers which house “ten fabulous attractions.”

“We don’t charge anything for the people so it’s free for everybody,” Roy said. The carnival takes four days to set up, and two days to tear down.

On its first day in Saint John, the installation attracted 2,000 visitors.

“Everyone can have something to like here,” Roy said.

Among Humanorium’s most popular attractions is Le Carousel: a weird metal merry-go-round made of found materials by the Quebec art collective BGL.

Le Carousel is constructed from shopping carts, security fences and city lights.

“You get in shopping carts, Roy said. “People are invited to get in, but also to push. It’s a man-powered carousel and very popular.”

Carnival workers — all paid professional artists — invite visitors to take a seat, then push the carousel by hand until it reaches top speed. After the ride, visitors are invited to take a turn powering the machine.

The carousel is a creation of the trio BGL — Jasmin Bilodeau, Sébastien Giguère, and Nicolas Laverdière — whose work has been presented at international events including the 2015 Venice Biennale, where they represented Canada.

“Rare specimen in the window! A truly sublime beauty! Brace yourself for an unsettling encounter with a one-of-a kind creature!” reads the promotional brochure for “Sirenomena,” a sculptural work by Dgino Cantin.

Cantin, whose work has been shown widely in Quebec and France, aims to “bring together a wide range of forms and materials …to create universes – poetic, unusual spaces that interrogate how we apprehend our surroundings.”

While some of the art in Humanorium is lighthearted and amusing, “it’s not just for fun,” Roy said.

“There’s something maybe deeper to catch.”

In a tiny, pitch-dark trailer, illuminated screens display artistic portraits of human remains: skeletons decked in mouldering finery, disembodied heads floating in a glass vessel.

The photo series, thirty years in the making, was created by photographer Jack Berman. While postmortem images can be unnerving to some, Roy said Berman’s work is both respectful and “poetic.”

“It’s not just gore, or disgusting,” he said. “A couple of times … we had a few negative reactions, but one or two in 10,000.”

Sometimes, he said, “parents are afraid that the child is going to be shocked, but the child is not. The child can take much more than the adults.”

A wall of screens showcases curated images of tattooed, pierced, and otherwise unusual bodies.

The photo series curated by Joan Fontcuberta showcases images of those “unafraid to delve deep into the world of body modification and fearlessly join the massive freak show the interview sometimes becomes.”

Fontcubera’s work has been shown at solo exhibitions including at New York’s MOMA, the Chicago Art Institute, and Maison Européenne de la Photographie in Paris.

Most works of art invite the gaze of the audience — but this work by Sculptor Louis Fortier stares directly back.

The viewer stands in the centre of a semi-circular arrangement of twisted, gaping faces.

It’s intended, according to Fortier, to “pose a series of questions about identity and the passage of time.”

A purple room lined with low shelves showcases taxidermy, sculptures, and other oddities.

The Chamber of Curiosities – a “faraway land of Siamese sculptures and imaginary beasts” — are the work of Dgino Cantin, who also created “Sirenomena,” the mermaid installation also featured in the carnival.

The Chamber is a “self-contained parallel universe where you’re surrounded by objects at once familiar and exotic,” according to Cantin.

“The faraway has never been so near.”

Part of the goal of the temporary carnival, Roy said, is to “create a new public space in the city,” drawing in audiences who don’t usually go to galleries and museums.

After Humanorium ends its visit to Saint John on Mon., Aug. 6, the carnival heads back to Quebec City. Saint John and Summerside, P.E.I. are the only two Atlantic Canadian stops on its tour, which will permanently conclude in Quebec next summer.

Source: https://www.cbc.ca/news/canada/new-brunswick/humanorium-saint-john-1.4773154

[ankar93]

The Ephemera Of Eternity : The Irish Catholic Memorial Card As Material Culture

Marry Ann Bolger is a lecturer in Design history at the Dublin Institute of Technology. Her primary research interest are in twentieth century Irish graphic design, material region and visual culture. She received her MA in design history in the Royal College of Art and she is completing her PhD on post war Irish Graphic Design and typography.

In the text she talks about the memorial cards of Ireland, a country with a strong mourning culture. Established during the twentieth century, the primary aim of the memorial cards is to solicit prayers for the deceased, and seems to have withstand the changes in both  graphic design and technology. A typical layout of a memorial card consists of a single bi - fold card, about 2inches by 4inches with a holy picture on the obverse, usually pictures of Christ or Virgin Mary. On the reverse, there is the name - date of death and address of the deceased, while the typography on the memorial cards is determined by the way of their production. Memorial cards began as small cards called "holy cards" printed with a devotional image that could easily hide inside a book and it was used to celebrate significant religious rites or commemorate a deceased person. They began circulating in France during 1850, and spread over to Germany and throughout Catholic Europe during 1870. Originally limited to the nobility, but improvements in technology enabled the mass production and eventually the use by the wider public. It was during the "devotion revolution" during 1850-1875 when the memorial cards started spread over to  Ireland. Evidence of surviving cards indicates that Ireland was supplied with French and Germans holy cards. The reverse of the card consisted of a standard prayer that was overprinted by local printers with details of an individual death. The significance of France as a source of orthodoxy, gradually lead to the absence of Celtic symbols to the majority of the Irish memorial cards. This was part of the post - famine Catholicism to eliminate traditional local religious practices. Among the traditional practices that where targeted was the so called "merry wake," the Irish approach to death. This was part of the desire to bring Irish Catholicism in the same direction as Roman norms.

Memorial cards play a commercial rather than clerical response to the churches state between heaven and earth, and this seems to effect the hierarchy of information on the reverse of the cards. The conventional layout focus on the photograph and the name of the deceased. Either side of the image and above are set short prayers, while below the image are the words: In loving memory of, their address which followed by who died and date of death. Sometimes, the layout can be changed and the text can be set in an different often decorative typeface in variety of sizes. Photographs on memorial cards, did not began to appear until 1940. Usually they are chosen by the bereaved and its main reason is to identify and contemplate the departed. Holy cards from 1930 onwards are depicting full length representations of devotional figures like (Christ or The Virgin). Contemporary cards, give an increased emphasis in the depiction of the religious figure in a heavenly environment. This depiction can be seen as a kind of graphic wish fulfilment. The deceased can be now placed into the scene of one's choice. Many photographs that are used on Irish memorial cards are usually cut down from a snapshot and erased from the background by giving this way emphasis on the face of the deceased.

Post mortem photography, also known as "memorial portraiture" is another practice as much as popular to memorial cards, that were used to help people acknowledge the transition of the departed to another realm.

These photographs, of the deceased loved ones were a normal part of American and European culture during the nineteenth and early twentieth century. It was offered as an alternative method for people who could not afford to take family portraits while still alive, so postmortem photographs not only helped in grieving and recovery but sometimes represented the only visual remembrance of the deceased one and was considered to be one of the  families most precious possessions. Invented by Frenchman: Louis Daguerre in 1839 it became increasingly popular around the world. The process of "Daguerreotype" began by taking pictures of famous people of the time. Later on, it served as a valuable tool in "Death portraits" that helped people with the grieving process. In an era when epidemics such as diphtheria, typhus and cholera claimed the lives of thousands of children and people, death back then was common. The earliest post - mortem photographs usually contained images of young children or infants. Photos where either close ups of the face or shots of the full body. The subjects usually are depicted so as to seem as they are in a deep sleep, but sometimes photographs would try a variety of tricks to make their subjects to appear more alive. Metal stands, and other devices were used to pose the dead as a living person. The use of a stand or an arm rest by photographers was used, so the diseased person can remain in the same position for the camera's lengthy exposure time. Some children where positioned  in a couch or a crib with their eyes open, or  being surrounded by their favorite toys and it was not uncommon to take photographs of diseased young children accompanied by one (usually the mother) or many family members. Eventually, healthcare improved the life expectancy of children, and the demand for death photography diminished. The practice peaked around the end of 19 century and died when snapshot photography became popular.

Nowadays, the thought of post mortem photography in today’s world may seem unconventional because photographs today is part of our normal everyday life. Post mortem photography and memorial cards are examples of two practices that where in existence around the same centuries, that helped people deal with the loss of their loved ones and the grieving process.