Fouga CM-170 Magister
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electric chain hoist CM LODESTAR for theatrical scenes.
photo taken at the exhibition Namm 2015 in Moscow
P1250810 - Nilgiri Laughingthrush - Size 20 cm
# 126
Nilgiri laughingthrush - IUCN Red list endangered species.
The Nilgiri laughingthrush (Montecincla cachinnans) is endemic to high elevation areas of the Nilgiris region of Western Ghats, India.
Also known as Black-chinned or Rufous-breasted Laughingthrush.
Happy birding 🐾
Compositionally Challenged
Week 41 High Angle View
Shot with an Agfa "Ocellar 5 cm" (projection) lens on a Canon EOS R5.
1973-01, 47x39 cm, Öl auf Leinwand.
1973-01, 18x15 inch, oil on canvas.
Als letztes Bild dieser Art von Landschaften für zu Hause möchte ich noch dieses frühe Gemälde von mir vorstellen. Es ist eine Landschaft, die ich mir auf einem Tisch selbst zusammengesetzt habe in Erinnerung an einen fernen Schlosspark wie in Frankreich oder in Schwetzingen bei Heidelberg.
The last picture of this kind of landscapes for the home I want to introduce this early painting from me. It is a landscape that I've composed myself on a table even in memory of a distant castle park as in France or in Schwetzingen near Heidelberg.
Central Michigan’s train 702 is about to cross Lansing Rd. as it arrives in Durand, MI. This weekday train departed Bay City, MI during 1998.
Macro Monday: #Wheel(s)
Size of the frame: 5 cm / 1,96 inches
Please press "Z".
Flickr wheels? Possible :-) Last minute idea yesterday evening. Actually I had a "Wheelscape" in mind, a close-up of a real wheel or tire with interesting patterns and rubber texture. But since I don't have a car or bike, that would have meant to take the camera (and tripod!), go out, and shoot a random car or bicycle wheel/tire in the street at a low angle. Really? And risk being reported to the police because of suspicious behaviour or a possible manipulation of a car, or as a possible bicycle thief? No. Definitely no ;-) Apart from the fact that I would have felt incredibly stupid squatting in front of a car tire with my camera. Understandable, right? As an extra excuse: it was waaayyy too hot to go out yesterday, cosy 38 °C / 100,4 °F.
So I stayed at home, and had to find something else to capture. I didn't want to capture the toy car wheel, so went on an expedition around the apartment to find some other wheel. I took a few shots of a rotary cutter, with a sewing pattern as background, but it looked boring. But at least that gave me the idea to try and capture my sewing machine's yarn bobbin(s) :-) They are round, they have a hole in the middle, they run on an axis (sort of) = Wheel(s).
Since the curtains were drawn to keep the sunshine and heat out, I used an LED lamp for some extra light, and that cast an interesting looking light reflection / shadow (something I have experimented with before) on the white semi-glossy tile I used as background. An interesting thing I had never noticed before is that the yarn isn't just made of threads of one colour, but both the red and blue yarn are made of coloured and white threads; I suppose the white is some synthetic fibre to increase the tear strength of the yarn.
Captured with the camera mounted "lens first" / upside down (my new macro tripod has already payed off in terms of safety and saving nerves!), and processed, as usual, in Luminar 3: Accent-AI filter at 30, small and medium details at 100 (yarn bobbins and threads only), removed colour cast, method 2 at 20; and in ON1 Photo RAW, where I purified the highlights.
A Happy Macro Monday, Everyone!
Am Rad drehen
Bzw. an der Garnspule. In Flickr-Farben? Warum nicht, war ja verrückt genug hier in letzter Zeit :-) Pink, Blau und Gelb waren auch die einzigen Farben, die ich auf den Auswechselspulen schon drauf hatte, und da Gelb nicht so toll aussah, habe ich mich an Pink und Blau gehalten.
Das war aber gar nicht meine ursprüngliche Idee. Eigentlich wollte ich eine Art "Reifenlandschaft" fotografieren, also ganz nah ran an einen Auto- oder Fahrradreifen, für ein evtl. interessantes Muster. Dumm nur, dass ich weder Auto noch Rad fahre. Das hätte also bedeutet, sich das Stativ zu schnappen, rauszugehen und einen beliebigen Reifen an einem auf der Straße geparkten Gefährt zu fotografieren. Und dabei zu riskieren, als vermeintliche Fahrraddiebin oder Reifen-Manipulatorin Ärger zu bekommen. Und darauf hatte ich keine Lust. Mal davon abgesehen, dass ich mir unendlich blöd dabei vorgekommen wäre, mich mit der Kamera vor einen Autoreifen zu hocken. Nachvollziehbar, oder? Und zu heiß (38 °C in Berlin) war es gestern sowieso.
Es musste also ein "inhäusiger" Reifen her. Das Spielzeugauto wollte ich nicht nehmen, also war eine kleine Erkundungstour durch die Wohnung angezeigt. Bei der ich irgendwann den Rollschneider entdeckte (den ich noch nie verwendet habe, um Stoff zuzuschneiden). Ich habe es mit einem Schnittmuster als Hintergrund versucht, fand die Bilder aber eher uninteressant. Immerhin war ich aber nun schon mal in der richtigen, nämlich der Nähecke gelandet. Und da fielen mir die Ersatz-Garnspulen ein, die der MM-Definition von "Wheel(s)" ziemlich genau entsprechen. Der wegen der zugezogenen Vorhänge und des schwindenden Tageslichts benötigte LED-Strahler brachte mich dann zusätzlich auf die Idee, mit den Lichtspiegelungen und dem Schattenwurf, den er auf der matt-glänzenden Kachel (als Untergrund) erzeugte, zu spielen (was ich schon einmal für ein MM-Thema gemacht hatte). Eine Idee in letzter Minute gestern am späteren Abend :-)
Ein interessantes Detail am Garn, das ich so zuvor noch nicht wahrgenommen hatte, ist die Zweifarbigkeit des Fadens. Offensichtlich besteht Nähgarn nicht nur aus Fäden einer Farbe. Ich vermute, dass der weiße Faden aus einer Kunstfaser ist, um die Reißfestigkeit des Garnes zu erhöhen. Bitte "Z" drücken!
Entwickelt in Luminar 3: Accent-AI-Filter bei 30, kleine und mittlere Details auf 100 angehoben (nur Spulen und Fäden), Farbstich entfernen mit der Methode 2 bei 20; und in ON1 Photo RAW habe ich noch die Lichter "gereinigt" ("purify highlights").
Ich wünsche Euch eine schöne, kühle(re) Woche, liebe Flickr-Freunde!
Central Michigan’s engine 8803 is busy switching out cars at Genesee Yard during March of 1991. The track running off to the right heads to the bridge that crosses the Saginaw River and then on down to Durand.
Joaquín Sorolla Bastida ( Valencia , February 27, 1863 - Cercedilla , August 10, 1923 ) Mary in the gardens of La Granja (1907) - oil on canvas, 58 x 89 cm - (Madrid, Sorolla Museum) - Palazo reale Milan
Mostra Joaquín Sorolla Pittore di Luce - Palazzo Reale Milan
dopo la prima tappa alla National Gallery di Londra, prosegue a Milano l'esposizione più completa dei dipinti di Joaquín Sorolla fuori dalla Spagna.
After the first stop at the National Gallery in London, the most comprehensive exhibition of Joaquín Sorolla's paintings outside Spain continues in Milan.
Poco noto al pubblico italiano, Sorolla è stato uno dei massimi rappresentanti della moderna pittura iberica a cavallo tra Ottocento e Novecento, contribuendo in modo determinante al suo rinnovamento e aprendola al clima della Belle Époque.
Tra gli artisti più amati e apprezzati del suo tempo sia per la grande qualità tecnica che per il carattere umile e benevolo, Joaquín Sorolla ottiene una fama che travalica ben presto i confini nazionali, partecipando e ottenendo prestigiosissimi premi alle grandi manifestazioni internazionali. Sarà però l’ambìto Grand Prix, ottenuto alla nota Esposizione Universale di Parigi nel 1900, a lanciare la sua pittura di luce e colore definitivamente sulla scena internazionale. A Londra nel 1908 viene acclamato come “il più grande pittore vivente al mondo”.
Exhibition Joaquín Sorolla Painter of Light - Palazzo Reale Milan
After the first stop at the National Gallery in London, the most comprehensive exhibition of Joaquín Sorolla's paintings outside Spain continues in Milan.
Little known to the Italian public, Sorolla was one of the greatest representatives of modern Iberian painting at the turn of the 19th and 20th centuries, making a major contribution to its renewal and opening it up to the climate of the Belle Époque.
Among the most beloved and appreciated artists of his time for both his great technical quality and his humble and benevolent character, Joaquín Sorolla achieved a fame that soon transcended national borders, participating in and winning prestigious prizes at major international events. However, it was the coveted Grand Prix, obtained at the renowned Universal Exhibition in Paris in 1900, that launched his painting of light and color permanently on the international scene. In London in 1908 he was acclaimed as "the world's greatest living painter."
Potentilla reptans (Rosaceae) 050 20
Potentilla reptans (Creeping cinquefoil, European cinquefoil or creeping tormentil) is a plant in the family Rosaceae.
A creeping perennial plant native to Eurasia and Northern Africa, Potentilla reptans has been naturalized elsewhere.
The plant blooms with yellow flowers that are about 2 cm in diameter and have five heart-shaped petals.
From Wikipedia.
Central Michigan’s ‘Chem Train’ makes its way north through Zilwaukee, MI. during August of 1992. This shot was possible, for a short time, before they removed the dirt for the approaches of the old I75 bridge over the Saginaw River.
Southbound #701 from Bay City arrives in Durand with 41 cars on 3/23/91. This U23B was rebuilt by the Missouri Pacific with an EMD cab, the only one of its kind on their system. Central Michigan acquired MP's U23Bs at start up.
Wall painting: grain transport and storage (2118-1980 B.C. First Intermediate Period) Tomb of Iti and Neferu - Gebelein / northern necropolis - tempera on straw and mud plaster 131.4 x 211 cm. Egyptian Museum, Turin
Iti, capo delle truppe del Re” e “Tesoriere del Re” e di Neferu, la bellissima sposa. Proprio questo significa il nome della donna: Bella!
Le pitture sono un racconto di vita quotidiana; create con la tecnica a tempera, furono staccate dalla sede originaria con la tecnica dello strappo e ricomposte qui, in questa tomba: sono, dunque, originali e non delle copie. Ve n’è una che raffigura il sacrificio di un bue in cui sono riportati anche i minimi particolari per renderli visibili. Anche nella scena del trasporto del grano ai silos, l’asino è riportato in ogni particolare; trasporta due sacchi, ma quello su fianco sinistro è ribaltato … questo per consentire al sacerdote funerario di renderlo reale con il suo rituale magico.
Sono riprodotte numerose scene di vita quotidiana, come quella della mungitura in cui la mucca accarezza il vitellino e sono presenti scene di offerte ai proprietari della tomba da parte di un domestico ritratto in dimensioni minori: pane e altri prodotti alimentari costituiscono l’offerta principale per l’anima dei defunti, ma anche e per le divinità.
Iti, the chief of the King's troops" and "Treasurer of the King" and Neferu, the beautiful bride. This is precisely what the woman's name means: Beautiful!
The paintings are a tale of everyday life; created with the tempera technique, they were detached from their original location by the technique of tearing and reassembled here, in this tomb: they are, therefore, originals and not copies. There is one depicting the sacrifice of an ox in which even the smallest details are given to make them visible. Even in the scene of transporting grain to the silos, the donkey is reported in every detail; it carries two sacks, but the one on its left side is upturned ... this is to allow the funerary priest to make it real with his magic ritual.
Numerous scenes of daily life are reproduced, such as the milking scene in which the cow caresses the calf, and there are scenes of offerings to the owners of the tomb by a servant portrayed in smaller dimensions: bread and other foodstuffs constitute the main offering for the soul of the deceased, but also and for the deities.
Central Michigan’s 8801 & 8804 sitting idle at Durand’s railroad yard. Picture was taken in March of 1989.
Taille : 15 cm - Poids : 11 à 12 g
Merci à tous pour vos visites, favoris et commentaires.
Bonne journée.
Thanks you all for your visits, faves and comments.
Have a good day.
Tiziano Vecellio (Pieve di Cadore, 1480/85 - Venice, 1576) - The archangel Raphael and Tobiolo (end of the first decade of the sixteenth century) - Oil on panel 170 x 149 cm - Galleria dell'Accademia - Venice
Il dipinto proviene dalla chiesa veneziana di Santa Caterina; è attestato - a partire dal Boschini (1664) - su un altare dedicato all’Angelo Raffaele sul lato destro della chiesa. La presenza dello stemma Bembo apre all’ipotesi che il dipinto sia stato commissionato da un membro della famiglia dell’umanista e letterato Pietro Bembo anche se finora non sono emersi elementi significativi a supporto di tale ipotesi, fatta eccezione per la menzione, anche se a date un poco più avanzate, di due monache della famiglia Bembo nelle riunioni del convento.
L’iconografia, che ricorre nel Quattrocento con una certa frequenza, specie a Firenze ma più di rado a Venezia, è spesso riconducibile alla committenza di famiglie mercantili che, nell’occasione del primo viaggio intrapreso dai membri più giovani, invocavano la protezione dell’arcangelo Raffaele, associato al ruolo di guida secondo il racconto tramandato dal Libro di Tobia.
The painting comes from the church of Santa Caterina in Venice and was attested (by Boschini in 1664) as being on an altar dedicated to the Archangel Raphael on the right-hand side of the church. The presence of the Bembo family coat of arms would suggest that the painting was commissioned by a membeer of the family of the humanist and literary figure Pietro Bembo, even though so far there has emerged no significant proof for this hypothesis, except for a mention, much later on, by two nuns of the Bembo family during meetings held at the convent.
The iconography, which recurs relatively frequently throughout the Quattrocento, especially in Florence though more rarely also in Venice, is often traced back to merchant family clients who, on the occasion of their younger members’ maiden business trip, invoked the protection of the Archangel Raphael, associated with the role of guide according to the Book of Tobias.
arrivò un lunedì grigio e piovoso, uno di quei lunedì che oggi definirei chiaro, soleggiato, con quelle nubi mattutine che forse... forse porteranno un tiepido sole.
CM COAST
Sharpness
ANTWERP >>> SHARPNESS
IMO: 8418019 - Built 1985
General Cargo - 78.02m X 9.985m
&
SPANACO FIDELITY
SHARPNESS >>> RIDHAM DOCK
IMO: 9472024 - Built 2009
General Cargo -- 89.98m X 15.4m
Joaquín Sorolla Bastida ( Valencia , February 27, 1863 - Cercedilla , August 10, 1923 ) Under the tent, the beach of Zarautz (1910) oil on canvas 99 x 106 cm. - (Madrid, Sorolla Museum) - Palazo reale Milan
Mostra Joaquín Sorolla Pittore di Luce - Palazzo Reale Milan
dopo la prima tappa alla National Gallery di Londra, prosegue a Milano l'esposizione più completa dei dipinti di Joaquín Sorolla fuori dalla Spagna.
After the first stop at the National Gallery in London, the most comprehensive exhibition of Joaquín Sorolla's paintings outside Spain continues in Milan.
Poco noto al pubblico italiano, Sorolla è stato uno dei massimi rappresentanti della moderna pittura iberica a cavallo tra Ottocento e Novecento, contribuendo in modo determinante al suo rinnovamento e aprendola al clima della Belle Époque.
Tra gli artisti più amati e apprezzati del suo tempo sia per la grande qualità tecnica che per il carattere umile e benevolo, Joaquín Sorolla ottiene una fama che travalica ben presto i confini nazionali, partecipando e ottenendo prestigiosissimi premi alle grandi manifestazioni internazionali. Sarà però l’ambìto Grand Prix, ottenuto alla nota Esposizione Universale di Parigi nel 1900, a lanciare la sua pittura di luce e colore definitivamente sulla scena internazionale. A Londra nel 1908 viene acclamato come “il più grande pittore vivente al mondo”.
Exhibition Joaquín Sorolla Painter of Light - Palazzo Reale Milan
After the first stop at the National Gallery in London, the most comprehensive exhibition of Joaquín Sorolla's paintings outside Spain continues in Milan.
Little known to the Italian public, Sorolla was one of the greatest representatives of modern Iberian painting at the turn of the 19th and 20th centuries, making a major contribution to its renewal and opening it up to the climate of the Belle Époque.
Among the most beloved and appreciated artists of his time for both his great technical quality and his humble and benevolent character, Joaquín Sorolla achieved a fame that soon transcended national borders, participating in and winning prestigious prizes at major international events. However, it was the coveted Grand Prix, obtained at the renowned Universal Exhibition in Paris in 1900, that launched his painting of light and color permanently on the international scene. In London in 1908 he was acclaimed as "the world's greatest living painter."