View allAll Photos Tagged Cloud-based
018_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
407_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
100_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
This strike was less than 1200 feet away. I froze the lightning to show that it was very short lived (only ~1/15th of a second-1 frame) but must have had a lot of energy associated with it. Turn up the volume to appreciate how close it actually was. Quite scary!!!
Upon further investigation, this bolt actually hit close to if not the house itself on the hill. Sound of the thunder indicated that the loudest first boom was from the segment at the cloud base and then the bolt traveled diagonally away from me.
BTW, this was one of only two strikes that occurred as this brief thunderstorm developed and moved through my area (dropping only 0.03" rain.
The weekend of the Weston Air Festival this year follows a week of unsettled weather. The result is an overcast air show, restricting many displays with a low cloud base, and fierce wind coming from offshore. This photograph, taken between displays of the broken tape at the crowd line, demonstrates the ferocity of the wind against which the pilots performed.
My son photographed these 29 seconds apart on the date above. The large light on the left in the second shot moved towards the pair of small lights, they then all disappeared up into the cloud base.
Pix taken on an iPhone at 8.24 pm, ergo the different exposures.
When enlarged the lights can be seen to be behind the tree in the second shot.
No faking, to tweaking, just a tight crop.
Only mentioned tonight for the first time.
The Immaculate Conception / Purisima Concepcion
Early 17th Century
FILIPINO
Solid ivory
A solid ivory image of the Virgin shown in the avocation of the Immaculate Conception (Purisima Concepcion). The Virgin is depicted covered with a veil which is a very rare imagery in Philippine iconography. The Virgin's wavy, long hair, parted in the middle as is customary in Philippine images of the Purisima, falls in two cascading tresses on the sides and framing the face terminating at her chest.
Contrary to typical Philippine depictions of the Immaculate Conception, the Virgin is not shown standing on an cloud base. Her handsare folded together in an attitude of prayer and is carved as part of the image. The Virgin's robe falls in simple vertical fold allowing the outline of the knees to show and for the Virgin's single foot to peep through. The dress is cinched with a belt tied in a simple bow at the waist. The Virgin's mantle is decoratively folded over both arms of the image.
Most interestingly, the Virgin's collar and the edges of her mantle are ornamented with a design of diamond-shaped rhomboid decorative detail. The rhomboid pattern decoration is a feature of Philippine images of the Virgin found only in the earliest examples of the 17th century. A similar decorative detail can be found on an ivory image of the Virgin in the Juan Ignacio Moreno collection in Mexico City (Navarro de Pintado, 1985; pl. 50). The back of the Virgin's robe is tucked into a pursed fold. This "tuck" is callade a suksuk and is found only in 17th and 18th century images of the Virgin.
The most interesting feature of all, however, can be found on top of the Virgin's head. Notice the flat surface rendering of the veil near the Virgin's forehead. This flat surface is known colloquially as the uka. According to Gatbonton (1979, 1982), that "flat surface" recalls -- and in fact maybe a reference to -- the "bump" found on many images of the Buddha called the Usnisha, the symbol of enlightenment. The Usnisha would later evolve into the top knot found on the forehead of images of Christ and other male saints in Philippine iconography.
The condition is fine considering its age. Missing hands and maybe part of the left arm. The image retains a beautiful amber patina. This patina is the effect of oxidation resulting from the fact that the image may have been painted at one time. All traces of polychromy now lost.
High. 14 cm or 5.6 in.
______________________________
Gatbonton, E. B. 1979. A heritage of saints: Colonial santos in the Philippines. Hong Kong: Editorial Associates.
Navarro de Pintado, B. 1985. Marfiles cristianos del Oriente en Mexico [Christian oriental ivories in Mexico]. Mexico City: Fomento Cultural Banamex. pl. 50.
Eurocopter 135
The Dorset and Somerset Air Ambulance flies a Eurocopter EC 135 T2+. It is a twin-engine helicopter produced by Eurocopter and is widely used amongst police and air ambulances services across the country.
Useful Information:
Made in Donauworth, Bavaria, S Germany
The helicopter is leased from Bond Helicopters and includes all servicing, spare parts, an onsite engineer and pilot. The benefits of leasing an air ambulance includes the guarantee that a replacement helicopter is available if the need should arise
The Euro 135 has 2 jet engines, but can fly on just one should an engine fail
Speed – 130 knots – Approx 150 mph
Flying minima – 300ft cloud base – 3,000m horizontal visibility
Fuel Cons. 200 litres/ hr (44 gallons ) of AVTUR (paraffin)
In addition to 1 pilot and 2 paramedics, the aircraft has facilities to carry 2 patients on stretchers, or 1 patient and relative (important if carrying a small child)
Helicopter Servicing
50hrs1 engineer3 hours
150hrs2 “6 hours
300hrs4 “4 days
600hrs4-5 “5-7 days
Engine life 25,000 cycles 1 cycle = 1 start up + 1 shut down
Registration
G-DORS “Golf Delta Oscar Romeo Sierra”
The first letter denotes country of origin (G for UK) – followed by four letters for individual identity.
Call Sign
“Helimed One Zero” – A rapid means of identifying an aircraft and its purpose during radio transmission.
Medical Equipment aboard the Euro 135
We carry all the latest medical and resuscitation equipment on board our helicopter including 2 stretchers, blankets, splints, dressings, intravenous transfusion fluids, oxygen, an ECG monitor, defibrillator, Lucas resuscitator, mechanical ventilator, vital signs monitor, respiratory CO2 monitor, plus additional items for airway control and numerous medicines.
These items enable us to save lives and manage a patient’s condition at the scene and during their journey to hospital.
Salvador Prieto gets nearly ground level to see how well this micro-sprinkler is working under one of his avocado trees, in Somis, CA, on Nov 15, 2018.
Salvador Prieto grew up watching and helping his father grow corn and beans on a small farm in Mexico. The journey from bean fields to 20-acre orchard owner with his wife Martha Romero was not a straight and narrow path to Somis, Calif. In fact, it was music that brought him to the United States. Today the passion is agriculture.
Similarly, Romero didn’t follow a career in agriculture to her beautiful and healthy avocado and lemon orchard. Romero grew up a city girl in the heart of Los Angeles. Now sharing this farm with her husband and two children, she quickly credits her success to the support and assistance from her family to navigate the learning curve.
Constantly seeking improvement on the family’s orchard, Romero discovered the local Farm Bureau and the Ventura County Agricultural Irrigated Land Group (VCAILG) coalition. VCAILG put Romero in touch with the USDA Natural Resources Conservation Service (NRCS) and the Ventura Resource Conservation District, for technical and financial assistance to implement conservation and management practices.
NRCS California District Conservationist Dawn Afman, Soil Conservationist Elizabeth Keith, and Resource Conservationist Brooks Engelhardt, have all provided technical assistance and invested their time and expertise in helping Prieto and Romero incorporate conservation practices in their orchard. Prieto and Romero were immediately intrigued by NRCS’s efforts to improve soil health.
“At first it was overwhelming, but many other farmers I know are members, so it is comforting to know that I am not alone,” said Romero. “We need to make a profit, obviously, but, for me, I want to do it while protecting mother nature and precious resources like water. I am able to do this with NRCS’s help.”
Prieto and Romero learned a lot from trial and error. Romero admits that she even bought her trees before the land was ready. But learning opportunities, like an early community garden project, gave them critical knowledge and experience.
A big first conservation practice they learned was mulching to save water and reduce weeds. NRCS helped Prieto and Romero with this, through an Environmental Quality Incentives Program (EQIP) contract, to apply mulch to their orchard floor to conserve soil moisture and improve soil health in the Fall of 2018.
“Every time we have a question or need assistance, NRCS has been nothing but helpful,” added Romero. “They let us know about other programs out in the community and invited us to their annual Latino Farmer Conference, where my husband and I learned about other helpful resources.”
Recently, Prieto and Romero entered into a new NRCS contract to implement Irrigation Water Management (IWM) to their orchard. The IWM plan includes installing moisture sensors into the ground, which transmit continuous data to cloud-based storage, and accessed through a smart device app on their phones. The information lets them know when, where and how long to irrigate. This knowledge will help them toward their goal of producing 6,000 pounds of produce per acre.
Looking toward the future, Romero expressed that knowledge is key. “Before we plant further, we need to get educated on how to do it best,” concluded Romero. “From the planting of a seed or planting of a tree, we need the entire process to be profitable. It's not just about planting it. It's about preparing the land and using the resources wisely.”
In the meantime, Romero enjoys the weekends because she does not need to be worried about picking up the kids from school or rushing around. She just wants to be out in the orchard, making it better From mulching to pruning or irrigating and weeding. The family’s goal is to make the farm “better tomorrow than it was today.”
—
Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).
NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners for more than 80 years. USDA helps people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.
From weather to pests, and from a lack of time to markets, each American farmer faces a unique set of challenges. The Environmental Quality Incentives Program (EQIP) helps agricultural producers confront those challenges – all while conserving natural resources like soil, water, and air.
This voluntary conservation program helps producers make conservation work for them. Together, NRCS and producers invest in solutions that conserve natural resources for the future while also improving agricultural operations.
Through EQIP, NRCS provides agricultural producers with financial resources and one-on-one help to plan and implement improvements, or what NRCS calls conservation practices. Using these practices can lead to cleaner water and air, healthier soil and better wildlife habitat, all while improving agricultural operations. Through EQIP, you can voluntarily implement conservation practices and NRCS co-invests in these practices with you.
USDA Photo by Lance Cheung.
For more information, please see:
USDA
FPAC
www.usda.gov/our-agency/about-usda/mission-areas
NRCS
www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/
EQIP
www.nrcs.usda.gov/wps/portal/nrcs/detail/national/program...
Spherical panorama of the Prieto (Romero) family farm's orchards, in Somis, Calif., on Nov. 15, 2018.
Salvador Prieto grew up watching and helping his father grow corn and beans on a small farm in Mexico. The journey from bean fields to 20-acre orchard owner with his wife Martha Romero was not a straight and narrow path. In fact, it was music that brought him to the United States. Today the passion is agriculture.
Similarly, Romero didn’t follow a career in agriculture to her beautiful and healthy avocado and lemon orchard. Romero grew up a city girl in the heart of Los Angeles. Now sharing this farm with her husband and two children, she quickly credits her success to the support and assistance from her family to navigate the learning curve.
Constantly seeking improvement on the family’s orchard, Romero discovered the local Farm Bureau and the Ventura County Agricultural Irrigated Land Group (VCAILG) coalition. VCAILG put Romero in touch with the USDA Natural Resources Conservation Service (NRCS) and the Ventura Resource Conservation District, for technical and financial assistance to implement conservation and management practices.
NRCS California District Conservationist Dawn Afman, Soil Conservationist Elizabeth Keith, and Resource Conservationist Brooks Engelhardt, have all provided technical assistance and invested their time and expertise in helping Prieto and Romero incorporate conservation practices in their orchard. Prieto and Romero were immediately intrigued by NRCS’s efforts to improve soil health.
“At first it was overwhelming, but many other farmers I know are members, so it is comforting to know that I am not alone,” said Romero. “We need to make a profit, obviously, but, for me, I want to do it while protecting mother nature and precious resources like water. I am able to do this with NRCS’s help.”
Prieto and Romero learned a lot from trial and error. Romero admits that she even bought her trees before the land was ready. But learning opportunities, like an early community garden project, gave them critical knowledge and experience.
A big first conservation practice they learned was mulching to save water and reduce weeds. NRCS helped Prieto and Romero with this, through an Environmental Quality Incentives Program (EQIP) contract, to apply mulch to their orchard floor to conserve soil moisture and improve soil health in the Fall of 2018.
“Every time we have a question or need assistance, NRCS has been nothing but helpful,” added Romero. “They let us know about other programs out in the community and invited us to their annual Latino Farmer Conference, where my husband and I learned about other helpful resources.”
Recently, Prieto and Romero entered into a new NRCS contract to implement Irrigation Water Management (IWM) to their orchard. The IWM plan includes installing moisture sensors into the ground, which transmit continuous data to cloud-based storage, and accessed through a smart device app on their phones. The information lets them know when, where and how long to irrigate. This knowledge will help them toward their goal of producing 6,000 pounds of produce per acre.
Looking toward the future, Romero expressed that knowledge is key. “Before we plant further, we need to get educated on how to do it best,” concluded Romero. “From the planting of a seed or planting of a tree, we need the entire process to be profitable. It's not just about planting it. It's about preparing the land and using the resources wisely.”
In the meantime, Romero enjoys the weekends because she does not need to be worried about picking up the kids from school or rushing around. She just wants to be out in the orchard, making it better From mulching to pruning or irrigating and weeding. The family’s goal is to make the farm “better tomorrow than it was today.”
Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).
NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners for more than 80 years. USDA helps people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.
From weather to pests, and from a lack of time to markets, each American farmer faces a unique set of challenges. The Environmental Quality Incentives Program (EQIP) helps agricultural producers confront those challenges – all while conserving natural resources like soil, water, and air.
This voluntary conservation program helps producers make conservation work for them. Together, NRCS and producers invest in solutions that conserve natural resources for the future while also improving agricultural operations.
Through EQIP, NRCS provides agricultural producers with financial resources and one-on-one help to plan and implement improvements, or what NRCS calls conservation practices. Using these practices can lead to cleaner water and air, healthier soil and better wildlife habitat, all while improving agricultural operations. Through EQIP, you can voluntarily implement conservation practices and NRCS co-invests in these practices with you.
USDA Photo by Lance Cheung.
For more information, please see:
USDA
FPAC
www.usda.gov/our-agency/about-usda/mission-areas
NRCS
www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/
EQIP
www.nrcs.usda.gov/wps/portal/nrcs/detail/national/program...
Tornado Warning! This means I grab the camera, run outside and start looking to the SW. I cannot see this.. looking, looking.. no tornado. The wind is really strong, and changing directions quickly.
It never occurred to me to look directly overhead.. but for some reason I did.
Big decision.. do you snap the photo, then run.. or do you just run?
Clearly I made the wrong choice.
If a funnel cloud touches the ground it becomes a tornado. Most tornadoes begin as funnel clouds, but many funnel clouds do not make ground contact and so do not become tornadoes. Also, a tornado does not necessarily need to have an associated condensation funnel—if strong cyclonic winds are occurring at the surface (and connected to a cloud base, regardless of condensation), then the feature is a tornado. Some tornadoes may appear only as a debris swirl, with no obvious funnel cloud extending below the rotating cloud base. A funnel cloud is quite noticeable as it passes overhead aloft. The sounds heard are described as buzzing bees, roaring, a sucking sound, or a waterfall-like sound.
Nikon D3100
Exposure 0.017 sec (1/60)
Aperture f/3.8
Focal Length 20 mm
ISO Speed 1800
Exposure Bias +1/3 EV
Flash On, Return detected
Another view of last Monday week's fabulous sunset and red sky. It had rained most of the day and was completely overcast until the last half hour of the day, when the sun appeared beneath the cloud base in the northwest.
Supercell east of Denver producing marginally severe hail. The unique thing about this storm is its LP nature and the fact that for much of its life its base was level with the bottom of the anvil. It was probably one of the neater storms I've seen though it didn't really do a lot on the weather side of things.
Rotation was pronounced at the cloud base at several points in its life however.
Martha Romero gives Salvador Prieto a kiss after a delivery of mulch to their Hass avocado trees, in Somis, CA, on Nov 15, 2018.
Salvador Prieto grew up watching and helping his father grow corn and beans on a small farm in Mexico. The journey from bean fields to 20-acre orchard owner with his wife Martha Romero was not a straight and narrow path to Somis, Calif. In fact, it was music that brought him to the United States. Today the passion is agriculture.
Similarly, Romero didnât follow a career in agriculture to her beautiful and healthy avocado and lemon orchard. Romero grew up a city girl in the heart of Los Angeles. Now sharing this farm with her husband and two children, she quickly credits her success to the support and assistance from her family to navigate the learning curve.
Constantly seeking improvement on the familyâs orchard, Romero discovered the local Farm Bureau and the Ventura County Agricultural Irrigated Land Group (VCAILG) coalition. VCAILG put Romero in touch with the USDA Natural Resources Conservation Service (NRCS) and the Ventura Resource Conservation District, for technical and financial assistance to implement conservation and management practices.
NRCS California District Conservationist Dawn Afman, Soil Conservationist Elizabeth Keith, and Resource Conservationist Brooks Engelhardt, have all provided technical assistance and invested their time and expertise in helping Prieto and Romero incorporate conservation practices in their orchard. Prieto and Romero were immediately intrigued by NRCSâs efforts to improve soil health.
âAt first it was overwhelming, but many other farmers I know are members, so it is comforting to know that I am not alone,â said Romero. âWe need to make a profit, obviously, but, for me, I want to do it while protecting mother nature and precious resources like water. I am able to do this with NRCSâs help.â
Prieto and Romero learned a lot from trial and error. Romero admits that she even bought her trees before the land was ready. But learning opportunities, like an early community garden project, gave them critical knowledge and experience.
A big first conservation practice they learned was mulching to save water and reduce weeds. NRCS helped Prieto and Romero with this, through an Environmental Quality Incentives Program (EQIP) contract, to apply mulch to their orchard floor to conserve soil moisture and improve soil health in the Fall of 2018.
âEvery time we have a question or need assistance, NRCS has been nothing but helpful,â added Romero. âThey let us know about other programs out in the community and invited us to their annual Latino Farmer Conference, where my husband and I learned about other helpful resources.â
Recently, Prieto and Romero entered into a new NRCS contract to implement Irrigation Water Management (IWM) to their orchard. The IWM plan includes installing moisture sensors into the ground, which transmit continuous data to cloud-based storage, and accessed through a smart device app on their phones. The information lets them know when, where and how long to irrigate. This knowledge will help them toward their goal of producing 6,000 pounds of produce per acre.
Looking toward the future, Romero expressed that knowledge is key. âBefore we plant further, we need to get educated on how to do it best,â concluded Romero. âFrom the planting of a seed or planting of a tree, we need the entire process to be profitable. It's not just about planting it. It's about preparing the land and using the resources wisely.â
In the meantime, Romero enjoys the weekends because she does not need to be worried about picking up the kids from school or rushing around. She just wants to be out in the orchard, making it better From mulching to pruning or irrigating and weeding. The familyâs goal is to make the farm âbetter tomorrow than it was today.â
Farm Production and Conservation (FPAC) is the Departmentâs focal point for the nationâs farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).
NRCS has a proud history of supporting Americaâs farmers, ranchers, and forest landowners for more than 80 years. USDA helps people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.
From weather to pests, and from a lack of time to markets, each American farmer faces a unique set of challenges. The Environmental Quality Incentives Program (EQIP) helps agricultural producers confront those challenges â all while conserving natural resources like soil, water, and air.
This voluntary conservation program helps producers make conservation work for them. Together, NRCS and producers invest in solutions that conserve natural resources for the future while also improving agricultural operations.
Through EQIP, NRCS provides agricultural producers with financial resources and one-on-one help to plan and implement improvements, or what NRCS calls conservation practices. Using these practices can lead to cleaner water and air, healthier soil and better wildlife habitat, all while improving agricultural operations. Through EQIP, you can voluntarily implement conservation practices and NRCS co-invests in these practices with you.
USDA Photo by Lance Cheung.
For more information, please see:
USDA
FPAC
www.usda.gov/our-agency/about-usda/mission-areas
NRCS
www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/
EQIP
www.nrcs.usda.gov/wps/portal/nrcs/detail/national/program...
020_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
Dalwhinnie Distillery taken from the car window as we passed it on our way home. We'd had great weather all week and this was the first wet one, but it did mean the cloud base was down and the mist was coyly wrapping around the sides of the hills. I liked the way the smoke from the chimney was mingling with the mist too.
050_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
Low-altitude stratocumulus clouds are backlit by sunset, with the sun just above the horizon. These clouds were just above the Marin Headlands, and perhaps touching the peaks. So the cloud base was around 1000 ft (300 m) and their tops were probably under 2000 ft (600m).
Clouds were present only along the ridges around San Francisco Bay; the rest of the sky was clear. So, at first glance, it looked like it was going to be a boring sunset. But this telephoto lens revealed lots of drama and excitement when pointed at the brightest part, right where the sun setting was behind these clouds.
Seen just a few minutes before sunset at César Chávez Park in Berkeley, CA, which offers excellent views of the Bay, etc.
252_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
161_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
096_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
638_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
043_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
***DOWNLOAD INSTRUCTIONS***
Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
Still digging into my plethora of Dark Ride shots from my past trip to WDW *smile*. May is here and I am hoping nicer evening light is too. *bigger smile*
BTW, this is from 'The Great Movie' ride at Disney's Hollywood Studios. In real life this scene is almost totally DARK! ;-) Yep, the 'Lord of Darkness' strikes again. (I am referring to my camera with the Lord of Darkness reference *wink*)
**You may wonder about the title to this post...This week Adobe announced that they will no longer sell 'boxed stand alone CS products'. ALL of their CS products will be up on their "CLOUD" and be sold for a monthly subscription.
I don't know about you, but I do not like cloud computing for one major reason...I am TIRED of monthly subscriptions for EVERYTHING!
I am in my late 40's and I think about my future, which means my retirement future. I am hoping that when I decide to leave Dominion that I can turn towards my photography to supplement some income. But even if I don't do that I still plan on having photography as a reason to get up every day, a nice hobby. So I plan on making sure just prior to my retirement time that I upgrade my equipment, including software, one last time while I can afford it. But as of Adobe's announcement, I may be on my last upgrade since I bought a Nikon D800 a couple of months ago and own a Nikon D3S and I am not planning on an upgrade for (hopefully) 5-10 years. I am sure inside of the next 10-14 years there will be some major improvements with digital cameras that will leave me wanting the latest when the time comes, but if I have to "go backwards" with software then would it be wise to buy a newer camera?? So this leaves me wondering who will fill the void left by Adobe if I decide to but "one last camera" and want stand alone software that I don't have to pay for on a monthly basis. Augh! Too much to digest!
One good thing (at least right now) is that Adobe will continue to make Lightroom a stand alone product. So I guess I will be focusing my attention on REALLY learning the Lightroom interface and getting as comfortable with it as I am with ACR/CS5 until they decide to make Lightroom a cloud based product too, in which case I will say good-bye to Adobe.
If you want to read more about the whole Adobe issue I would suggest Thom Hogan
Thanks!
461_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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013_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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131_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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038_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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Download full resolution individual photos/videos by clicking the "down-facing arrow" below the preview image on the right hand side of the page. You will then be prompted to select a destination for the photo on your local computer.
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I like both of red emission nebulae and dark nebulae.
The pages below were helpful to identify the dark clouds on the frame, though I could not be sure if they are right.
Dark Clouds World in Astro Laboratory in Tokyo Gakugei University
darkclouds.u-gakugei.ac.jp/index.html
Dark Clouds and Dense Cores Based on DSS
( We can retrieve list and atlas here.)
darkclouds.u-gakugei.ac.jp/DSS/download.html
Atlas and Catalog of Dark Clouds Based on Digitized Sky Survey I
(Be careful. This is 129.2MB PDF containing the whole catalog and figures)
pasj.asj.or.jp/v57/sp1/pdf/57sp1-2553.pdf
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equipment: Takahashi FSQ-106ED, Reducer QE 0.73x, and Canon EOS 5Dmk2-sp2 by Seo-san at ISO 1,600 on Takahashi EM-200 temma 2Jr, autoguided with hiro-design off-axis guider, StarlightXpress Lodestar autoguider, and PHD Guiding
exposure: 4 times x 30 minutes, 4 x 15 minutes, 4 x 4 min, and 4 x 1 minute
Location: 11,000 feet above sea level near MLO, Mauna Loa Observatory on the shoulder of Mauna Loa in the Big Island, Hawaii
004_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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The Immaculate Conception / Purisima Concepcion
Early 17th Century
FILIPINO
Solid ivory
A highly important solid ivory image of the Virgin shown in the avocation of the Immaculate Conception (Purisima Concepcion). The Virgin is depicted covered with a veil which is a very rare imagery in Philippine iconography. The Virgin's wavy, long hair, parted in the middle as is customary in Philippine images of the Purisima, falls in two cascading tresses on the sides of the face terminating at her chest.
The Virgin is shown standing on an ensaimada (brioche) cloud base supported by a single cherubim. Her hands, which would have been folded in an attitude of prayer and pegged-in (you can still see the holes for the pegs), are now missing. The Virgin's robe falls in simple vertical fold allowing the outline of the knees to show and for the Virgin's single foot to peep through. The dress is cinched with a belt tied in a simple bow at the waist. The Virgin's mantle is decoratively folded over both arms of the image. This may have been the original source of the "palikpik" more commonly found on 19th century "over-dressed" type images of the Virgin.
Most interestingly, the Virgin's collar is ornamented with a design of diamond-shaped rhomboid decorative detail. The rhomboid pattern decoration is a feature of Philippine images of the Virgin found only in the earliest examples of the 17th century. A similar decorative detail can be found on an ivory image of the Virgin in the Juan Ignacio Moreno collection in Mexico City (Navarro de Pintado, 1985; pl. 50). The back of the Virgin's robe is tucked into a pursed fold. This "tuck" is callade a suksuk and is found only in 17th and 18th century images of the Virgin.
The most interesting feature of all, however, can be found on top of the Virgin's head. Notice the flat surface rendering of the veil near the Virgin's forehead. This flat surface is known colloquially as the uka. According to Gatbonton (1979, 1982), that "flat surface" recalls -- and in fact maybe a reference to -- the "bump" found on many images of the Buddha called the Usnisha, the symbol of enlightenment. The Usnisha would later evolve into the top knot found on the forehead of images of Christ and other male saints in Philippine iconography.
The condition is fine considering its age. Missing hands and maybe part of the left arm. The image retains a beautiful amber patina. This patina is the effect of oxidation resulting from the fact that the image may have been painted at one time. All traces of polychromy now lost.
High. 21.5 cm or 8.6 in.
Provenance:
Collection of Dr, Porfirio J. and Mrs. Socorro Rodriguez Callo
Purchased from Tajan Auctioneers, Paris
Collection of Madame B
Correctly attributed as Spanish colonial work, may be Philippines, beginning of the 17th century.
References:
Gatbonton, E. B. 1979. A heritage of saints: Colonial santos in the Philippines. Hong Kong: Editorial Associates.
Navarro de Pintado, B. 1985. Marfiles cristianos del Oriente en Mexico [Christian oriental ivories in Mexico]. Mexico City: Fomento Cultural Banamex. pl. 50.
470_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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347_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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168_GHP_SoireeCandids_2019.JPG -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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T23-10 '31-30' Airbus A400M Ala30 AME, on approach for runway 05, arriving with groundcrew and armament for the forthcoming EF2000 deployment. Cloud base was around 200 feet so broke through late on approach.
Carrying on from a tradition started by the Search & Rescue Squadrons based at Chivenor, Historic Helicopters former RAF SAR Sea King, XZ597 took Santa on a trip around North Devon and parts of Somerset today.
The flyby was originally scheduled to take place last week, 22nd December, but due to thick fog and a low cloud base the flight was postponed.
Bit of a heavy crop, so apologies in advance for the quality.
Over Tiverton, Mid Devon
Wednesday 30th December 2020
As the Sun shines down on our clear or cloudy planet, its light is processed and changed as a result of the interaction with the clear air and watery clouds.
Gazing up at the sky, we might wonder how the blues, greys and whites arise.
This plot of the visible spectrum illustrates the three different sources of light that we can see in the daytime:
1. The direct sunlight that paints the shadows.
2. The blue sky, changing in brightness and saturation as we sweep the horizon and the space above our heads.
3. The hugely varied colours of the clouds ranging from the puffy cotton-wool — the definition of 'white' — through all the tinted greys to the lowering, sickly grey-green beneath a towering thunderstorm.
The incoming sunlight outside our atmosphere is represented by the pale grey line spectrum at the top, peaking at a little more than two of the units of power. The complex smattering of dips in the light are the absorption of the radiation in the atmosphere of the Sun as it emerges into space.
These dips are commonly known as 'Fraunhofer lines' after the Bavarian physicist Joseph von Fraunhofer ( en.wikipedia.org/wiki/Joseph_von_Fraunhofer ) whose historic workplaces I used to haunt when I lived within his landscape in and around Munich. The process of understanding the origin of these spectral features over the last couple of centuries has taught us a very substantial fraction of what we know about the Universe.
As the sunlight enters our atmosphere, a fraction of the light is removed from the incoming beam to be diverted into the air and the particles of water and 'dust' that exist within it. Some of this light is scattered — bounced from a molecule or a particle — to continue in another direction and reach the ground as skylight, and some is removed by a process of absorption to become the heat that warms the air.
It is these processes of scattering and absorption that determine the colours of the sky and the clouds while also changing the colour of the Sun as seen from the ground. The combination of these two effects is known as atmospheric extinction.
The thin, continuous orange and blue lines in the plot
(labelled Sun for overcast and blue sky) show the sunlight that would reach the ground through a normal clear (blue) sky with the sun at altitudes of 31° and 40° respectively.
The model I use to compute these spectra includes the scattering of light by air molecules (predominantly nitrogen) and by aerosols (tiny water droplets and dust particles). The only true absorption process it includes is from ozone gas which acts as a rather weak — when the Sun is well above the horizon — blue filter. Ozone has a much bigger role to play at twilight!
In a clear sky, much of the light diverted from the incoming sunlight ends up as the 'blue sky' since the dominant scattering process from air molecules (Rayleigh scattering) strongly favours blue light over the longer wavelengths. The zenith (directly overhead) skylight resulting from the 40° high sun results in the spectrum plotted as the thick continuous blue line (Blue sky, zenith).
The colour of this can be represented as a Coordinated Colour Temperature (CCT) of 25,730K which is represented by the Planck curve shown as the dashed blue line. [An LED light bulb in your sitting room probably has a CCT of around 3000K].
The patch of blue sky that I measured is a lot fainter than the Sun of course and here I have scaled it up by a factor of 155 to match the sunlight at a wavelength of 460nm.
In a heavy, complete overcast, the light reaching the ground traverses a thick layer of cloud. What does this do to its colour? Inside the cloud, the light is scattered, not only by air molecules, but by water drops of a large range of sizes along with dust, pollen grains, salt crystals and all sorts of other stuff, sometimes including volcanic ash. Some of, but by no means all, these interactions result in absorption and conversion into heat, i.e., the light is lost. Also, clouds, that appear white from above, reflect a lot of sunlight back into space.
You can see that this process can be quite complicated and hard to model in detail. The particulate matter outside of clouds, called aerosols, are usually modelled in a simple fashion to produce a scattering that, while preferentially somewhat blue, is not nearly as blue as the Rayleigh process. Consequently, an aerosol-rich but non-cloudy atmosphere appears less saturated and 'milky' in appearance.
Within the clouds, where water drops exist in much larger sizes, the scattering process becomes less coloured and is usually considered to be grey, meaning that the light emerging from a cloud varies in brightness depending on the direction from which it is viewed, but is changed little in hue.
The light measured under a heavy overcast with illumination from the sunlight represented by the thin orange line is shown as the thick dark-red line (Overcast sky, zenith). This is characterised by a CCT of only 6,635K, slightly hotter that sunlight but considerably cooler than the blue sky.
This is a lot fainter than the blue sky (by a factor of about 14) and I have scaled it up in the plot by a factor of 2,232.
The simplest way to think about the colour of this overcast light is to consider the way the cloud layer is illuminated from above. It is receiving the direct sunlight (thin orange line) but also light from the entire hemisphere of blue sky. The light in the cloud retains no memory of its original direction and both sources get mixed together as they diffuse within it. When a fraction of this emerges from the cloud base it will be much dimmer but significantly bluer than the Sun would appear without the clouds. In fact it is quite similar to the colour the Sun would appear in space to an astronaut.
In fact, this in not so surprising since it consists of the sum of the sunlight that has been reddened by extinction and the blue sky that resulted from the major contributor to the reddening process. That is, the red and the blue components have been remixed within the clouds.
Satisfying though this idea appears, it is only a very approximate picture of what happens and the light emerging from clouds under different conditions does vary somewhat in colour (see the comment below for an example image).
There are two other significant effects that are apparent in these plots.
The first is the presence of strong absorption dips, especially towards the red end of the spectrum where there are broad absorption bands that are not included in my extinction model, notably around 590, 690, 730 and 760nm. These are due to absorption in the Earth's atmosphere by molecules of oxygen and water. These are known as 'telluric' bands and they are valuable diagnostics of the state of the atmosphere used by meteorologists and planetary scientists. The stronger ones are, however, too deep in the red to have much effect on the perceived colour.
Secondly, it is clear from the spectrum of the overcast sky (thick dark red line) that the intensity increases dramatically above about 720nm. This is not apparent at all in the solar spectra and it is perhaps only weakly present on the blue sky spectrum.
It is due to radiation from the ground reflecting from the cloud base. Green vegetation has a very high reflectivity in the near infrared arising from the very high transparency of chlorophyll at these wavelengths. Plant leaves appear green to us. However, if our visual sensitivity extended even quite modestly towards redder wavelengths, the vegetated landscape would appear a brilliant red, and very much brighter than the dim green reflection that we actually see. If there is a high fraction of green, vegetated ground cover under the cloud, this deep red reflection can become very strong.
This marked increase in reflectivity is known in the trade as 'the chlorophyll red-edge' and it will be a crucial tool in investigating the presence of life on other planets. The signature of the Amazon rainforest has already been detected on Earth from distant spacecraft looking back at our home planet.
Understanding the appearance of the sky in daylight is fascinating, however as evening twilight approaches, the palette of colours grows in richness. It becomes an increasingly saturated spectrum from a red sunset through a range in the sky from orange, yellow, apple-green and a pale and deepening blue to to reach a strange 'metallic' grey-purple in the Earth-shadow above the eastern horizon. How this happens forms a richer and more complex story.
SCE_0366 Dunnet Head Harbour, north east Scotland.
Visited on a very overcast day as can be seen in the cloud base.
Small harbour off the B855 2.4 miles from Dunnet Head.
More general photographs at www.flickr.com/photos/staneastwood/sets
345_GHP_HypeImpact_8nov18.JPG -- Greater Houston Partnership Young Professionals & Entrepreneurs (HYPE) Impact Awards recognizing and rewarding young professionals and entrepreneurs for their contributions to our community November 8, 2018. (Photo by Richard Carson)
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We had some stunning optical effects visible on our way back from Limoges to Stanstead on 25th September 2017. This was the first time I'd ever seen optics reflected on the cloud base below; that was quite a special experience!
Barnard 352 complex
Credit: Giuseppe Donatiello
The complex system of dark nebulae and molecular clouds north of NGC 7000 also known as Barnard 352 or LDN 941.
In reality, the region is home to a large number of individual compact structures, often only perspectively aligned and backlit against the star fields or plasma that makes up the larger NGC 7000.
PGCC G086.46+00.19 is a molecular cloud home to low mass star formation [A&A 594, A28 (2016)]. PGCC stands for Planck Catalog of Galactic Cold Clumps.
DOBASHI objects are dark nebulae reported in the Atlas and Catalog of Dark Clouds Based on the 2 Micron All Sky Survey compiled by Kazuhito Dobashi [Publications of the Astronomical Society of Japan, Volume 63, Issue sp1, 25 January 2011].
[DBY94] 086.4+00.4 is another molecular cloud occupying a small dense region.
[DB2002b] G86.20+0.00 is the characteristic backlit dark ring over North America and appears to surround NGC 6996, a small OB stellar association, reported by E. Barnard in 1927 in his A photographic Atlas of selected regions of the Milky Way. As a region of recent star formation, there are a number of YSOs, i.e. still shrinking young stellar objects.
E26 is a bubble associated with the young star V2713 Cyg with a clear shock front.
The image is part of a large mosaic obtained with a 300mm telephoto lens array from Piano Visitone in the Pollino National Park.
PLAYHOUSE/SWILLBURGER
bar - burger spot - arcade
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a gargantuan wheatpaste mural, "Bollywood Sugar," on The Playhouse/Swillburger building by Amsterdam-based artist Handiedan. The striking digital collage of bold imagery — which includes many flourishes, flowers, and architectural bits surrounding a large central pin-up figure www.rochestercitynewspaper.com/rochester/wonder-walls/Con...
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Wonder walls
WALL\THERAPY 2015
By Rebecca Rafferty @rsrafferty
WALL\THERAPY 2015 informally kicked off over the holiday weekend with the installation of a gargantuan wheatpaste mural, "Bollywood Sugar," on The Playhouse/Swillburger building by Amsterdam-based artist Handiedan. The striking digital collage of bold imagery — which includes many flourishes, flowers, and architectural bits surrounding a large central pin-up figure — earned cheers and honks from people crossing the busy intersection at South Clinton and Meigs.
"It was a great warm up to everything, and really set a nice tone for this year," says Erich Lehman, WALL\THERAPY co-curator and lead organizer. "The response has been pretty overwhelmingly positive.
Amsterdam-based artist Handiedan installed a massive wheatpaste mural for WALL\THERAPY over the holiday weekend at 820 South Clinton Avenue. The 2015 mural festival takes place July 17 through 26, with a theme of surrealism and the fantastic.
Handiedan and her partner, who spent four days painstakingly pasting the precisely-cut paper around the windows of the former church, were this year's early birds, as scheduling conflicts prevented them from joining the rest of the artists during the festival proper later this month (July 17 through July 26).
Though any art exposed to the weather is vulnerable, paper is especially so. But this hardy work has been sealed against the elements, and the artist estimates that the mural will last up to two years.
Earlier this year, WALL\THERAPY organizers announced a partnership with URBAN NATION — a Berlin-based organization that supports street art and aims to create the world's first museum dedicated to the form — for the launch of an international exchange program between Rochester and Berlin. Lehman says the group will be doing a WALL\THERAPY-curated show in Berlin in early 2016.
The connection was made last summer when URBAN NATION director Yasha Young visited Rochester to check out Berlin-based artist Addison Karl's in-progress mural at the Fedder Industrial Complex. After learning more about WALL\THERAPY and its sister project, IMPACT! (IMProving Access to Care by Teleradiology), Young extended an invite for collaboration.
IMPACT! seeks to provide easier access to medical care for people in underdeveloped and underserved regions of the world through cloud-based x-ray services and a network of volunteer radiologists. Both WALL\THERAPY and IMPACT! are projects of The Synthesis Collaborative.
The festival theme for this year is surrealism and the fantastic. In addition to Handiedan, Young has invited Stockholm-based artist Andreas Englund, Switzerland-based artists Onur and Wes21, Switzerland-based duo NEVERCREW, New York-based Australian artist Vexta, and Brooklyn-based Canadian artist Li Hill.
The other half of the participating artists are curated by Lehman and WALL\THERAPY founder and co-curator Ian Wilson. They have invited old-school graffiti artist Daze, who is based in New York City and returns to Rochester after participating in the 2013 festival; Jeff Soto and Maxx242, who are both based in California; and Eder Muniz, who is based in Brazil but has painted many vibrant murals in Rochester over the years.
This year's local artist selections include Nate Hodge, Brittany Williams, Matthew Roberts, and Joe Guy Allard. New York City-based painter and illustrator, Tara McPherson, was set to participate as well, but due to unexpected circumstances will not be able to attend this year.
WALL\THERAPY 2015 will kick off on July 17, with an art show titled "IMPACT!" held at 1975 Gallery featuring the work of all participating artists. A percentage of all sales from the exhibition will go directly to support the mural fest's philanthropic sister project.
In addition to the opportunity to watch the progress of the murals, the week will feature a movie night hosted by Brooklyn Street Art founders Jaime Rojo and Steve Harrington, and the annual FLOOR THERAPY dance party, hosted by The Lobby at Bug Jar.
Lehman says this year's murals will be clustered around downtown, returning to past areas, such as the Public Market, and adding some new sites as well. But the exact locations won't be revealed until closer to the start of the festival. "It's not so much a targeted neighborhood this year," Lehman says. "With the topic being 'surrealism and the fantastic,' it's better served spread out, so that it's not a concentration of so much of that kind of work."
This is the fourth WALL\THERAPY festival, but the fifth year since the project's birth. "It's really exciting to see that people's enthusiasm for the event is still strong," Lehman says.
An upgraded, and mobile-friendly WALL\THERAPY website launched this week, featuring up-to-date artist bios and photographs from the past years, and an easier to navigate, searchable map of the murals. A printable PDF guide of this year's mural locations is coming soon.
City Newspaper will post more information as it's released. Follow @WallTherapyNY and @roccitynews on Twitter and Instagram for updates, and visit the online version of this article for links to preview the work of this year's artists.
accessed July 13, 2015 www.rochestercitynewspaper.com/rochester/wonder-walls/Con...
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image by Photo George
copyrighted: ©2015 GCheatle
all rights reserved
locator: GAC_1856_tonemapped
Madonna and Child
FILIPINO
17th Century
Solid Ivory with traces of gilding and polychromy.
Heads of Virgin and child replaced. Repair to arm of Nino.
Provenance: Collection of Dr. Porfirio J. and Mrs. Socorro Rodriguez Callo
Purchased from Likhâ Antiques.
A solid ivory figure of the Madonna and Child carved during the 17th century. The Madonna stands on an "Ensaymada" (brioche) cloud base typical of early renditions of the Mother and Child. On this image, there is no angel or putti present. The Virgin's gown crosses her body laterally at the knees, folds gracefully backwards and falls in agitated folds at her feet. The Virgin is shown clasping the foot of the child typical of Philippine images of the Virgin and Child carved during the period. This feature shows the influence of the Spanish sculptor Juan Martinez Montanes.
The slight hint of knee, the toes peeping out of the Madonna's voluminous gown and the "suksuk" present in the back are clear indications of this image's Philippine provenance.
Many similar renditions of the Madonna and Child made during the 17th century are published in: Jose, R. T. (1990). Images of faith: Religious ivory carvings from the Philippines. Pacific Asia Museum: Pasadena, CA, pp 65 - 70, 114 - 115.
087_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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This cloud based gallery will be available for three months in order to enable you to download all of the photos to your computer for safe long term storage. While the gallery may be in the cloud for longer than this time you should endeavor to file and secure the photos for future use in whatever manner you deem appropriate.
Aerial Storm Chasing
Showers and thunderstorms (Convection) are giant waterfalls in the sky when viewed from the air that come out of the base of their parent convective cloud. Usually the base they come out of is bounded by clouds and sometimes these bounding clouds take on an organized almost vault-like look or rugged look and can produce strong winds as the rain cooled air pushes outward and the convection takes in warmer air-creating a gustfront or shelf cloud. Everything you need to know about what is going on with a storm (convective) cell is located at and below its cloud base level. Going to mid levels of a storm and just above the base is good and fun for structure images but has no applications to helping people know what’s going on with the storm because all that is way lower in altitude below its cloud base level. Aerial chasing is something just a few people in the world diligently have pursued, it’s a unique hobby.
#aerial #cloudscience #cloudphysics #meteorology #physics #aerospace #engineering #storm #cumulus #thunderstorm #wx #clouds #otherworld #aboveclouds #air #watervapor #science #cloudscape #cottonball #blanket #meteorology
#kywx #ilwx #mowx #tnwx #aerialstormresearch #aerialstorm #aerialimaging #convection #raincore
Took this photo after dressing up as the cloud based private eye - strange looks all round :-)
Here's my little tribute drawing of the fantastic Mr Jonathan Edwards 'INSPECTOR CUMULUS' - scribbled on paper and coloured in photoshop :-)
01. Who Drew This and Where Can people find you?
My name is [rich] and you can find me at:
and of course
02. What is the name of your drawing?
TIME FOR A MURDER.
03. What is it's story? (no more than 100 words please)
I thought I'd do a little something different for this one - took a couple of photos dressed up as Mr Cumulus drew some details in illustrator and added them up in photoshop :-)
083_GHP_SoireePortraits_2019.jpg -- Greater Houston Partnership “Emerald City” Soiree 2019 with photography sponsored by Conoco Phillips at Hotel ZaZa August 24, 2019. (Photo by Richard Carson)
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This was the last really good shot of the night and it was one of my favorites. This lightning strike was only about 3 miles away and it developed under a new cloud base as the storm pushed south. The only thing that would of made this picture even better is if the right lightning bolt was in the shot...it looked just as great! Picture was taken on August 11, 2011 just before 5am.