View allAll Photos Tagged Complexion
For this feature, I wanted to push the Atlas line into a realm of hyper-realism that only S-Rank can provide. The new Zafir skin in Tone 03 is a masterpiece of texture
I’ve layered it with the Zafir HD complexion, forehead wrinkles, and tired under-eyes to give the Paxton head a mature, battle-hardened authority. This isn't just a face; it's a history
Mignonne, allons voir si la rose
Qui ce matin avait éclose
Sa robe de pourpre au Soleil,
A point perdu cette vesprée
Les plis de sa robe pourprée,
Et son teint au vôtre pareil.
P. de Ronsard
Sweetheart, let’s see if the rose
That this morning had open
Her crimson dress to the Sun,
This evening hasn’t lost
The folds of her crimson dress,
And her complexion similar to yours.
P. de Ronsard
Merci pour vos favoris.
Many thanks for your faves.
Los galgos o lebreles, pertenecen a una raza canina que se caracteriza por ser muy ágil, ya que puede alcanzar hasta los 70 km/h. Su complexión delgada, sus piernas tan alargadas y su amplio campo visual, los convierte en los perros ideales para competir en carreras de velocidad. Aunque hay muchos tipos de galgos, todos comparten esas similitudes.
El origen de esta raza canina se remonta a la época faraónica de los egipcios. En el arte egipcio hemos ido descubriendo que estos perros aparecen en grabados, esculturas y pinturas. Hace miles de años a estos animales ya se les usaba por su velocidad.
Hoy en día, la raza del galgo se extiende alrededor de todo el mundo, si bien hay una gran parte que habita en el sudoeste de Asia. Los lebreles no son solo animales para competencia de velocidad o para cazar; también son grandes mascotas. Es un perfecto animal de compañía para vivir en casa, pues es bastante tranquilo y tímido.
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Crete Senesi, Vescona, Tuscany, Italy
"If you find yourself alone, riding in the green fields with the sun on your face, do not be troubled. For you are in Elysium, and you're already dead!" - Gladiator (2000). This photograph features a lone cypress tree in the Crete Senesi near Vescona in southern Tuscany, Italy. The "Sienese Clays" are so named for the distinctive grey colouration of the soil, which gives the landscape a lunar complexion. In spring, however, the hills are lit up with a smaragdine carpet of fresh pasture.
ca. 1886/87
Pierre-Auguste Renoir
Oil on canvas
57 x 47 cm
Museum Langmatt, Baden (Switzerland)
Currently at the exhibition "Cézanne, Monet, Renoir. French Impressionism from the Museum Langmatt" in the Lower Belvedere in Vienna.
www.belvedere.at/en/cezanne-monet-renoir
"... The Braid demonstrates that the Impressionists could paint in a technically proficient manner, even if they did not usually choose to do so. Realistic exactitude and the mirroring of nature held no interest for them. This, after all, was the pattern of the previous artistic style of realism, from which they wished to distance themselves. What fascinated them was the movement of light, changeability in nature, the luminosity of color. At the time when this picture was created (that is, between 1883 and 1887), Renoir was embroiled in a deep artistic crisis. He had embarked on Impressionism with great enthusiasm at a very early stage, significantly influencing this new painting style. [...] Now, however, everything was suddenly different; overshadowing doubts regarding Impressionism were having a crippling effect on his work. Renoir faced an economic as well as an artistic crisis. He began to recall classicist painting, in particular the works of Ingres: cool, knife-sharp portraits from the early nineteenth century. Renoir overcame this crisis in his painting career by examining the traditions of painting in order to redevelop his own perspective, and was successful in that, shortly afterwards, he made a confident return to the “soft focus” of Impressionism.
However, there is more to the picture’s background than this process of looking back and self-redefining. There is also the surprising (from today’s perspective) freedom it shows in deviating from the original subject; in fact, its apparent pleasure in the genesis of an ideal, fictional figure through “sampling.” To use a term from our own era, the portrait is nothing other than a loving “fake”: the model —the artist Susanne Valadon — was blond and blueeyed, with a fair complexion. She modeled in the studio, rather than in a natural setting. However, Renoir’s vision was different: he promptly transformed her into the “Italian” woman he required, giving her dark hair, skin, and eyes. There may also have been certain commercial considerations: at the time, realistic representations were in tune with the tastes of the audience, and promised better sales than the Impressionist artworks so misunderstood by the era."
www.langmatt.ch/en/collection/pierre-auguste-renoir-the-b...
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Xiquets de Reus. Tarragona - Catalunya.
Castell: Cuatre de set.
Un castell és una torre humana de diversos pisos d'alçada que es ve construint tradicionalment al Camp de Tarragona, des de fa més de dos-cents anys (es troben referències des del segle XVIII), 1 i que després es va anar estenent cap al Penedès i, durant el segle XX, per tot Catalunya, Rosselló i les Illes Balears, especialment a partir dels anys vuitanta, el que fa que estigui estretament vinculat a les festes populars. Un casteller és una persona que forma part d'una colla castellera per organitzar castells (del català; 'castells'). El 16 de novembre de 2010, els castells van ser declarats Patrimoni Cultural Immaterial de la Humanitat per la Unesco.2
En un castell intervé un nombrós grup d'homes i dones de totes les edats i complexions físiques que s'entrenen durant tot l'any per als concursos i actuacions. A més, a la pinya de cada castell col.laboren amics, familiars, aficionats i espectadors espontanis que s'uneixen a la colla de castellers-que passen així a participar activament-.
Xiquets de Reus. Tarragona- Cataluña.
Castillo: Cuatro de siete.
Un castell es una torre humana de varios pisos de altura que se viene construyendo tradicionalmente en el Campo de Tarragona, desde hace más de doscientos años (se encuentran referencias desde el siglo XVIII),1 y que después se fue extendiendo hacia el Penedés y, durante el siglo XX, por toda Cataluña, Rosellón y las Islas Baleares, especialmente a partir de los años ochenta, lo que hace que esté estrechamente vinculado a las fiestas populares. Un casteller es una persona que forma parte de una colla castellera para organizar castells (del catalán; ‘castillos’). El 16 de noviembre de 2010, els castells fueron declarados Patrimonio Cultural Inmaterial de la Humanidad por la Unesco.2
En un castell interviene un numeroso grupo de hombres y mujeres de todas las edades y complexiones físicas que se entrenan durante todo el año para los concursos y actuaciones. Además, en la pinya de cada castell colaboran amigos, familiares, aficionados y espectadores espontáneos que se unen a la colla de castellers —que pasan así a participar activamente—.
Xiquets Reus. Tarragona - Catalonia
Castle: Four of seven.
A castell is a human tower several stories high that is traditionally built on the Champ de Tarragona, for over two hundred years ago (found references since the eighteenth century), 1 and then it spread to the Penedes and during the twentieth century, throughout Catalonia, the Balearic Islands and Roussillon, especially since the eighties, which means that it is closely linked to the festivals. A casteller is a person who is part of an organizing casteller Castells (Catalan, 'Castles'). The November 16, 2010, els Castells were declared Intangible Cultural Heritage of Humanity by Unesco.2
In a castell involving a large group of men and women of all ages and physical complexions who train year round for competitions and performances. In addition, each castle pineapple collaborate friends, family, fans and spectators spontaneous binding to colla casteller
Explore #93
Oct. 9, 2009
This image is another from my Puyallup Fair captures and it features a moderate moving Ferris Wheel captured at about a 30 second exposure. I was interested in this image to not only capture the motion and vivid colors, but also, a lot of the black detail in between. The crazy thing about this fair (referencing my earlier write-ups) is the fact that by the time you have entered the gate, ate some food, rode a couple of the rides, you will have no doubt spent about as much as you would at Disneyland, if not, a little more. And this is definitely not a Disneyland experience. But for capturing these images it is definitely worth it. This image was captured in September 2009 with my Nikon D90. Enjoy!
Soft light reveals natural beauty in its purest form.
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Crafted for Lelutka EvoX heads, the IVA skin delivers refined details and a soft, luminous finish. Please note that shapes for the Lelutka EvoX Avalon, Madrid, and Vela heads (Vela used in the photo) are sold separately, allowing complete freedom to personalize your look.
To further customize your appearance, the skin includes multiple eyebrow options, available in blonde, red, and darker tones, ensuring a perfect match for every style and mood.
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enLight IVA is beauty, refined.
Old portrait from Falun, Sweden, of a woman and her two young daughters. Early 20th century - unfortunately no additional information available.
The girls in white are very likely dressed in their Sunday bests, the woman's clothes are more ordinary by comparison. But then again, her sunburnt complexion hints of a woman used to out-door work and as such probably not very well off (and this is at a time, when finally going to the photographer was something a lot of people, including at least the upper parts of the working class, could do and often did), so this might still very well be the best she had, good and practical clothes, but perhaps not so very grand nor fashion forward.
I peeped between the slats in the fence around this roadside attraction--the Prehistoric Garden--and saw this VW Type II bus with a bit of a patina.
Surprisingly clear eyes despite such a weathered complexion.
This is a vintage Christmas embossed postcard, copyrighted 1908 by Julius Bien & Co. N.Y.
The postcard features an illustration of Santa Claus with a white beard, wearing a red hat and a holly wreath. Santa is holding a plate with a large, decorated Christmas pudding (or plum pudding).
The text "A MERRY CHRISTMAS" is visible on the plate.
The card number "5004" is printed in the bottom left corner.
Christmas pudding and plum pudding are essentially two names for the same dish: a dense, steamed dessert made from dried fruits, spices, and suet. The name "plum pudding" is an older term. In pre-Victorian English, the word "plum" was used as a general term for all kinds of dried fruits, such as raisins, currants, and sultanas, not the fresh stone fruit we call a plum today. The dish is traditionally prepared weeks or even months in advance to allow the flavors to mature, often involving family members stirring the mixture and making a wish. On Christmas Day, it is usually served warm, doused in brandy, and set alight for a dramatic presentation.
Santa Claus looks excited in the image because, in the context of the Victorian and Edwardian eras, the Christmas pudding was a highly anticipated and significant part of the Christmas feast, symbolizing family unity, abundance, and joy.
Symbolism and Tradition:
A Prized Delicacy: The Christmas pudding was the centerpiece of the festive table and a rich dessert made with expensive, imported ingredients like sugar, spices, and dried fruits that were not everyday fare for most people at the time.
Anticipation and Ritual: The making and serving of the pudding was tied to numerous family rituals and superstitions, such as every family member taking a turn to stir and make a wish, or the excitement of finding a hidden silver coin for good luck.
Culminating Moment: The moment the pudding was ceremoniously brought to the table—often doused in brandy and set alight (flambéed) for a dramatic display—was a moment of great excitement and the celebratory culmination of the meal.
Joyful Imagery: Postcards from this era often depicted a jolly and enthusiastic Santa, as this aligned with the overall joyful and abundant themes promoted by Christmas imagery, a stark contrast to some earlier, more austere depictions of Father Christmas. Santa's expression, therefore, reflects the genuine excitement and shared happiness that the pudding represented to families during the Christmas celebration in the early 20th century.
Twas the Night before Christmas: Even in the iconic 1823 poem that helped shape the modern Santa, the description of his "cheeks... like roses" and "nose like a cherry" has been interpreted by some as suggesting a ruddy complexion from drink, though the modern interpretation is that his jolliness comes from the Christmas spirit, not alcohol.
The tradition of leaving food for Santa Claus has ancient origins in European folklore, though the modern American custom of cookies and milk became popular in the 1930s.
Historical Roots - Ancient Norse Mythology: One of the earliest roots of this practice dates back to ancient Norse mythology. During the midwinter Yule festival, children would leave food, such as hay or carrots, for the god Odin's eight-legged horse, Sleipnir, hoping Odin would stop by and leave gifts in return.
Dutch Tradition: The custom also stems from the Dutch celebration of the Feast of St. Nicholas on December 6. Children would leave their shoes out the night before with treats for St. Nicholas and his attendants, who were believed to be traveling long distances, and wake up to find them filled with gifts.
Modern American Tradition - The specific tradition of leaving out cookies and milk for Santa Claus became widespread in the United States during the Great Depression in the 1930s. At a time of economic hardship, parents encouraged this practice as a way to: Teach children about the importance of gratitude and giving to others, even when they had very little themselves. Reinforce a sense of hope and the spirit of generosity during a difficult period. The dairy industry later used marketing campaigns to promote milk as the ideal accompaniment to Santa's cookies, helping to solidify the tradition in American culture.
Puno, Peru
The feast of the "Virgen de la Candelaria" begins on the eve of the 2nd of February and last until the first Sunday after that day, and ends one week after continuing with the celebration of the Carnivals. On February 9th the folklore parade is celebrated. The groups, which paraded days before, on the 2nd, now return for a procession before the Virgin, who will gaze them from the atrium of the church. Then, folk groups set off through the city, dancing tirelessly until sunset. At the end of the week the feast ends in the cemetery, for the paying of respects of the dead.
The statue of the Virgin is small, and it represents a virgin of very white complexion and blushed cheeks. This Virgin is harbored in the Church of San Juan El Bautista.
In the afternoon the virgin statue leaves the church, and more than forty groups attired in the costumes and masks classic in the culture of altiplano dance, join crowd.
On the main day, February 2, the virgin is led through the city in a colorful procession comprising priests, altar boys, the faithful, Christians and pagans carefully maintaining the hierarchy. This is the moment when the troupes of musicians and dancers take the scene, performing and dancing throughout the city.
From GO2PERU's Website
I think this is the best time of year for this bird. It's plumage is so well adapted to the light!
Green Heron, Butorides virescens
© Leanne Boulton, All Rights Reserved
Posed street portrait taken for my 100 Strangers project in Glasgow, Scotland.
This picture is #82 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Coming to the close of a grey, wet and windy day on a street shoot I spotted Shannon listening to some tunes outside of the Gallery of Modern Art in the city. I simply loved her outfit, beret and her beautiful locks of hair that complimented the colours so well. I approached, with a slight wave and, after she had removed her earbuds, introduced myself and asked if she would like a portrait.
Shannon, a television and theatre actor from Glasgow, who has coincidentally worked in the show Outlander as has one of my previous 100 Strangers, was waiting for her friend in town and I decided to make the most of the location at the GoMA rather than relocate.
Light was atrocious with a heavy overcast sky and using natural light only, a higher ISO than I would like was used - though grain is so easy to remove from images on the 5D MkIII sensor.
I added a little warmth in post and edited initially in Lightroom with some frequency separation work in Photoshop to clean up the image, although her skin was immaculate and needed little work. I have forwarded the images on to Shannon and I hope that she likes them. It was a pleasure to meet her, albeit briefly, and I wish her the very best in her continued acting career.
I have a couple more images I may post at some point in the future but I loved the pure honesty of this one, such a natural smile captured during the brief shoot. Enjoy!
Airavatesvara Temple is named after Lord Indra’s elephant, Airavat, who, when cursed by Sage Durvasa, lost his white colour. Airavat then prayed to Lord Shiva to get back his complexion. Lord Shiva heard his prayer and asked him to take a dip into the temple water tank, which turned Airavat back into white and freed him from the curse.
Un rayon de soleil au milieu de ces branches à attirer mon regard et ce moineau y trônait en bonne place.
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Est une espèce de petits passereaux de la famille des Passeridae.
C'est un petit oiseau assez trapu, mesurant environ 16 cm de long pour un poids allant de 24 à 39,5 g. Les femelles et les jeunes oiseaux sont pâles, colorés de brun et de gris, tandis que les mâles ont le teint plus vif, avec des marques noires, blanches et brunes. Granivore, il se nourrit majoritairement de céréales et d'autres graines, mais se montre opportuniste, consommant divers invertébrés, les insectes en premier lieu, qui servent par ailleurs d'alimentation de base aux oisillons.
*****
Is a species of small passerines in the family Passeridae.
It is a small, fairly stocky bird, measuring around 16 cm in length and weighing between 24 and 39.5 g. Females and young birds are pale, colored brown and gray, while males are brighter in complexion, with black, white and brown markings. Granivorous, it feeds mainly on cereals and other seeds, but is opportunistic, consuming various invertebrates, primarily insects, which also serve as a basic diet for the nestlings.
“I’m Innocent, Didn’t do it”
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When light becomes optimum, we may reach out
to the steady stream no doubt
cold as it may be, the opuscule journey
is keynote to nature's indelible power of attorney
over the rites of Spring, our signature tune
for hope over the attire of the unreasoned full moon
glimmering in reflected glory despite vortical challenge
of every strenuous contortion in psychedelic allonge
a Dali clockface slipping by in surrealist memoir
or an Impressionistic dream By the Water a-la-Renoir
we are left in a trance, truncated from reality no doubt
a journeying vision ebbs through our very senses devout
clinging to Nature is now a choice apart
distance measured from society's truculent black art
in trust with light, entertained by resources a plenty
music the only additive needed as emotives are many
such is this efficacious moment now streaming-by
for eclectic complexioned reflections, are no cosmetic shadow by-the-bye
no indeed not, this is Nature's very own compelling autograph;
a preface to the climate of life in Her environmentally-friendly bibliograph
by anglia24
10h40: 18/03/2008
©2008anglia24
I’m an Italian girl.. I’m a photographer girl. I’m an angel girl. I’m an artistic girl.. I’m a baby girl. I’m a Barbie girl.. I’m a beautiful girl.. I’m a bossy girl.. I’m a candy girl.. I’m a caramel skin complexion girl.. I’m a city girl. I’m a conceited girl.. I’m a crazy girl. I’m a daddy’s girl.. I’m a diamond girl. I’m a dramatic girl.. I’m an earth girl.. I’m a fantasy girl... I’m a freaky girl. I’m a funny girl.. I’m a good girl.. I’m a happy girl.. I’m a kinky girl.. I’m a loving girl.. I’m a mama’s girl.. I’m a nice girl.. I’m a pink girl.. I’m a pretty girl.. I’m a quiet girl. I’m a rich girl.. I’m a smart girl.. I’m a spoiled girl.. I’m a sports girl.. I’m a strong girl. I’m stylist girl.. I’m a tall girl. I’m a thug miss’s girl.. I’m a top notch girl. I’m a winter girl. I’m a young girl. I’m a wonderful girl
No mater what girl I am, I’m still just a girl who does a lot.
Taken by : (( ME ))
Model by : (( lil Cousin )) she's only 10 years old * Mashalla *
SharJawyaH
© All rights reserved
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- dont use My shots without my permission plz !
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- I HATE VIEWERS ..comments plz !! =@
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This young woman approached me near a market in Jaisalmer and wanted to sell me some trinkets. When I saw her ruddy complexion and piercing eyes, I offered her money instead to take her portrait. She obliged, and gave me this haunted look that I'll never forget. Some faces look great with a smile, while others are more suited for a serious tone. I'm glad she didn't smile for me that day.
A classic scene of Ponderosa Pines in the snow. These things are like the Starbucks of pine trees, you can find them all over. They grow on the east side of damn near every mountain range from Washington through central California. They grow around mountains in Montana, Idaho, Colorado, etc. And no matter where you find them, they pull off this orangey complexion better than any other tall, dense, orange looking thing in the US. Anyway, you can see more of my work and learn how I create my images at WWW.RYANDYAR.COM 👍
Simple Flowers.
Volumes teintes classique reflux prières silencieuses belles douces feuilles bonheur tons bleus confiés respiration jaunes tiges conflictuelles,
slumrande nyanser melodiösa ögonblick roman sinnen uppfostrade ögon samlade gröna håglösa lila mörka klostret röda hänförande slumrar,
tormentas musicales lujosa dulzura miradas pesadas placeres sonrientes expresiones de escucha pausada sorpresas introspectivas variaciones profundas,
agitação artística sensibilidades poderosas símbolos artes formas imensas visões intercambiáveis naturezas intensas energias emoções subjetivas,
complexiones contradictiones examinantes efficiunt significantes interpretationes quintessentiae spectaculares profunditates micantes delectationes anonymi creationes,
親密な認識を理解するサルドニック文学は主題を高めます巨大な花瓶は蜂の鳴き声を鳴らします鳥ジャングルの森大空の愛.
Steve.D.Hammond.
The other day, as I was walking up and down Mykonos town, I met a mannikin... Excellent face features, perfect figure, great complexion!
She waved and smiled at me and I just couldn't believe my luck... I approached barely hiding how proud and flattered I felt...
Alas... imagine how fast I defloated when the only thing she told me was "Hey, say hello to Werner from me..."
Werner
www.flickr.com/photos/12639210@N08/
for God's sake, pal, all mannikins only have YOU and noone else in mind...
Dear Diary:
It has been a while since I had the chance, or the inclination, to write. Centuries, in fact, as it has turned out.
In the aftermath of Miss Frost’s murder I was hesitant to commit anything to writing, for fear of implicating myself and the other ladies of the town who sought retribution against her killers. That episode ended in the most Pyrrhic victory, since, I suppose,
Pyrrhus’s:
The Governor, Miss Frost’s treacherous brother, and their henchmen surely died in the explosion which destroyed the Dysart hotel, rather spectacularly.
In the immediate aftermath of the secondary explosion, from the gas mains, I was later told, something else happened, something quite disorienting: a swirl of some strange energy and a shock the likes of which I had never experienced. I lost consciousness for a brief moment.
When I awoke, I – and my companions – were no longer on New Victoria Street. Rather, we were on some sort of platform, surrounded by immense structures of metal and glass. People- both men and women – in a sort of white uniform ran toward us, but before I could recoil in fear they announced themselves as first aid workers of a sort. When even Miss Dagger relaxed back onto the ground, I had to conclude that whatever had happened, we were in safe hands for the moment.
One of the people, a young man with a most handsome complexion and extraordinarily white, even teeth helped me to my feet – well, between the two of us, Diary, essentially carried me into one of the buildings. The others seemed steadier on their feet – but they had the steel to commit murder (however necessary), while I simply stood by and fretted. Clearly I was made of less stern stuff.
Inside, each of us was escorted off for a medical inspection of sorts. There was much reading off of sheets of glass and waving of strange objects. Amusingly, it felt like some sort of barbarian tribal ritual, but clearly their machinery was advanced beyond the imagination of even Mr. Verne- but that thought led me to a short story I had read by a Mr. Wells, (who was later revealed to be a woman, writing under her brother’s name, but I digress) of travel in time, and some understanding of what had happened to me began to form. Ironically, that would make us the primitives here!
A very stern woman in the same white uniform proceeded to lecture me, reading off another one of those panes of glass, about my utterly unacceptable physical condition. Apparently I was so weak she couldn’t understand how I was able to move under my own power (I do suspect a bit of hyperbole there for effect), and that my lungs looked like the inside of a coal mine. That I was ready to believe, but that was only the beginning of a long and vituperative lecture on the dangers of tobacco, which did quite impress me with its graphic horror.
The woman – a doctor, it turned out! – did explain that we had passed through a “rift,” and were in the future, but not necessarily the future attached to our past, as it were. I did not parse the details very well, still being stuck on “esophageal cancer” and “emphysema.”
She explained that we would receive instruction directly into our minds (no panes of glass!) that would cover the history and culture of our new world, and that we would be assigned someone local to help us in our adjustment.
She did something to a string of tubes, and I promptly fell asleep. My dreams were of all sorts of things: the history, politics, and manners of my new world. The rights and freedoms given to women were quite extraordinary, as was the culture’s lack of taboos around matters of the body.
Thankfully, the Church of the Elder Gods was to be found here as well, but as one of many equal faiths. And women could be found in all ranks of its administration!
While my dreams disgracefully lacked a thorough exploration of the time’s fashions, much could be inferred – and even in my dreams, I could hardly wait to go explore the world’s shops and magazines (more panes of glass, as I correctly supposed).
Upon awakening, the most extraordinarily beautiful woman I had ever seen was to be found at the foot of my bed, reading off, yes, of course, a pane of glass. She set it down and came over to take my hand. She had masses of pale lavender hair, perfect light mocha skin, and glowing violet eyes that seemed to be some distant descendant of the mechanical eyes some Army veterans wore to replace those lost in combat.
“Welcome to the future. I’m Cydonia Wren, and I think we are going to be great friends!”
(for Hannah's live before NeoExtropia, see her album: www.flickr.com/photos/163927619@N03/albums/72177720319474... )
Procesiona el Jueves Santo en Salamanca, es impresionante ver a mas de 100 chicas, muchas de complexión pequeña, soportando un peso tremendo durante el largo recorrido.
PARA MI AMIGA SONIA .. . que es una de las chicas que lleva el paso.
óleo sobre lienzo
Feathered Beauty
Created with DDG Text 2 AI engine. PP work in Adobe PS Elements 2024 RAW filters, Auto Sharpen and adjusted the saturation. and Lumniar Neo Portrait Collection.
Prompt: Create a fantasy-style vintage Aquarell im Stil von Josephine Wall, Tomasz Allen Kopera, Dariusz Zawadzki, Andreja Peklar, Ivan Shiskine of a young woman with an ethereal and artistic quality. Her complexion is fair with a soft, almost porcelain texture, and her face is delicately structured with a gentle jawline, high cheekbones, and full, pink lips. She has large, almond-shaped eyes that are a deep, enchanting hazel, fringed with dark, thick lashes. Arched eyebrows frame her eyes gracefully.
Her hair is a voluminous and tousled mane of silver-gray with blue highlights, evoking an otherworldly charm. It cascades around her face and shoulders in loose, wavy curls that add a sense of wildness to her appearance.
She dons large, intricate earrings with turquoise stones and tassels. Layers of beaded necklaces with assorted pendants, including more turquoise and coral, adorn her neck, resting just above her collarbone. Her vintage clothing hints at a sleeveless garment made of a light, semi-transparent fabric, adorned with abstract patterns in a watercolor style that blends blues, oranges, and whites.
The background should be a blend of warm and cool tones, with abstract shapes suggesting a sunset palette of oranges and blues mingling together, creating a luminous aura around her. The overall mood of the piece should convey a captivating mix of wildness and elegance, with a strong bohemian or mystical vibe.
Thank you all for the visit, kind remarks and invites, they are very much appreciated! 💝 I may reply to only a few comments due to my restricted time spent at the computer.
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Busardo ratonero
(Buteo buteo)
Probablemente, la clave del éxito de una de las rapaces más abundantes de Europa sea la absoluta falta de especialización en cualquiera de las facetas de su biología. En efecto, el busardo ratonero es un ave acomodaticia, que puede reproducirse satisfactoriamente en infinidad de hábitats y de climas, que preda sobre un espectro amplísimo de la fauna local y que manifiesta una notable tolerancia hacia el hombre y las modificaciones que este impone en el medio.
Descripción
Clasificación:
Orden Accipitriformes;
Familia Accipitridae
Longitud
46-58 cm
Envergadura
110-132 cm
Identificación
Es una rapaz de mediano tamaño, complexión robusta y coloración muy variable, que posee un aspecto bastante rechoncho cuando se la observa posada. En vuelo exhibe unas alas relativamente cortas y muy anchas y una cola no demasiado larga, que frecuentemente despliega en abanico, gracias a lo cual el ave puede practicar durante largo rato un vuelo sostenido que alterna con cernidos ocasionales. Su plumaje presenta numerosas variaciones individuales, por lo que se pueden observar desde individuos muy claros hasta ejemplares bastante oscuros. No obstante, la coloración más típica del adulto es de un tono marronáceo bastante homogéneo en las regiones dorsales y ligeramente más clara en las ventrales, donde aparece una franja pectoral blanquecina de desigual extensión. En vuelo se hacen patentes unas amplias manchas relativamente claras —muy barradas— coincidentes con las rémiges primarias y secundarias en su cara ventral. Las alas muestran el borde posterior recorrido por una banda oscura, al igual que la cola, que puede aparecer variablemente barrada. El joven presenta las partes inferiores de desiguales tonos marrones y las coberteras dorsales con bordes pálidos; además, su cola está finamente barrada, pero carece de la ancha banda terminal propia de los adultos. Visto ventralmente, no se aprecia con nitidez el reborde posterior oscuro de las alas, y tanto estas como el cuerpo dan la sensación de estar más estriados que barrados. Finalmente, a diferencia de los adultos, que poseen el iris de color oscuro, el del joven es bastante claro.
This portrait captures a stunning young woman with fair skin and blonde hair, her smile radiating warmth and charm. She is elegantly dressed in a dark blue dress adorned with an intricate floral pattern, which beautifully complements her complexion. The sunlight cascades down, illuminating her straightened hair and adding a natural glow to her appearance. She stands gracefully on a finely crafted porch, leaning against a pillar with her hands gently overlapping on the railing, exuding an air of poise and sophistication. The overall composition of the photograph highlights her beauty and the serene ambiance of the setting.
Thanks for viewing my portraits album:
Portrait of a gorgeous young woman posing in the street, bridge Alexander III.
Suprbe shooting du week end dernier avec Clara LS et Cédric Brunck un grand merci à eux deux.
Photographe : Jean-marc Payet Jmlpyt Photography
Modèle : Clara LS site web www.claramodele.fr/
A pair of disused Halloween decorations gaze out glumly from a storage closet like macabre ladies in waiting. But beyond the unrelenting gaze of their zombie-like eyes I see nothing but mournful sadness. And there's an eerie sense of connectedness between the two, as if they are codependent twins. The human characteristics make these creations much more terrifying to me than a typical Halloween monster. The deliberate blend of soft, feminine facial features makes them seem empathetic and approachable despite their pitifully sallow complexions and sunken eyes. Seeing them locked away together like this filled me with an irrational sense of wanting to assist them. I had to keep reminding myself they were simply fabrications of plastic and nylon. I closed the door knowing they were still there, looking back at me from the dark. Waiting.