View allAll Photos Tagged Complexity
This variety of Iris flowers have upright petals called "standards" and cascading petals called "falls". Running down the center of each fall is a “beard” that resembles a flame or even a furry caterpillar.
Besides the 3 sort of beards, I find very interesting & peculiar the zebra patterns & the texture of the petals, especially the 3 'falls' ones, looking like leather or even shantung silk. The bright yellow petals in the very centre reassemble golden tongues or, again, vivid flames of a flickering candle. Each of those inner petals -actually lobes- hosts and protects a single stamen.
Colours are yellow, some orange, a wine coloured optical animalier pattern, similar to zebra & lots of brown/burgundy tones.
Super Macro photographed out-door in natural light (with my Fujinon 24/624 'telescopic' + hyper Macro lens).
I hope I could render its intricated details. More in my Album in progress 'Callas, Iris & Amaryllis studies'
Published on 52Frames 52frames.com/photographer/whiteangel/photo/806900, collective Album entitled "Details" and
received distinction of the Extra Challenge 'Use A Macro Lens'
#52Frames_details
©WhiteAngel Photography. All rights reserved.
Ref.DSCF6819 okk copia no trat edit XL VM best DEF. Fujifilm X-S1
#477 > 456 + # 280 > 278
A group of trees. Each one has a unique beauty. Together they make a fascinating group on the hill. Complexity within simplicity.
Simplicity invites us to focus on the essence, the core, and the heart of a subject. It beckons us to peel back the layers, revealing a profound intricacy beneath the surface.
Die Sagrada Família ist eine römisch-katholische Basilika in Barcelona. Der Bau der von Antoni Gaudí im neukatalanischen Stil entworfenen Kirche ist bis heute unvollendet. Er wurde 1882 begonnen und soll nach jüngsten Prognosen 2026 abgeschlossen sein. Wenn man in die Kirche kommt, ist man schlagartig fasziniert von der Leichtigkeit, aber auch der Komplexität der Architektur.
The Sagrada Familia is a Roman Catholic basilica in Barcelona. The building of the church designed by Antoni Gaudí in new catalan style is unfinished to this day. It started in 1882 and will be completed perhaps 2026th. When you enter the church, you are suddenly fascinated by the lightness, but also the complexity of the architecture.
My pictures are published under "All rights reserved". If you want to use an image - either for commercial or non-profit purposes, feel free to contact me. I'm sure we'll find an agreement ...
Tiny plate-like snowflakes always impress me. Their lack of complexity doesn’t diminish their beauty; I think it only enhances the appreciation of the geometry and the fractal patterns we see. View large!
There is a small bit of “debris” on the crystal in the upper left. Usually I try to clear away obstructions with a small paintbrush to isolate a single snowflake, but in windy conditions it can be hard to get it completely isolated. Finding the snowflake in the viewfinder is also a difficult task, and if I decide to clear away debris a second time, I might not be able to find the snowflake in my frame again before it melts, sublimates, blows away etc. Timing is everything!
Because snowflakes are often hard to find on the black mitten where I photograph them, I sometimes use larger clumps of snow as a “landmark” of sorts. If I take a small clump of snow with the paintbrush and position it nearby the snowflake I want to photograph, my challenge becomes a little easier. I look for the large clump, and then I know where to move the camera to try and locate the snowflake I’m after. This can save me time, and I need to work as quickly as possible.
All of my snowflakes images are lit with a ring flash, usually with a 7:1 ratio of power on one side or the other. Ring flashes allow you to control each half of the ring independently, and I try to get exactly the right amount of light hitting the surface of the crystal from the right angle. This angle is very important; If you choose any “convenient” angle, you are likely to get just the edges of the crystal illuminated. If you carefully rotate the flash and the camera such that the light from the flash bounces off the surface of the crystal and into the camera, you can get all of the surface detail you see in my images. It makes the snowflakes sparkle, and sometimes also reveals colour in the snowflakes.
I shoot all of these images entirely handheld. You need to rotate the camera around the subject being the center of rotation, and you need to work as quickly as possible. For these reasons, no tripod has ever been used in any of my snowflake images. It makes the editing process more challenging, but it also allows for more snowflakes to be photographed when the conditions are perfect.
To learn every one of my secrets to snowflake photography, the entire photographic workflow is explained in comprehensive detail is my book Sky Crystals: skycrystals.ca/book/ - the good snow is about to start falling, so get out and photograph it! :)
To see what happens when you spend 2500 hours across five years working exclusively on snowflakes, the result is “The Snowflake” print: skycrystals.ca/poster/ - all crystals are accurately measured and placed in relative size to one another!
Wishing everyone a great New Year's Eve and a wonderful year to come!
"The Reaper is the one of the most basic ships and oldest ships for the Minmatar. Often called a rookie ship due to enjoyment for lack of complexity makes it amazing simple for thought processes for even the freshest of pod pilots to familiarize themselves with the concept of starship piloting. Its cheap construction, crewless requirement, modest utility, and old technology makes it freely available."
This Reaper, named *"Simple and Sweet"*, remains in use through the means of a regular 3 person crew and houses 4 150mm light autocannons along with its prized 10mm afterburner. It somehow made its way into the Star Wars universe.
Quick statistics:
Length: 160 studs long
Width: around 170 studs
# of Bricks: Little over 7300
Flickr Build Album:
www.flickr.com/photos/tuskano/albums/72157719825612774
Flickr LDD Designing Album:
www.flickr.com/photos/tuskano/albums/72157629647343182
Old Cuusoo writeup
ideas.lego.com/projects/21d08978-4e73-4610-9b61-ed7bc1484145
Revisiting a clematis from last year while I wait for this year's to develop.
Have a great Friday everyone.
August 5, Explore #260
And know because I've been doing nada the last weeks my legs are hurtin'! :P
The picture isn't all to clear... But that stupid thing was all over the place! :D
Have a nice day you guys!
the Holy Week in Sicily:
"… There is no country in Sicily, in which
the passion of Christ does not revive
through a real
representation, in which people
or statuary groups transform the
streets and the squares the theater
of that great drama ... "
(Leonardo Sciascia).
“…Jesus said, “I love you as you are. And I love you too much to leave you as you are…”
(Chris Lyons).
The rites of Holy Week are present in Sicily with complexity of content and symbologies due to numerous influences, very present those due to the Spanish culture, dominating the island between the sixteenth and seventeenth centuries; in the mystery of the death and resurrection of Christ, it is attended by a popular culture, referring to ancient pre-Byzantine rites that originated long before those of Mediterranean Christian culture.
These ancient rituals represent the most significant moments of the Passion of Jesus Christ, described in the Gospels, from his arrest by the Romans to the Resurrection and are part of the Holy Week celebrations, together with the normal religious functions.
The rites of Holy Week unite Sicily in a single collective rite, an appointment highly anticipated by many Sicilian and non-Sicilian photographers, due to the covid-19 pandemic, now also for this year 2021, as for last year, these celebrations- collective rites will not be able to take place, so I created a "photographic showcase" to be presented on Flickr, composed of images belonging to events that belong to the Sicilian Easter rites, posted in past years; of each reportage presented, I only took "a few cards" more or less significant, some photos were originally posted in black and white, and as such I left them, other photos were posted in color, the latter I re-edited in black and white to conform them to a single photographic language; some photos differ within this black and white language, for having been subjected to a very marked vignetting, I have left them anyway, belonging to reportage characterized by that type of post-production.
Trapani: The Mysteries of Trapani, Good Friday (i Misteri di Trapani, Venerdì Santo), 2018
Marsala: procession of Good Friday (la processione del Venerdì Santo), 2019
Enna: the Good Friday procession (la processione del Venerdì Santo), 2012
Bronte: the Good Friday procession (la processione del Venerdì Santo), 2017
Randazzo: the Good Friday procession (la processione del Venerdì Santo), 2014
Piana degli Albanesi: Easter Sunday (Domenica di Pasqua), 2014
Scicli: Easter Sunday, the Living Man - U' Gioia (Domenica di Pasqua, l’Uomo Vivo – U’ Gioia), 2017
la Settimana Santa in Sicilia:
"…non c'è paese in Sicilia, in cui
la passione di Cristo non riviva
attraverso una vera e propria
rappresentazione, in cui persone
vive o gruppi statuari non facciano
delle strade e delle piazze il teatro
di quel grande dramma..."
(Leonardo Sciascia).
“…Gesù disse: “Ti amo per come sei. E ti amo troppo per lasciarti come sei…”
(Chris Lyons).
I riti della Settimana Santa presentano in Sicilia una complessità di contenuti e di simbologie dovute a numerosi influssi, molto presenti quelli dovuti alla cultura spagnola, dominante nell’isola tra il XVI ed il XVII secolo; nel mistero della morte e della resurrezione di Cristo, si assiste nella cultura popolare, a riferimenti risalenti da antichi riti pre-bizantini che originano da molto prima di quelli della cultura cristiana mediterranea.
Questi antichi riti rappresentano i momenti più significativi della Passione di Gesù Cristo, descritti nei Vangeli, dal suo arresto da parte dei romani alla Resurrezione e fanno parte, insieme alle normali funzioni religiose, delle celebrazioni della Settimana Santa.
I riti della Settimana Santa uniscono la Sicilia in un unico rito collettivo, appuntamento attesissimo da molti fotografi siciliani e non, a causa della pandemia da covid-19, oramai anche per quest'anno 2021, come per l'anno scorso, queste celebrazioni-riti collettivi, non potranno attuarsi, ho così realizzato una "vetrina fotografica" da presentare su Flickr, composta da immagini appartenenti ad eventi che appartengono ai riti Pasquali Siciliani, postati negli anni passati; di ogni reportage presentato, ho preso solo "qualche tessera fotografica" più o meno significativa, alcune foto furono postate originariamente in bianco e nero, e come tali le ho lasciate, altre foto furono postate a colori, queste ultime le ho rieditate in bianco e nero per uniformarle ad un linguaggio fotografico unico; alcune foto differiscono all'interno di questo linguaggio in bianco-nero, per essere state sottoposte ad una vignettatura molto marcata, le ho lasciate ugualmente, appartenenti a reportage caratterizzati da quel tipo di post-produzione.
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LA BUONA NOVELLA di Fabrizio De André ( Versione Animata )
Fabrizio De André - L'infanzia di Maria (Live)
Fabrizio De Andrè La buona novella con Claudio Bisio & Lina Sastri
Fabrizio De André - L'infanzia di Maria
Fabrizio De Andrè e PFM - Il Testamento di Tito
Antonella Ruggiero - Porta a porta - Ave Maria di De André - 2005
Fabrizio De Andrè - La storia Le Musiche Le Parole (Doc.)
La Sardegna, gli ideali e la poesia - Fabrizio De André - Parole e musica di un poeta 10/01/2019
Fabrizio De Andrè - La stagione dei blitz - Incontro con Gregory Corso [Raro]
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. press L to enlarge;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi L per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A short but impressive little walk near the Waldheim cabins.. There are many big trees, moss, ferns and lichen but I loved the complexity of this gnarled entanglement... something of a challenge to capture in an interesting way.... . www.cradlemountainhotel.com.au/blogs/gustav-and-kate-wein...
There is a lot going on in this photo. The title reflects the meeting point between the natural world of the river and the human structures built to manage and control it: the bridges, dam, concrete walls, rock edges, and canoe chute.
The result of this intersection is complexity. The river is redirected and controlled, but not fully contained. It still pushes, spills, curls, and finds its way through the structures built around it. That tension is what makes the image interesting to me: it shows both the ambition of human design and the river's persistence as a living system.
The bridges show how people move across the river, while the dam and chute show how people try to manage the river itself. Together, they reveal the ongoing tension between nature, engineering, and community.
In that sense, the image is not just about a river, dam, a chute, or a bridge. It is about the ongoing interaction between a river and the community that has historically tried to shape it and continues to do so.
A scene I stumbled across in my brother's back garden while visiting the family in South Africa. An abandoned birds nest hanging from a tree. What was amazing was the true artistry beauty and precision in how this nest was constructed.
It must have taken ages to intertwine and build such a thing of engineering complexity.
Nature sure is complex and amazing.
The breeding season usually stretches from September through October and from January through February.
Lesser Masked Weavers are territorial colonial nesters, with colonies of about 10-300 breeding males. Males will mate with up to 5 females (average 2) per breeding season.
The males are responsible for building the nests, which are never used more than once. Each male builds 3 to 5 nests and it takes him about 9 to 14 hours to complete one. Nests are typically attached to the thin branches of free-standing trees. These nests are often built over water to discourage some predators
The nest is usually woven from green strips of reeds, grass leaves or palm blades and once completed is a round structure with a large entrance on the underside.
After completion of the nests, the male will defend his small territory around his nests, displaying to the females, attracting their attention to his nests. If accepted by the female, he will add a short entrance tunnel, while the female lines the interior with soft grass heads and feathers. The female usually lays between 2-5 eggs, which are incubated only by the female for about 12 days. The male assists in feeding the chicks. They young fledge the nest when they are about 17 to 21 days old.
Of the Country That Could Not Make
Before the apprentice found the Sky Forge, there was another place — far northern country, where rivers froze before naming themselves, and stillness ruled.
Its king, old in spirit, feared change more than hunger. Under him, nothing was made, only repeated. Hands obeyed, eyes lowered, and snow fell unseen.
The apprentice grew among craftsmen who brushed beauty aside. Once, frost branched across a beam; a master struck it:
“Do not stare at what cannot be used.”
Thus the law of the north was carved.
Yet whispers crossed the border — rumors of a Forge where sky was studied, where ice was listened to, not commanded.
The king scoffed: “Freedom is decay.” But the apprentice had already heard enough.
Leaving was no triumph, only a walk into colder nights.
At the Forge, the masters asked:
“Can you unlearn it?”
The north had taught fear of imperfection.
The Forge taught patience with it.
The north punished deviation.
The Forge listened for it.
Now, each crystal born at the Forge carries quiet defiance — against the belief that beauty must justify itself.
Some say the king still rules.
Others say his land is hollowed by sameness.
Yet each winter, when a crystal forms freely, branching where it will, vanishing when it must,
the apprentice knows: the north did not win.
The sky is still allowed to decide.
Full snowflake collection: Instagram.
Part of a metal tower in the Brisbane suburb of Newstead, a distinctive architectural landmark, shot against the afternoon light. I was quite captivated by the juxtaposition of lines, the near symmetry of the tower and the complex structural geometry.
Excerpt from agb.life/visit/exhibitions/fausta-facciponte-little-trage...:
Fausta Facciponte: Little Tragedies and New Beginnings
Perry Gallery
Fausta Facciponte’s Little Tragedies and New Beginnings are photographic tableaux depicting the fragile moments of life and the complexities of repair. Her playful still lifes of broken figures and objects tell the stories of heartbreak, humor, tragedy, and ultimately, healing.
These narrative fragments highlight the beauty and sadness in the absurdity of everyday situations and chance encounters. Fausta’s ears are always perked to collect snippets of stories and gossip from family members, friends, and strangers passing by. She uses these accounts to form bizarre scenes with ceramic pieces that invite the viewer to map their own plot and construct different stories.
Like the folklorists, Brothers Grimm who published existing tales and children’s fables with a modernized twist, Fausta shatters the old to re-imagine the new and bring a dark twist to timeworn classics.
Little Tragedies and New Beginnings positions the original ceramic pieces in conversation with the photographs and the clay works of the AGB’s permanent collection. In response to Fausta’s series, we’ve added some little tragedies and new beginnings of our own. Collections Manager Christine Saly-Chapman selected works from the permanent collection that use methods of reconstruction and storytelling to comment on cultural and social paradigms.
The tableau has long been used to illustrate a snapshot in time. The subjects are captured in dramatic poses and appear completely unaware of the viewer’s presence. We are given the opportunity to study each moment without interrupting the scene. Artists such as Édouard Jasmin use this format to depict images based on real events ranging from personal memories to key moments in Québec’s history. Jordan MacLachlan’s work focuses on fictional characters to comment on abstract themes of identity through layers of temptation, love, and tragedy. David Thauberger’s complex and quirky tableaus draw from the folk-art style created in the 1970s and 80s by other Saskatchewan ceramicists such as Victor Cicansky and Joe Fafard. Artists Léopold Foulem and Carole Epp take the rearrangement of traditional and familiar forms into new contexts, creating new narratives for the original objects. Foulem approaches his practice through the deconstruction of the idea of craft by reconstructing familiar functional forms into what would be viewed as fine art. With the removal of previous functions and meanings, these objects disrupt our preconceived notions of what can be considered art. Carole Epp’s approach is like Fausta’s in the use of familiar, kitsch figures to gently engage with complicated subject matter.
Fausta Facciponte is supported by the Ontario Arts Council.
Have you ever seen a Harvestmen moult? I had not and this is the very first sighting for me.
The Harvestmen had gripped the underside of a coconut leaf sheath with 4 limbs while the remaining 4 just dangled in the air pointing upwards.
The Harvestmen had emerged completely and was now in the process of meticulously pulling out all 8 limbs, guided by the chelicerae and pedipalps.
A close up will help to better appreciate the complexity of the process.
Will post soon.
The Peabody Hotel, completed in 1925, occupies the entire block bounded by Union Avenue, Second & Third Streets, and an un-named alley in Downtown Memphis. Built to replace the old Peabody which had stood at Main & Monroe Streets since 1869, both hotels were named for financier George Peabody, who had been a close friend of founder Robert Campbell Brinkley. Designed by the architectural firm of Walter W. Ahlschlager, Inc., it was the symbolic center of the social, cultural, and commercial life of the Mid-South region for over fifty years. It was also the largest and most elegant hotel in the south and represented the area's finest example of the opulence, grandeur, and complexity which characterized the era of the grand hotel.
With its grand opening ball in 1925, the hotel quickly established a reputation as the center of social life for the entire region. The Peabody's Night-Cap Club, Venetian Dining Room, and open-air Marine Roof (later partially enclosed and known as the Skyway and where the famous sign in the photograph above is located) soon became institutions among the socially elite of both Memphis and the rich Mississippi River delta areas of West Tennessee, eastern Arkansas, and northern Mississippi. The later 1920's, 1930's, and 1940's saw a steady stream of the wealthy and prominent flock to the Peabody to dine and dance to the music of such entertainers as George Hamilton, Les Brown, Harry James, Dorothy Lamour, Benny Goodman, and the Andrews Sisters. Beginning in 1937, the music of the Peabody's bands was broadcast nationwide on CBS radio.
As David Cohn wrote in 1935, "The Mississippi Delta begins in the lobby of the Peabody Hotel and ends on Catfish Row in Vicksburg. The Peabody is the Paris Ritz, the Cairo Shepheard's, the London Savoy of this section. If you stand near its fountain in the middle of the lobby, where ducks waddle and turtles drowse, ultimately you will see everybody who is anybody in the Delta..."
The Peabody, as it's known to most, was added to the National Register of Historic Places (NRHP) on September 14, 1977. All the information above was found on the original documents submitted for listing consideration and can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/bd5ab2a6-0296-46d9-aa8...
The photograph above was taken with a handheld Galaxy S21 and additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
Image seven in this series and marveling at the fine tendrils of branches that weave their way like the synapses in a giant brain!
Raphael (Urbino, 28 March or 6 April 1483 - Rome, 6 April 1520) - Portrait of a young man with apple (1504 approx.) - oil on panel size 48 x 35.5 cm. - Palatine Gallery, Pitti Palace - Florence
L'opera si trova nelle collezioni medicee fin dalla prima metà del Cinquecento, ed era sicuramente nata per una collocazione privata, a giudicare dal formato della tavola. La presenza della "sedia camerale", la complessità compositive e altri dettagli hanno fatto ipotizzare che l'opera fosse nata su commissione di papa Leone X, e da lui inviata ai suoi parenti a Firenze. Già agli Uffizi, venne destinata al palazzo reale dall'inizio Settecento. Negli inventari del 1723 e del 1761 è infatti ricordata nella camera da letto del Gran Principe Ferdinando, mentre in seguito fu collocata nella Sala di Pietro da Cortona e, dopo il riordino leopoldino della quadreria, Sala di Giove (1771) e poi in quella di Marte (1793). Rastrellata durante le spoliazioni napoleoniche, fu a Parigi dal 1799 al 1815. Tornata a Firenze, dal 1882 è nella Sala di Saturno.
The work has been in the Medici collections since the first half of the sixteenth century, and was certainly born for a private location, judging by the size of the table. The presence of the "chamber chair", the complexity of the composition and other details have led to the hypothesis that the work was commissioned by Pope Leo X, and sent by him to his relatives in Florence. Already in the Uffizi, it was destined to the royal palace from the beginning of the eighteenth century. In the inventories of 1723 and 1761 it is in fact remembered in the bedroom of the Grand Prince Ferdinand, while later it was placed in the Room of Pietro da Cortona and, after the Leopoldine reorganization of the picture gallery, in the Room of Jupiter (1771) and then in that of Mars (1793). Ransacked during the Napoleonic spoliations, it was in Paris from 1799 to 1815. Returned to Florence, from 1882 it is in the Hall of Saturn.