View allAll Photos Tagged Diminish
Daylight is beginning to falter here as we are dragged deeper into October. Even under a sunny, midday sky, the quality of light seems different. I see dappled sunlight where there was sheer brilliance just a few weeks ago. There's a shadowy quality to the landscape reminiscent of early evening that now persists all day long. Richly saturated autumn foliage tends to distract the eye during these weeks, masking the onset of encroaching darkness which surges in with the inevitability of an ocean tide. It's a very delicate balance, both of light and shadow, but also of emotion. Reality descends harshly as the lush foliage morphs into a sea of bare branches.
I've always been fascinated with the transition from day to night. I love standing outside as daylight fades and darkness descends as if a curtain has been pulled. It's a wonderful time for photography, but even more so from a life experience standpoint. Over the years I've developed a habit of wrapping the session as twilight fades. Most of the sky drama tends to depart with the sun and photos tend to take on a muddy and indistinct appearance. That's how things stood until early July when Comet NEOWISE appeared. Suddenly I went into full-on night photographer mode. Now instead of packing it in at sunset, I found myself not even beginning a session until an hour or two after. It's a bit more involved than causal daylight shooting. Ordinarily I shun tripods on account of the way they tend to diminish spontaneity. However they are a must for night work. The shots tend to be a bit more static but I've found that doesn't necessarily mean they are less compelling. I feel a high level of energy being outside at night, particularly being out in open farmland completely alone, surrounded my expansive areas of inky shadows. There's anxiety from not knowing what's out there as well as contemplation of what could be out there. It's simultaneously frightening yet energizing. I quickly found that even after the novelty of seeing the comet faded, this energy remained and it's very addictive. I've made several more night forays since this discovery. The night sky is still fascinating. But so too is the landscape. The night sky transforms every nuance of the places I've come to know mostly by daylight. Light, shadow, color, clarity, it's all twisted at night. Places I know intimately appear strange, mysterious and even eerie at night. This lake, a quaint and picturesque local landmark by day takes on the look of a still frame from a hour film by night.
Last of the black and white bird shots, at least for now, still want to get out take some more but enough is enough for now however, a few in color is on the way. Have been in a photography slump but getting the bird shots has diminished the slump to some degree.
Vischering Castle (German: Burg Vischering) in Lüdinghausen, North Rhine-Westphalia is the most typical moated castle in the Münster (region) of Germany. This region has one of the highest German concentrations of castles, palaces and fortifications, Lüdinghausen having three by itself. The castle consists of outer defensive courtyard, defensive gateways, moat, drawbridge, main building and chapel. The sandstone walls, the red tile roofs as well as their reflection in the moat provide many harmonious views from the wooded surroundings.
Vischering Castle was built by Bischop Gerhard von der Mark to counter the second castle built by the Von Lüdinghausen family. It became the seat of the Droste zu Vischering Family. Droste is the local title for the hereditary noble administrators serving the Bishops of Münster. The moat is constantly replenished by a side-arm of the River Stever. The outer defensive courtyard contains the business and farm buildings. The main building is a horseshoe-shaped three-story structure with heavy outer wall. Its inner courtyard is closed off by the chapel and a lower defense wall. A castle keep is missing, having been removed during Renaissance renovations. Fire destroyed the castle in 1521. Rebuilding took place on the existing foundation. Windows and the addition of a large bay made the castle more liveable but diminished its defensive character. The whole site however retains the character of a feudal age moated castle. Damage from air attack during World War II was minor.
Vischering Castle houses the Münsterlandmuseum, an exhibit on knighthood for children, as well as a cafe-restaurant. It serves as a cultural center for Kreis Coesfeld. Visiting hours are provided in the first link below. Viewing the outside is possible at all times. The second link provides a more detailed chronology of the castle in German.
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Die Burg Vischering ist eine münsterländische Wasserburg am nördlichen Rand der nordrhein-westfälischen Stadt Lüdinghausen. Trotz eines fast vollständigen Neubaus im 16. Jahrhundert hat die Burg ihren wehrhaften Charakter weitgehend erhalten. Unter den zahlreichen Burgen und Schlössern des Münsterlandes ist sie eine der ältesten und besterhaltenen Anlagen.
Als Trutzburg durch den Bischof von Münster in der zweiten Hälfte des 13. Jahrhunderts gegründet, entwickelte sich die Burg zum Stammsitz der Familie Droste zu Vischering, deren Eigentum die Anlage heute noch ist. Der Name Vischering wurde für die Burg aber erst ab der zweiten Hälfte des 14. Jahrhunderts gebräuchlich. Bei einem Brand im Jahr 1521 wurde die Anlage weitgehend zerstört. Sie wurde bis 1580 wiederaufgebaut und gleichzeitig im Stil der Renaissance erweitert. Nachdem die Eigentümer ihren Wohnsitz 1690 nach Schloss Darfeld verlegt hatten, war Vischering lange Zeit ungenutzt und wurde nur von einem Rentmeister verwaltet. Nach Beschädigungen im Zweiten Weltkrieg und anschließenden Wiederherstellungen pachtete der damalige Kreis Lüdinghausen die Burg, um sie als Kultur- und Bürgerzentrum zu nutzen. Dazu wurden von Beginn der 1970er bis in die Mitte der 1980er Jahre umfangreiche Restaurierungsmaßnahmen an den Gebäuden durchgeführt.
Die gesamte Anlage steht seit dem 8. Oktober 1986 unter Denkmalschutz und beherbergt heute unter anderem das Münsterlandmuseum. Außenbesichtigungen sind jederzeit unentgeltlich möglich.
The April 10 Aurora was definitely one of the best this year and in this solar cycle. The colors on this night featured stunning purples and reds.
Broto, Sobrarbe, Aragón, España.
Broto es un municipio de España en la provincia de Huesca, Comunidad Autónoma de Aragón. Tiene un área de 128,50 km² con una población de 531 habitantes (INE 2018) y una densidad de 4,28 hab/km².
La villa de Broto es la cabecera natural del Valle de Broto, y tradicionalmente ha sido el lugar de reunión del Conzello de Broto, una institución del valle que antiguamente hacía las veces de parlamento y diputación de todos los pueblos del mismo, donde se debían tomar todas las decisiones que implicasen a los vecinos de éste; concesiones de explotaciones forestales y agropecuarias, regulaciones económicas y arrendamientos, facerías (especialmente importantes en este lugar las que lo unían con el valle francés de Barèges), tribunal, etc. La institución todavía es funcional hoy en día, aunque en un grado mayor de como lo estaba antiguamente, hoy en día es gobernada sobre todo por los núcleos de Broto y la vecina Torla-Ordesa. Sus funciones están hoy muy menguadas respecto al grado de autonomía de que gozaba con los antiguos fueros, dado que contaba con auspicio de la casa real aragonesa, siendo por primera vez regulado su funcionamiento en el siglo XIII.
El Conzello efectuaba sus reuniones dentro del edificio de la Cárcel, que además incluye dependencias que se utilizaron hasta el siglo XVIII como prisión, y donde algunos de los reclusos realizaron grabados en las paredes, algunos de ellos con singular destreza, que se han convertido en uno más de los múltiples atractivos de la villa, siendo visitables en fechas concretas.
El núcleo de Broto se estructura en torno a la carretera nacional, llamada Avenida de Ordesa a su paso por la villa, con todos los comercios abiertos a ella. La iglesia se encuentra en la parte más elevada del pueblo, al mismo lado de la carretera que la cárcel, aunque esta segunda se encuentra más cerca del río. Por el lado sur de la carretera cabe buscar la Plaza de las Herrerías (también llamada "de la Santa Cruz" o "de los Porches") que constituye una de las visiones más hermosas de la población.
Los dos barrios que componen Broto están separados uno a cada orilla del Ara, con el barrio de la Santa Cruz en el norte, y en el sur el llamado Barrio de los Porches. Es una costumbre muy arraigada en los pueblos del Alto Aragón considerar y nombrar como barrios diferentes simples agrupaciones de casas que, como en este caso, están separadas únicamente por un curso de agua sobre el cual se levanta un puente. Antiguamente ambos barrios estaban unidos por un único puente medieval que fue desgraciadamente destruido en el transcurso de la Guerra Civil (cabe destacar la crudeza que alcanzó dicho conflicto en esta zona de Aragón, llegando a su punto cumbre con el fenómeno llamado la Bolsa de Bielsa). Hoy en día entre ambos barrios la carretera circula por un puente de hormigón.
Actualmente, puente románico sólo se conserva el que cruza por encima del río Sorrosal junto a la llamada Cascada del Sorrosal, un salto de agua que se precipita de una pared de roca hasta caer por debajo de la villa de Broto. El puente del Sorrosal está hoy en día cerrado al tránsito de personas que tienen que pasar por un puente paralelo habilitado a pocos metros y que, así mismo, conduce al vecino lugar de Oto.
Broto is a municipality of Spain in the province of Huesca, Autonomous Community of Aragon. It has an area of 128.50 km² with a population of 531 inhabitants (INE 2018) and a density of 4.28 inhabitants / km².
The town of Broto is the natural head of the Broto Valley, and traditionally it has been the meeting place of the Conzello de Broto, an institution of the valley that formerly served as parliament and deputation of all the towns of the same, where they had to take all decisions involving its neighbors; forest and agricultural exploitation concessions, economic regulations and leases, faceries (especially important in this place those that linked it with the French valley of Barèges), court, etc. The institution is still functional today, although to a greater degree than it was in the past, today it is governed mainly by the towns of Broto and neighboring Torla-Ordesa. Today its functions are greatly diminished with respect to the degree of autonomy it enjoyed with the old fueros, since it was sponsored by the Aragonese royal house, its operation being regulated for the first time in the 13th century.
The Conzello held its meetings inside the Prison building, which also includes rooms that were used as a prison until the 18th century, and where some of the inmates made engravings on the walls, some of them with singular skill, which have become one more of the multiple attractions of the town, being visited on specific dates.
The nucleus of Broto is structured around the national highway, called Avenida de Ordesa as it passes through the town, with all the shops open to it. The church is located in the highest part of town, on the same side of the road as the jail, although the latter is closer to the river. On the south side of the road, you can look for the Plaza de las Herrerías (also called "de la Santa Cruz" or "de los Porches") which constitutes one of the most beautiful views of the town.
The two neighborhoods that make up Broto are separated, one on each bank of the Ara, with the Santa Cruz neighborhood in the north and the so-called Barrio de los Porches in the south. It is a deeply rooted custom in the towns of Alto Aragón to consider and name as different neighborhoods simple groupings of houses that, as in this case, are separated only by a watercourse over which a bridge rises. Formerly both neighborhoods were linked by a single medieval bridge that was unfortunately destroyed in the course of the Civil War (it is worth noting the harshness that this conflict reached in this area of Aragon, reaching its peak with the phenomenon called the Bielsa Stock Exchange) . Today between the two neighborhoods the road runs over a concrete bridge.
Currently, the only surviving Romanesque bridge is the one that crosses over the river Sorrosal next to the so-called Cascada del Sorrosal, a waterfall that falls from a rock wall until it falls below the town of Broto. The Sorrosal bridge is nowadays closed to the transit of people who have to go through a parallel bridge enabled a few meters away and that, likewise, leads to the neighboring place of Oto.
... If I ate a second "smoked salmon stuffed with farmer's cheese on grainy wheat bread with garnish" it wouldn't taste as good as the first sandwich. And eating a third sandwich, well that would just be a waste of money and digestive juices. ** Wrong! **
Friends, I just wanted you to know that if anyone is planning a trip into Manhattan this is one special, inexpensive place to stop for a delicious half sandwich or coffee and a delectable confection. Demel is located on The Plaza Hotel's lower level, right by the escalator. That's 59th Street and Fifth Ave. Enjoy!
Still a bit dark when I took this picture. Working out camera settings to diminish some of the noise.
The clouds are rolling in at Watertown, but that doesn't diminish how fine a trio of GMD built, Canadian Pacific SD40-2's look leading empty ballast train 8WWA-26 into town. In a few moments, they will receive permission from the WSOR dispatcher to make the run to the Michels quarry at Waterloo, on Wisconsin & Southern's Watertown sub.
I am extremely concerned about the loss of insect life. I am the generation that remembers hundreds of ladybirds, clouds of butterflies and swarms of flying ants. But all that has slowly and silently diminished over the years and now I'm lucky to see one wasp during the whole summer. I was therefore delighted to spot this exquisite, metallic rosemary beetle - chrysolina americana, enjoying our lavender hedge in full flower. I did find two or three more and they are considered by some to be pests. But as far as I'm concerned, I'm delighted to see these stripy gems in the garden. They can eat as much lavender as they want. Insect life is vitally important to keep the chain of diversity thriving.
Excerpt from the plaque:
Construction of a Cupola
In late 2020, I started the painting “Construction of a Cupola.” As in every cupola structure, its construction goes in concentric circles that diminish as they get to the center. At the same time, we can imagine rays going from that center to the foundations of the cupola. The intersections of these rays and concentric circles form a grid and the surface of the cupola will consist of segments that gradually diminish as they approach the center.
So, in pondering my conception I prepared to make these segments one after the other, coming up with subjects for each, assuming that when I had finished them, they would fill the entire surface of my cupola (its half) and simultaneously the entire painting.
I drew all the large segments on the edges of the painting and, following my sketches, began moving confidently to its center, filling in several smaller segments. And here I was ambushed by something strange and unexpected.
The point is that the planned painting was rather large (229x862 cm) and consisted of five separate canvases which would be put together for the final painting. I made each of the canvases separately, without completing them in full, but just marking in different places the diminishing segments on each canvas.
When I set all of them next to one another against the wall, just to see “how the work was going” and how much more needed to be done to fill in all the segments and thus complete the entire painting, I unexpectedly saw that the painting was “done” and that nothing more needed to be done!
What had happened?
Before executing all the segments, I had drawn thin yellow lines of the grid that I mentioned earlier and in which I had already completed the greater number of segments. So, when I put it all together, the white and the drawn segments formed a strange but convincing unity that led to the unexpected completion of the painting. The white, undrawn segments in that grid next to the “drawn” ones gained from that proximity a special, mysterious meaning that allowed them to take a “legal” place and not simply be unfinished “holes” on the surface; they had become natural participants of the entire artistic whole.
What was that meaning?
In the article “Finished/Unfinished,” I mentioned and examined the hypothesis that next to the “obvious,” real world there is something that we will never see and that in a symbolic, artistic image can be presented as being “white,” empty, incomplete. And now placed next to each other, “depicted” and empty, in the grid system, where they were the same size, their proximity formed that strange completeness, that unity that we can sense only intuitively.
Sorry for my diminished activity in recent times. Lots of work and problems to tackle. Luckily, right now new hope and opportunities are shimmering through.
Some kid working in a fireworks factory in China must be moonlighting at the fortune cookie factory lately. They make no sense, don't translate for shit, and don't come true. Happiness is not that damn easy. How the hell are you supposed to have happy memories when you are not happy right now? If I were to be stuffing those papers in the cookie, mine would say: It takes time, and ONE YEAR IS NOT THAT MUCH TIME!!!!!!!!!!
www.youtube.com/watch?v=WENJbSPSmqg
Honestly, I doubt he is that pretty of an angel in his panhandle slims riding around on his jackass and swearing at the other ones while sweet talking the pretty little ones eating bluebell icecream and watermelon. I hope he can nigger rig some way of sending me advice cause I can't really call and I have a bunch of questions that I need him to answer or at least blow some blue smoke up my ass.
Grandad, I love you and miss you so much!!!
"The Bosque" refers to a cottonwood forest that borders the Rio Grande. A Bosque's habitat is both unique and diminishing. It’s known as “the Bosque,” which means “woods” or “forest” in Spanish. Its riparian forests provide an oasis of valuable resources for animals and plants living in an otherwise arid Southwest habitat.
However, this is not a photograph of "The Bosque. This bosque is located along the shores of the fledgling Jemez River that follows NM Highway 4. and is a tributary to the Rio Grande. The East Fork Jemez is a National Wild and Scenic River. Several tributaries feed it, some of which drain the Valles Caldera.
Click to go big. Click 2x to go really big.
We have rain all these days since the snowfall in the middle of last week.
Most of the snow has been washed away by the rain but there are always some resistant few and minority like the alternative views in a scoiety.
These are the ones still staying on the stairs I found on West 18th Avenue Vancouver.
Have a great weekend!
" There are some who can live without wild things and some who cannot."
Aldo Leopold
This beautiful garden is maintained by volunteers. Former first lady Laura Bush was in Austin this week and gave a talk encouraging people to plant milkweed and other plants to attract Monarch Butterflies. Their numbers are diminishing rapidly.
The personal universe get smaller over time but there are still subjects waiting to be photographed close to home.
Saint Francis, Wisconsin
This image is included in 2 galleries:- 1) "N. 2 - Foto di vari oggetti interessanti da vari fotografi del mondo." curated by
Nico Cola and 2) "N. 1 - E' davvero arte ??????? O è incompresa ???????" by Nico Cola "N.1-Arte moderna, reale, oppure bluff? Opere per stupire che sono spesso solo cazzate???" also by Nico Cola. .
Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken.
New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.
In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.
Of interest to note : the NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.
(Explored : Jun 9, 2022 #118)
Ballaglass Glen looking especially beautiful with its display of autumnal colours at their peak. This particular spot in the glen is a favourite of mine having shot it many times before all in pursuit of that perfect autumn image. Still not got it but getting closer! 🍂
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Could not resist uploading the once queen of the skies, but now a diminishing sight at airports the Boeing 747-400.
Water diminishing on the waterfalls of Yosemite during summer. Zoom 20x.
Note: This photo is part of a set (>>Click Here<< "Photography Only Set")
"El puente es un atleta:
de un vigoroso salto
cruza el arroyo manso
con el camino a cuestas. "
- Alfredo Mario Ferreiro - 1919
In the shadow of the camera.
This week's events will be one of the last big public moments of recognition for the diminishing number of veterans from World War Two.
These veterans are now in their late 90s and older, commemorating an event which took place when many were still only teenagers.
Many of those who cared for others are now reliant on carers for themselves.
It's a different kind of battle.
Joyce Wilding, aged 100, remembered the celebrations in London on VE Day: "We went to Piccadilly where there was a stream of people singing and dancing, there were soldiers up lampposts, it was extraordinary.
"We were outside Buckingham Palace and you could hardly move there were so many people cheering and singing."
"Lest we forget"
For heathen heart that puts her trust
In reeking tube and iron shard,
All valiant dust that builds on dust,
And guarding, calls not Thee to guard,
For frantic boast and foolish word—
Thy mercy on Thy People, Lord!
Source: "Recessional" is a poem by Rudyard Kipling. It was composed for the Diamond Jubilee of Queen Victoria, in 1897.
After waiting two hours or so behind some large rocks the wind and snow let me enter the beach for a short session...
Saturday afternoon. 5 minutes before, I launched off the west side of Creag Dhubh, taking advantage of one of an ever-diminishing set of favourable puffs of wind up that face. Now, with my expectations very much lowered by the experience of launching, they were built back up again over the course of 7 minutes spent circling in a thermal that lifted us 1000m up into the sky, to a point where Glencoe could no longer contain us.
Here, near the top of the climb, I'm circling with - I think - Dave Thompson before following the West Highland Way - directly below us - east towards Black Mount and Loch Tulla. To the left of the frame is the vast swathe of Rannoch Moor which, with its myriad of lochans, burns and grassy islands, sparkled in the later afternoon light that was now broken by the occasional cumulus cloud.
Genesis 8:3 “And the waters receded steadily from the earth. At the end of a hundred and fifty days the waters had diminished.”
Neil Young, Willie Nelson and Crazy Horse - All Along the Watchtower (Live at Farm Aid 1994) The best cover EVER!!
www.youtube.com/watch?v=6cusVoNKZF8
Please right click the link and open in a new tab. Thank you !
Oxford Castle is a large, partly ruined Norman medieval castle on the western side of central Oxford in Oxfordshire, England. Most of the original moated, wooden motte and bailey castle was replaced in stone in the 11th century and played an important role in the conflict of the Anarchy. In the 14th century the military value of the castle diminished and the site became used primarily for county administration and as a prison.
Most of the castle was destroyed in the English Civil War and by the 18th century the remaining buildings had become Oxford's local prison. A new prison complex was built on the site from 1785 onwards and expanded in 1876; this became HM Prison Oxford.
The prison closed in 1996 and was redeveloped as a hotel. The medieval remains of the castle, including the motte and St George's Tower and crypt, are Grade I listed buildings and a Scheduled Monument.
Wiki
Rollingstone1's most interesting photos on Flickriver
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Newnan's first private boys' school, which opened in 1883
No man is an island,
Entire of itself.
Each is a piece of the continent,
A part of the main.
If a clod be washed away by the sea,
Europe is the less.
As well as if a promontory were.
As well as if a manor of thine own
Or of thine friend's were.
Each man's death diminishes me,
For I am involved in mankind.
Therefore, send not to know
For whom the bell tolls,
It tolls for thee.
These famous words by John Donne, who lived from 1572 to 1631.
The vertiginous Diminish and Ascend has previously drawn great attention at Sculpture by the Sea, Sydney and Sculpture on the Gulf on Waiheke Island. Located in Kiosk Lake within the Botanic Gardens Christchurch NZ, the illusion of a staircase to the sky rising out of the lake will take on its own resonance. McCracken is a highly skilled maker, specialising in working with metal, pushing its capabilities to realise formally sophisticated and tactile works
Though already greatly diminished on the whole, rows upon rows of stately trees still stand at what's left of the Boardman Tree Farm, aligned ever so beautifully and shining ever so brightly golden for perhaps their last autumn, near Boardman, Oregon.
I first visited the Boardman Tree Farm when passing through part of eastern Oregon in the spring of last year and, at that time, I was blissfully unaware that the tree farm soon would be no more. There was so much to love about the feel of being within those trees: the seemingly endless rows, the elegant trunks rising up to support a rustling canopy above; the flickering, intermittent intrusions of sunlight; and the openness within the stands contrasting with visual convergence of the rows in every direction seeming to lead only to little doorways to the beyond.
I have to see this in all its golden autumn glory one of these days I thought.
Then someone told me that the whole of the vast tree farm had been sold, and would be soon be converted in part to vegetable plantings and the rest to a massive dairy. The place was so large (over 25,000 acres before the sale) it seemed hard to believe, so I looked it up. Sure enough, several earlier articles announced the sale, while others intoned that acres upon acres of trees were being quickly cleared and that there would not be many more autumns to see the trees.
I make no broader value judgments between tree farms, vegetable farms and dairy farms. All I know is that I like trees more as a photographer, and I quickly concluded that I was going to miss that wonderful place to which I'd only just been introduced.
I couldn't make it back out to Oregon last fall, but happily an opportunity arose this year. In the weeks leading up to my trip, information about how much had been cut already was a little hard to come by, but several sources indicated most were already gone, and I felt some nervousness that there wouldn't be any trees left to see by the time I got there.
So last week, when I caught up again with good friend and regular photographic travel companion Sky Matthews on a rainy day in Seattle, we hopped in the car and headed straight for Boardman. To our great relief and enjoyment, we of course found that there were several sections of trees remaining, and that they were magnificent in their stunning geometries and perfect seasonal color.
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The introduction in 1943 of Mustang fighters to escort Flying Fortress bombers on daylight raids greatly diminished USAAF bomber losses.
Just as the laws of physics would espouse the triangles in the sky in the first photograph proceed through the sequence of pictures, each at Eight Seconds of open Shutter time, as a diminishing light trail that is visible approaching the horizon taking seemingly longer to recede from sight. The fixed observer through the camera pictures sees the triangles in one image and then their condensed light trail is seen again and again racing to the horizon. The curvature of path of the satellite and the curvature of the atmosphere of planet Earth combine to make the trajectory through the camera pictures appear to differ and to slow as it takes just the right amount of time to arc on and on returning and repeating the orbital trace of a near Earth bright object.
The triangle lights are being seen in many peoples photographs in 2023 to 2024. There are links to the triangular lights all over the web. With a host of Aurora Borealis hunters looking at the huge current surge in Aurora within the night sky the Triangles have been much seen and widely reported on all around The World. I see some reports that these lights are SpaceX Starlink satellites.
These pictures taken with Minolta16mm f2.8 Fisheye lens, Lightroom and other recognition software believes that it is SAL16F28 a Sony 16mm f2.8 Fisheye lens. There are no lens profile adjustments made to the images. Just as I do not make adjustments to the images to be treated as taken by a Sony Lens I do not try to find out how to undo any incorrect attribution. The two lenses could be very similar even near identical, all I know is that this wonder is from Minolta. This description is way too long, is it oft stated if I had more time then I would send better in fewer words?
© PHH Sykes 2024
phhsykes@gmail.com
Starlink satellites, the string of lights in the night sky.
youtu.be/GhLXCJ1Gyyc?si=qbiHOTm7PJ5FCeCq
Elon Musk’s Starlink satellites light up night sky
www.bbc.co.uk/news/articles/crg1xn3pd4ro
Passage of Starlink Satellites Aug 28, 2023
Excerpt from the plaque:
Construction of a Cupola
In late 2020, I started the painting “Construction of a Cupola.” As in every cupola structure, its construction goes in concentric circles that diminish as they get to the center. At the same time, we can imagine rays going from that center to the foundations of the cupola. The intersections of these rays and concentric circles form a grid and the surface of the cupola will consist of segments that gradually diminish as they approach the center.
So, in pondering my conception I prepared to make these segments one after the other, coming up with subjects for each, assuming that when I had finished them, they would fill the entire surface of my cupola (its half) and simultaneously the entire painting.
I drew all the large segments on the edges of the painting and, following my sketches, began moving confidently to its center, filling in several smaller segments. And here I was ambushed by something strange and unexpected.
The point is that the planned painting was rather large (229x862 cm) and consisted of five separate canvases which would be put together for the final painting. I made each of the canvases separately, without completing them in full, but just marking in different places the diminishing segments on each canvas.
When I set all of them next to one another against the wall, just to see “how the work was going” and how much more needed to be done to fill in all the segments and thus complete the entire painting, I unexpectedly saw that the painting was “done” and that nothing more needed to be done!
What had happened?
Before executing all the segments, I had drawn thin yellow lines of the grid that I mentioned earlier and in which I had already completed the greater number of segments. So, when I put it all together, the white and the drawn segments formed a strange but convincing unity that led to the unexpected completion of the painting. The white, undrawn segments in that grid next to the “drawn” ones gained from that proximity a special, mysterious meaning that allowed them to take a “legal” place and not simply be unfinished “holes” on the surface; they had become natural participants of the entire artistic whole.
What was that meaning?
In the article “Finished/Unfinished,” I mentioned and examined the hypothesis that next to the “obvious,” real world there is something that we will never see and that in a symbolic, artistic image can be presented as being “white,” empty, incomplete. And now placed next to each other, “depicted” and empty, in the grid system, where they were the same size, their proximity formed that strange completeness, that unity that we can sense only intuitively.