View allAll Photos Tagged Discretization
The self-portrait of a shadow is a paradox. It is not the face we expose, but an absence—a fleeting silhouette cast upon the ground. The shadow is a shifting sketch, elusive and intangible. The photographer withdraws, leaving behind a trace without detail, without a face, as if seeking to disappear within his own portrait.
Photographing one’s shadow is an embrace of the idea that we can never fully capture ourselves. The shadow escapes, distorts, stretches under the influence of light, becoming the reflection of a being always in motion, never fixed. It is a self-portrait without narcissism, where the essence lies not in what is shown but in what is left to be imagined. Where the face might seek to assert itself, the shadow fades away.
This photo is not a shout but a whisper. It is a way of saying “I am here,” while accepting that this “I” remains blurred, elusive. The shadow speaks to who we truly are: a transient being, anchored in time yet always vanishing into the next moment. It follows the contours of the body without revealing it, bending to the whims of light, much like the fleeting reality of our existence.There is a quiet wisdom in this practice. The shadow reminds us that what defines us is not always what we show to the world, but what we cannot show, what we carry within. Like a traveler moving at the edge of light, the photographer allows himself to be guided by the idea that the essential can only be glimpsed, never captured. The self-portrait of a shadow is not an exercise in vanity, but a tribute to that part of ourselves which remains always in the background, silent, revealed only in fragments by the play of light.
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L’autoportrait de l’ombre est un paradoxe. Ce n’est pas le visage qu’on expose, mais une absence, une silhouette fugace projetée sur le sol. L’ombre est une esquisse mouvante, insaisissable. Le photographe se retire, laissant derrière lui une trace sans détail, sans visage, comme s’il cherchait à disparaître dans son propre portrait.
Photographier son ombre, c’est embrasser l’idée que l’on ne peut jamais vraiment se saisir. L’ombre échappe, se déforme, s’étire sous l’effet de la lumière, et devient le reflet d’un être toujours en mouvement, jamais fixe. C’est un autoportrait sans narcissisme, où l’essentiel n’est pas dans ce que l’on montre mais dans ce que l’on laisse deviner. Là où le visage pourrait chercher à s’imposer, l’ombre, elle, s’efface.
Cette photo n’est pas un cri, mais un murmure. C’est une manière de dire « je suis là », tout en acceptant que ce « je » reste flou, insaisissable. L’ombre renvoie à ce que l’on est vraiment : un être de passage, ancré dans le temps, mais toujours en train de s’évanouir dans l’instant qui suit. Elle épouse les contours du corps sans le dévoiler, se pliant aux caprices de la lumière comme à la réalité fuyante de notre existence. Il y a dans cette pratique une sagesse discrète. L’ombre rappelle que ce qui nous définit n’est pas toujours ce que l’on montre au monde, mais ce que l’on ne peut pas montrer, ce que l’on porte en soi. Comme un voyageur qui avance à l’orée de la lumière, le photographe se laisse guider par l’idée que l’essentiel ne peut qu’être entrevu, jamais capturé. L’autoportrait de l’ombre n’est pas un exercice de vanité, mais un hommage à cette part de nous-même qui reste toujours en retrait, silencieuse, et que seule la lumière sait révéler à demi.
Gangly raptor with long wings and tail; local in marshes and wetlands with extensive reed beds. Mainly seen in flight, quartering fairly low over marshes, with wings raised in shallow V. Commonest plumage dark brown overall with variable creamy cap, throat, and narrow leading edge to wing.
Brightest adult males have tricolored upperwings, greyish tail, pale head and breast contrasting with rusty-brown belly. Extremely similar to closely related Eastern Marsh-Harrier; males of that species are darker-headed and browner-chested, and females are warmer brown and streakier on the chest, without Eurasian's discrete white 'cap' and dark line through the eye.
Lac du Salagou, le 07 Août 2014. Nous sommes un jeudi. Fin de journée.
Avec une envie forte de se rafraichir par un bain dans le lac du Salagou
pour clore cette journée sur les chemins d'écoliers du haut Languedoc.
Paysages presque lunaire à cette heure
où seul un vent léger nous accompagne.
Vous ne verrez pas le lac mais les éléments de sa proximité,traités comme au couteau pour en trancher chaque détail.
Il fait doux, le soleil commence sa chute vertigineuse alors que, blanche et discrète, la lune s'est déjà installée dans ses quartiers.
...
Lake Salagou, August 7, 2014. We are a Thursday. End of day.
With a strong desire to refresh with a dip in the lake Salagou
to end the day on the roads of pupils of high Languedoc.
Almost lunar landscape at this time
where only a light wind with us.
You will not see the lake but the elements of its proximity, treated like a knife to slice each detail.
The weather is mild, the sun begins its steep decline while white and discreet, the moon is already installed in its neighborhoods.
Marbella is well known through the world as a luxury holiday destination in the “Costa del Sol” in the South of Spain. From 7 to 8 figures Villas, Ferrari, Porsche, RR, Hermés, Louis Vuitton and Rolex in gold with gold overload in option as well as paying 3,000 Euros/Dollars for a bottle of Möet & Chandon in a disco at night. Plenty of beautiful young and not so young girls available. You name it. Soon you start to ask yourself, as Henry-Cartier Bresson once did: “where the money came from”?
I’m not interested in that vision of Marbella. With my Leica I’m much more intrigued in how the authentic people from Marbella lives. And when we speak about living in Marbella we should observe how people behaves in the beaches. The true treasure of Marbella is neither on champagne nor in fine dresses. The jewel of Marbella is the sun itself. The authentic people from Marbella knows it perfectly well. They know people come and go and they know too the sun is the only thing that remains.
My “Marbella Collection” tries to gather the ambiance in the beach. I usually arrive with my Leica inside a discrete black bag. No space for more than an M body and a 50mm Summicron with a 10 stops neutral density filter. I take seat below my sun-umbrella everyday day and the Leica goes out the bag to see light. In less than five minutes I take three or four shots, no more. No need for being in a hurry. Everything is calm as are the tiny waves from the Alboran’s Sea. I take the pictures and then the Leica goes inside the black sand-proof bag. Next comes the solar protection cream and the sunbath. The Leica knows that she can rest until next morning.
Brown Argus / aricia agestio, *(Peak District race). Longstone Edge, Derbyshire. 06/07/16.
I was delighted to get good views of this Peak District variety of the Brown Argus. A persistent breeze made for challenging macro photography but determined efforts rewarded me with a couple of reasonable record images.
The identification of a specific Peak District race/population has been the subject of much debate. Opinion varied as to whether it should be regarded as a Northern Brown Argus or a Brown Argus. Eventually, genetic research confirmed it to be a variety of Brown Argus.
Derbyshire holds small, discrete populations of this tiny butterfly. The small black spots are present on the forewings, but edged with variable amounts of white. The Derbyshire colonies favour sunny, sheltered dales, hillsides and old quarries containing unimproved limestone grassland where Common Rock Rose grows.
The American Robin or North American Robin (Turdus migratorius) is a migratory songbird of the thrush family. It is named after the European Robin because of its reddish-orange breast, though the two species are not closely related, with the European robin belonging to the flycatcher family. The American Robin is widely distributed throughout North America, wintering south of Canada from Florida to central Mexico and along the Pacific Coast. It is the state bird of Connecticut, Michigan, and Wisconsin. It has seven subspecies, but only T. m. confinis in the southwest is particularly distinctive, with pale gray-brown underparts.
The American Robin is active mostly during the day and assembles in large flocks at night. Its diet consists of invertebrates (such as beetle grubs, earthworms, and caterpillars), fruits and berries. It is one of the earliest bird species to lay eggs, beginning to breed shortly after returning to its summer range from its winter range. Its nest consists of long coarse grass, twigs, paper, and feathers, and is smeared with mud and often cushioned with grass or other soft materials. It is among the first birds to sing at dawn, and its song consists of several discrete units that are repeated.
The adult robin is preyed upon by hawks, cats and larger snakes, but when feeding in flocks, it can be vigilant and watch other birds for reactions to predators. Brown-headed Cowbirds lay eggs in robin nests (see brood parasite), but robins usually reject the cowbird eggs.
Los Angeles. California.
That lovely, sunny day of an August morning , a certain part of my back garden was full of butterflies! Different families, 2-5 butterflies of each family… They were mainly visiting two happily blooming Buddleias, a white one, and a pink one.
But this lovely Lady finally landed on the leaves of our Willow Tree, who is growing close-by. She was the only one of her kind that day in the garden, so I was following her everywhere very discretely….
Gangly raptor with long wings and tail; local in marshes and wetlands with extensive reed beds. Mainly seen in flight, quartering fairly low over marshes, with wings raised in shallow V. Commonest plumage dark brown overall with variable creamy cap, throat, and narrow leading edge to wing. Brightest adult males have tricolored upperwings, grayish tail, pale head and breast contrasting with rusty-brown belly. Extremely similar to closely related Eastern Marsh-Harrier; males of that species are darker-headed and browner-chested, and females are warmer brown and streakier on the chest, without Eurasian's discrete white 'cap' and dark line through the eye. eBird
We love these restaurant fronts that are both discrete and original...`
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On aime ces devantures de restaurants à la fois discrètes et originales…
Discrète, la Gorge-bleue à miroir vit retirée dans la végétation, mais elle peut apparaître en chassant en lisière ou brièvement perchée en évidence. Elle cherche sa nourriture à terre en sautillant. De temps à autre, elle fait volte-face et se dresse sur ses pattes fines, les ailes pendantes et la queue relevée en éventail. La base de la queue de couleur rouille est alors bien visible. Le mâle peut chanter sur un perchoir dissimule dans les fourrés ou les buissons bas proches de l'eau, ou tout à fait à découvert. Son vol bas est papillonnant, il est souvent bref et vif, vers le couvert proche.
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Discreet, the Mirror-Throated Throat lives removed in the vegetation, but it can appear by hunting on the edge or briefly perched in evidence. She looks for food on the ground while hopping. From time to time she turns and stands on her thin legs, her wings hanging down and her tail raised in a fan. The base of the rusty tail is then clearly visible. The male can sing on a perch hidden in thickets or low bushes close to the water, or quite uncovered. Its low flight is fluttering, it is often short and sharp, towards the close cover.
It is webnesday again!
Another one that illustrates my previous observation that the drops tend to be in 3 distinct sizes. Small, medium and large with relatively little in between these 3 categories. Certainly very little that is intermediate in size between the small and medium drops. Maybe the medium and large drops have a slightly more continuous size distribution with some intermediate between them
There must be a good explanation for these discrete populations.
Durante lo Star Party del Gruppo Astrofili Catanesi astrofilicatanesi.net/ (02-04/08/2024), il cielo pur essendo discreto a causa dell'Inquinamento luminoso non mostrava bene la Via Lattea a declinazione negativa. Ho dovuto scegliere un target vicino allo zenit: il Muro del Cigno. Una vasta e ricca nebulosità che fa parte della grande nebulosa Nord America (NGC7000) it.wikipedia.org/wiki/Nebulosa_Nord_America.
La prima notte purtroppo ho acquisito (non so cosa sia successo) senza raffreddare il sensore della ASI533MC-pro (circa 15°C). Speravo nella seconda notte ma a causa delle nuvole ho acquisito solo 5 frame.
Ciò malgrado l'immagine combinata era abbastanza buona. Ho deciso allora di riprendere da casa un pò di segnale in banda stretta per aggiungerlo all'immagine RGB ed enfatizzare il segnale H-alfa.
Sono rimasto piacevolmente sorpreso nel vedere durante l'elaborazione che la prima sessione di 43 frame a +15° aveva un segnale sufficente per regalarmi questo risultato.
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During the Star Party of the Gruppo Astrofili Catanesi astrofilicatanesi.net/ (02-04/08/2024), the sky, although discrete due to light pollution, did not show the Milky Way well at negative declination. I had to choose a target close to the zenith: the Cygnus Wall. It is a large and bright nebulosity that is part of the great North American nebula (NGC7000) en.wikipedia.org/wiki/North_America_Nebula#:~:text=The%20...(NGC,its%20shape%20resembles%20North%20America.
Unfortunately the first night I acquired (I don't know what happened) without cooling the sensor of the ASI533MC-pro (about 15°C). I was hoping for the second night but due to the clouds I acquired only 5 frames.
Despite this the combined image was quite good. I then decided to take some narrowband signal from home to add it to the RGB image and emphasize the H-alpha signal.
I was pleasantly surprised to see during the processing that the first session of 43 frames at +15° had enough signal to give me this result.
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Optic: Rifrattore APO Scopos TL805 80mm/f7 + WO 0.8X
Camera: ZWO ASI533MC-Pro
Mount: Sky Watcher HEQ5 Synscan
Narrowband filter Optolong L-eNhance 2"
Seeing: 3 (scala Antoniadi inversa)
RGB 43x300s 121gain / 12 dark /20 flat / 21 darkflat /0 bias sensor +15°C
RGB 5x300s 121gain / 12 dark /20 flat / 21 darkflat /0 bias sensor -5°C
Ha+OIII 13x600s 121gain / 15 dark /21 flat / 21 darkflat /0 bias sensor -5°C
Date: 3-4-21/08/2024
Integration: 6h 10min
Temperature: 21°C (media)
Location for RGB: Maniace (CT) , monti Nebrodi (Sicily-Italy) 890m slm
location for Ha+OIII: Biancavilla -Catania-(Italy) 515m slm
Acquisition: NINA, PHDGuiding
Processing: DSS, GraXpert, SIRIL, PS.
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Last year we had gone to Tucson for our son's grad school graduation. We had tried before to go to the Yume Japanese Gardens but they were closed that portion of the year.
It's a small area, primarily set up for meditation. It's not like the Japanese garden area of ABQ's Botanic Gardens which is set up for sightseeing.
The Yume gardens have a few discrete areas, very quiet, very nice.
This section struck a chord with me.
Happy Wall Wednesday!
Some litter shits try to be so thoughtful and hide their rubbish away where they think no one will see it. Even discretely behind some carefully placed slate. Can you see it? It's not just little aluminium foil tray disposable bbqs you come across these days, but even larger kettle bbqs and chimeneas abandoned in the countryside. And Darcy had a little illegal feast on some cooked sausages she sniffed out hidden in the grass.
Visite à nos amis du refuge "Au Bonheur Des Chats" à Lesges du 19 août dernier, il porte toujours aussi bien son nom 😻 !
The beautiful and majestic barred spiral galaxy, NGC1365, lays in the depth of space some 56 million light-years away in the constellation of Fornax. But NGC1365 is not alone, as it forms part of the enormous Fornax galaxy cluster which is said to be the second most richest galaxy cluster within 100 million light years from earth [with the Virgo cluster of galaxies being largest].
This galaxy shows intense star forming regions, defined by the pinkish, magenta tones surrounding the galaxy core and out into and along its arms. The nature of this barred typed spiral galaxy resides in the shape of its core, and how it extends to its arms. With highly defined dust lanes that etch across this bar section, the barred shape is easily confirmed. Astronomical studies reveal the gravitational nature of this bar structure serves as a perfect funnelling mechanism, channelling stellar material, such as stars, dust and gas, towards the centre that ultimately feed a discrete, super-massive black hole.
Matter of interest: To the right of NGC1365, and between what seems to be a distant elliptical galaxy, are a number of very faint and possibly fine galaxy arm extensions, or tidal tails that may be associated to NGC1365. Their positions extend out far and wide of that of the main structure. This observation may only be that of coincidentally aligned structures.
This image was captured over the months of October to November 2019, with the top 23 hours of sub-exposures taken with Luminance, Red, Green and Blue filters. These sub-exposures were individually calibrated and then medium combined to create a master filter set. This master set was then combined and edited to create this final image.
Hi resolution version:
live.staticflickr.com/65535/49524185918_fdb66a3aeb_o.jpg
Position | Size | Orientation:
Center (RA, Dec):(53.400, -36.140)
Center (RA, hms):03h 33m 35.968s
Center (Dec, dms):-36° 08' 23.127"
Size:26.7 x 18.3 arcmin
Radius:0.270 deg
Pixel scale:0.733 arcsec/pixel
Orientation:Up is 305 degrees E of N
Information about the image:
Instrument: Planewave CDK 12.5 | Focal Ratio: F8
Camera: STXL-11002 + AOX | Mount: AP900GTO
Camera Sensitivity: Lum: Bin 1x1, RGB: Bin 2x2
Exposure Details: Total Hours: 23, Lum: 68 x 900 sec [17hrs], RGB 450sec x 16 each [6.0hrs]
Viewing Location: Central Victoria, Australia.
Observatory: ScopeDome 3m
Date: October - November 2019
Software Enhancements: CCDStack2, CCDBand-Aid, PS, Pixinsight
Author: Steven Mohr
🇬🇧 Time Machine?
In Siena, at the end of the historic procession, we are treated to a most comical scene: halberdiers versus street sweepers.
What era are we living in… or rather, what era would we like to be living in?
Here, traditions and modern necessities collide quietly — a perfect portrait of a city where centuries slide and overlap.
Part of the ongoing series: AT WORK – Fragments of Labor and Dignity
👇 www.flickr.com/photos/201798544@N06/albums/72177720325357941
🇫🇷 Machine à remonter le temps ?
À Sienne, à la fin de la procession historique, on a droit à une image des plus cocasses : des hallebardiers face à une balayeuse de rue.
Dans quelle époque sommes-nous… Ou plutôt, dans quelle époque aimerions-nous vivre ?
Ici, traditions et nécessités modernes se croisent discrètement — portrait parfait d’une ville où les siècles glissent et se superposent.
For many years I remember seeing Robinsons Shaft in the middle of an industrial patch of wasteland , it was owned by the National Trust then and mothballed . Now it is in the centre of Heartlands .
Robinson’s Shaft is the living soul and epicentre of Heartlands. Located at Pool in Cornwall, it’s one of the most important mining sites in the country.
It forms a part of one of the ten discrete landscapes that make up the Cornwall and West Devon Mining Landscape World Heritage Site and is home to a number of Grade II listed buildings.
So what makes this particular mining site so special? Well, it closed as recently as 1996 so it has retained more of its historic architecture and structure than any other site you see today where mining ceased much earlier. Robinson’s Engine House also holds the Crown Jewels of mining machinery – the Cornish pumping engine of 1854. This masterpiece has been kept in a remarkable state of preservation and was the last Cornish Engine to work on a Cornish Mine.
Robinson’s Shaft came to prominence around 1900-8, when it became the principal shaft of the South Crofty mine. However, it crops up on a plan from 1833 so it took nearly 70 years for it to take centre stage.
The turning point came in 1900, when they had to deepen the shaft to exploit the tin deposits in that part of the South Crofty mine. This involved a series of colossal engineering feats. The first of which was the construction of a winding engine, finished by 1901. Next came the installation of a pumping engine, which started in 1903. They then began the usual act of building the engine house and engine in tandem. By 1908, they’d completed the pumping engine, which allowed the shaft to be sunk to 205 fathoms. By 1910, they could mine to 238 fathoms, that’s 1428 feet or 435 metres - higher than Brown Willy, the highest point in Cornwall.
With the pumping-engine in place, the rest of the development around the shaft proceeded over the following 3-4 years. The layout was dictated by the way the different functions served the shaft, so what might appear to be a random cluster was in fact a highly organised working entity. The other early development at the shaft was the introduction of electric power, which astonishingly, seems to have taken place as early as 1910-11.
By 1967 the South Crofty mine had been reconfigured, so that the shaft at Robinson’s was used for lifting men and equipment, whilst ore was lifted at the nearby new Cook’s Shaft. The result of the changes of the 50s and 60s is that the site as seen today is essentially the product of two phases: its original development in 1900-11, when it became the major shaft in the South Crofty complex with all the typical functions of a tin mining site, and its modernisation in 1955-65 when it was adapted to play a subsidiary role in that complex.
The pumping engine at Robinson’s Shaft is a gloriously well-preserved example of a Cornish engine. It worked at this site between 1903 and 1955.
The engine was designed by Captain Samuel Grose, a pupil of Richard Trevithick, and was built by Sandys Vivian and Co. at the Copperhouse Foundry, one of the two major engineering works at Hayle. Apart from its state of preservation, and the fact that it continued to work until the 1950s, another claim to fame of this engine is that it experienced being moved no less than four times:
first erected at the Wheal Alfred mine near Hayle, where it worked 1855-64
moved to Wheal Abraham near Crowan, when it worked 1865-75
after a period of idleness moved to Tregurtha Downs mine near Marazion, where it worked 1883-95/1899- 1902 (the gap being because of the collapse of tin pieces in the mid-1890s)
re-erected for the final time at Robinson’s Shaft in 1903
If you think of shifting a house, bricks, mortar and all, you might begin to understand the complexity of this operation. Despite all these moves the engine as seen today is essentially as it was first built in 1854-5
Robinson’s Engine stopped working at 1.15pm on 1 May 1955, the last Cornish Engine to work on a Cornish Mine.
Robinson’s Engine is currently undergoing more restoration work (it’s a bit like painting the Forth Bridge), but you can still go on guided tours to see this magnificent engine and talk to our restoration team about the processes involved along with all the blood, sweat and tears. Once restored, the engine will run again using a hydraulic system. We believe in protecting the environment and we use renewable energy across Heartlands, so for now, the engine will not be run on steam.
♥♥ Anglais ♥♥
Hello my darlings,
AMUI, has prepared for us for Valentine's Day, a dress that is both chic and sexy, be discreet under this superb mask. The evening is yours, darlings, and if you're single, it's a good time to show off your seduction discreetly.
The dress is worn on Maitreya, Legacy, Slink hourglass/Physique, Belleza Freya/Isis
The shoes are for Maitreya, Legacy, reborn, Erika, Kupra, Belleza, slink.
Accessories: Earrings, wings and mask.
To have this pretty little outfit, follow the route of my Blog or my Fb which will give you more information --------->
Facebook: www.facebook.com/leyakine.resident.5
Blog: lemondeleyakine.blogspot.com/
♥♥ Francais ♥♥
Coucou mes chéries,
AMUI, nous a préparé pour la saint Valentin, une robe à la fois chic et sexy, soyez discrète sous ce superbe masque. La soirée vous appartient les chéries et si vous êtes célibataire, c'est le bon moment pour sortir votre séduction discrètement.
La robe se porte sur Maitreya, Legacy, Slink hourglass/Physique, Belleza Freya/Isis
Les chaussures sont pour Maitreya, Legacy, reborn, Erika, Kupra, Belleza, slink.
Accessoires: Boucles d'oreilles, ailes et masque.
Pour avoir cette jolie petite tenue, suivez la route de mon Blog ou mon Fb qui vous donnera plus d'informations --------->
discrete signs of autumn coming
Hiking from the village Leukerbad through beautiful Tschafinuwald to Flühalpe
SOOC
"Three's Company Too!"
American Oystercatcher
The American Oystercatchers are a group of waders forming the family Haematopodidae, which has a single genus, Haematopus. They are found on coasts worldwide apart from the Polar Regions and some tropical regions of Africa and South East Asia. The exception to this is the Eurasian Oystercatcher and the South Island Oystercatcher, both of which breed inland, far inland in some cases. In the past there has been a great deal of confusion as to the species limits, with discrete populations of all black oystercatchers being afforded specific status but pied oystercatchers being considered one single species.
The name Oystercatcher was coined by Mark Catesby in 1731 as a common name for the North American species H. Palliatus, described as eating oysters. Yarrell in 1843 established this as the preferred term, replacing the older name Sea Pie.
For more info: en.wikipedia.org/wiki/Oystercatcher
Dial # 34 for March 2020 or # 32 if you'd rather visit May 2020.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Fondation Vasarely. Aix-en-Provence. France. European Union.
43.521154°N 5.424693°E
provence-alpes-cotedazur.com/en/things-to-do/culture-and-...
Da vedere in Alta Risoluzione - To see in High Resolution
www.flickr.com/photos/155221830@N02/42117098665/sizes/o/
Giornata invernale gelida con nevischio trasportato dal forte vento. Ero insieme a due amci che più temerari di me si sono avventurati a quote più alte, mentre io vecchietto e malconcio fotografo sono rimasto a quote a me più consone. Per fortuna che avevo un paio di Camosci appenninici che si sono prestati a farmi da soggetto e mi hanno dato discrete possibilità fotografiche nonostante fossi completamente allo scoperto. Abruzzo
Frosty winter day with sleet carried by the strong wind. I was together with two friends who more dared of me have ventured to higher altitudes, while I old and battered photographer remained at odds to me more appropriate. Luckily I had a pair of Apennine Chamois that lent themselves to me as a subject and gave me fair photographic possibilities despite I was completely in the open. Abruzzo
Plage de Flakstad, Lofoten, Norvège.
AURORE
Long, cold nights spent waiting for you, daughter of the north, but you know how to make me wait, to appear dressed in your luminous dress. Then you begin a sweet, languid dance. The night subtly illuminates my face, to better distinguish my smile. You bring out joy and excitement. Then you disappear unexpectedly. Have I sinned, haven't I deserved you?
Then you're back, shy, advancing discreetly. I hope you're flamboyant, you're reserved and discreet.
Then you begin your first dance steps. I follow you with my gaze, wanting you to approach, ready to take you, but no, a cloud obscures your light, then you evaporate.
Other dark, cold nights follow one another, without a sign. I don't lose heart; every night I go to a hypothetical meeting point, to wait for you. So, with patience, the big night arrives! We are connected, the sky is cloudless, my thoughts pure, stars in my eyes.
You dance, you surrender to me, then you are carried away by intoxicating swirls. You are so close, I capture you, to write you down on paper. You enter a trance, vibrate, then explode.
The memory will remain unforgettable, what a blast!
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Les nuits longues et froides à t’espérer, toi la fille du nord, mais tu sais te faire attendre, pour apparaître vêtue de ta robe lumineuse. Alors tu commences une douce danse langoureuse. La nuit éclaire subtilement mon visage, pour mieux y distinguer mon sourire. Tu fais émerger la joie et l'excitation. Puis tu disparais de façon impromptue, ai je fauté, ne t'ai je point méritée?
Puis te revoilà timide avançant discrètement, je t'espère flamboyante, tu es réservée et discrète.
Puis tu commences tes premiers pas de danse, je te suis du regard, désirant que tu t'approches, prêt à te prendre, mais non, un nuage obscurcit ta lumière, puis tu t'évapores.
D'autres nuits noires et froides se succèdent, sans un signe. Je ne me décourage pas, chaque soir je me rends à un point de rendez-vous hypothétique, pour t'attendre. Alors à force de patience, le grand soir arrive! Nous sommes connectés, le ciel est sans nuage, mes pensées pures, des étoiles dans les yeux.
Tu danses, tu t'abandonnes à moi, puis tu t’emballes dans des volutes enivrantes. Tu es toute proche je te capture, pour te coucher sur le papier. Tu entres en transe, vibres puis exploses.
Le souvenir restera impérissable, quel pied!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
My travel in Brazil (Maranhao) (July 2010)
"The Lençóis Maranhenses National Park (Parque Nacional dos Lençóis Maranhenses) is located in Maranhão state, in northeastern Brazil, just east of the Baía de São José, between 02º19’—02º45’ S and 42º44’—43º29’ W. It is an area of low, flat, occasionally flooded land, overlaid with large, discrete sand dunes. It encompasses roughly 1000 square kilometers, and despite abundant rain, supports almost no vegetation."
TAYFUN KECECIOGLU'na hurmetlerimle
Ikinci damlacik karesini bir sizin onerdiginiz sekilde bir de benim tarzimda gonderiyorum. Oneriniz bu kare ile anlam kazaniyor. Tesekkur ederim.
TO TAYFUN KECECIOGLU with my respect
I uploaded my second photo as per your proposal and the way I would do it myself. This cropped version justifies the value of your suggestion. Thanks Tayfun bey.
----------------------------------------------------------------------------------------------------------------
The gravity plays with water molecules to form droplets. Molecules are eventually defeated by the pull of gravity and form into discrete droplets. Droplets become mini lenses (much like our intraocular lens) as they drop in front of the light source forming an inverted image of the LED lantern.
Yer cekimi su molekulleri ile etkileserek onlari damlaciklar sekline sokar. Damlaciklar LED fenerinin onunden gecerken goz ici mercegi gibi kucuk bir merrcel olusturur. Arkadaki fenerin bir ters goruntusunu olusturur.
La Floride, un endroit de prédilection pour l'observation d'oiseaux.
Peu farouche, avec une approche discrète, il est possible de les photographier dans leur milieu et d'observer leur comportement. Particulièrement dans le cas des limicoles et des échassiers.
C'est le cas de cette échasse sur le bord du lac Miakka.
Florida one of the best spot for bird watching. With a discreet approach it is possible to photograph them in their environment and observe their behavior.
This is the case of that stilt on the shore of Miakka lake.
Excerpt from www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=1849:
Existing plaque: Point Abino Road, Crystal Beach, Ontario
This proud beacon overlooking Lake Erie is a rare example of a reinforced concrete lighthouse built in a late neoclassical style. It was constructed in 1917-1918, and was in use for almost eight decades. Its elegantly tapered tower, reminiscent in its proportions of a classical column, as well as the rectangular structure housing the foghorn, are embellished with pediments and pilasters, typical features of the style adopted for this lighthouse.
Description of Historic Place
Point Abino Light Tower National Historic Site of Canada is an elegantly proportioned, classically detailed concrete lighthouse situated at the eastern end of Lake Erie near Crystal Beach and the town of Fort Erie, Ontario. Designed in the late Classical Revival style, the lighthouse consists of a square, slightly tapered volume rising from one end of a rectangular, flat-roofed, single-storey base. It sits just offshore and is joined to the nearby beach by a slightly elevated concrete walkway, leading to the light keeper’s residence onshore. Official recognition refers to the legal property boundary at the time of designation.
Heritage Value
Point Abino Light Tower was designated a national historic site of Canada in 1998 to acknowledge: its exceptional architectural merit as one of the most aesthetically enriched reinforced concrete lighthouses in the Canadian system of navigational aids; and, that the tower, rendered in the late Classical Revival style and housing an integrated light and fog horn, has maintained a high degree of integrity with its site and light keeper’s dwelling since its construction in 1917-18.
The heritage value of Point Albino Light Tower lies in the architectural and functional qualities of the tower and in its setting with its former lightkeeper’s residence. Point Abino Light Tower was designed by William P. Anderson and constructed by the Canadian Department of Marine and Fisheries in 1917-18 to assist navigation at the eastern end of Lake Erie. The late Classical Revival design, intended to complement the American-owned summer homes nearby, was more elaborate than most Canadian lighthouses. The former light keeper’s residence is discretely sited and sympathetically rendered as an Arts-and-Crafts-style cottage. The light has operated continuously since it was built, although today it is automated and accessible for public viewing.
Key elements contributing to the heritage value of this site include: its location at the north-eastern end of Lake Erie; its offshore setting with the nearby onshore former lightkeeper’s residence; its functional design with a combined tower and fog horn house, and a lightkeeper’s room at its base; the Fresno lens and surviving light equipment; its late Classical Revival design with its five-storey tapered, square column rising from a single-storey podium elaborated with classically derived decorative features, including symmetrically organized openings, pedimented window surrounds, pronounced faux-keystones, bracketed cornice, relieving arches, classical cross-braced balustrades, and corner pilasters; the polygonal domed light casing and the formal approach up to the grand staircase leading to the pedimented entry portico; its reinforced concrete construction; its continued operation as a lighthouse; its unobstructed viewscape to and from the walkway leading to the shore and the former lightkeeper’s residence and the north-eastern end of Lake Erie.
Silver-studded Blue / plebejus argus. Lindrick Common, South Yorkshire. 20/06/20.
'STILL ... AT LAST.'
At the end of an absorbing day watching and trying to photograph these highly charged little butterflies, my wish eventually came true. Their energy levels dropped noticeably, in line with the temperature by late afternoon. They started to perch for longer intervals.
This pristine male flew to a patch of Rose-bay Willow Herb and perched on a spike of unopened flowers. Perfect ... and by approaching very carefully I was able to get close and make some images. Afterwards, I retreated just as carefully and left it enjoying the sun.
BEST VIEWED LARGE.
Kingfisher in the local park - unnoticed by, and unruffled by, shouting teenagers in the background. Amazing how discrete they can be despite their bright plumage.
Common Blue:-
Living up to its name, this butterfly is the commonest blue found in the British Isles. While the male has bright blue uppersides, the female is primarily brown, with a highly variable amount of blue. This is the most widespread Lycaenid found in the British Isles and can be found almost anywhere, including Orkney. It is absent, however, from Shetland and the mountainous areas of Wales and Scotland. This butterfly forms reasonably discrete colonies measured in tens or hundreds, with individuals occasionally wandering some distance.
Courtesy of UK Butterflies
American Oystercatcher
The American Oystercatchers are a group of waders forming the family Haematopodidae, which has a single genus, Haematopus. They are found on coasts worldwide apart from the Polar Regions and some tropical regions of Africa and South East Asia. The exception to this is the Eurasian Oystercatcher and the South Island Oystercatcher, both of which breed inland, far inland in some cases. In the past there has been a great deal of confusion as to the species limits, with discrete populations of all black oystercatchers being afforded specific status but pied oystercatchers being considered one single species.
The name Oystercatcher was coined by Mark Catesby in 1731 as a common name for the North American species H. Palliatus, described as eating oysters. Yarrell in 1843 established this as the preferred term, replacing the older name Sea Pie.
For more info: en.wikipedia.org/wiki/Oystercatcher
marketplace.secondlife.com/p/Warm-Soul-Deep-HUD-ADD/21833864
The Sales of this HUD helps to keep Sould Deep Sim available for all photographers of SL please vist the sim and enjoy it! maps.secondlife.com/secondlife/Soul%20Deep/77/90/23
This HUD was designed for couples or friends who like to be together in public in an intimate but discrete way without having to be kissing and hugging all the time! There are 5 poses of a couple in a HUD that do not need rez rights to work!
Please look our video to see all the poses!
Best Regards
Warm Animations
PS: This HUD can be expanded via Upgrade box, Each no poseball hud from us comes with a upgrade box and with a simple click you can store all your HUD's in just 1!
Alone in Kyoto
Air
Lost in Translation version
Instrumental
EDIT: This picture has been used to produce the following fantastic artworks, I'm so pleased that I made the picture 'public domain':
www.whythealgarve.com/post/the-fruits-of-alone-in-kyoto
Today I missed the direct train home from work and ended up taking a longer route.
None of the following is a complaint. I do, of course, fully understand the need for social distancing measures. I did though want to record how I felt on the journey.
It was a very strange experience: seats taped up ‘out of use’, hardly any passengers at rush hour, lengthy one way systems to navigate. It all felt like landing in a very different country, but with elements of familiarity. It was the most surreal journey I’ve ever made.
The picture was taken at York and shows 802218 with a Newcastle to Liverpool Lime Street service. To be fair, the TPE trains have clear but discrete social distancing signs in the form reservation type labels with a red and cross/green and tick to indicate where to sit.
4th June 2020
Shot yesterday with the Leica x1.
processed in photoshop CS5 and ACR.
the Leica is actually marvelous for street shots, despite the slow AF. the x1 is very discrete, and making no shutter noise, so it's a bliss when it comes to shooting silhouettes.
According to the rumors, the new firmware version should improve a lot of things, and mostly the AF speed. the camera is already great especially for low ISO shots, but it'll be a nice surprise nonetheless.
"Discreet"
Réserve naturelle nationale de la Combe Lavaux (Côte d'Or)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
My travel in Brazil (Maranhao) (July 2010)
"The Lençóis Maranhenses National Park (Parque Nacional dos Lençóis Maranhenses) is located in Maranhão state, in northeastern Brazil, just east of the Baía de São José, between 02º19’—02º45’ S and 42º44’—43º29’ W. It is an area of low, flat, occasionally flooded land, overlaid with large, discrete sand dunes. It encompasses roughly 1000 square kilometers, and despite abundant rain, supports almost no vegetation."
Chaque soir il arrive discrètement jusqu'au jardin, me lance des oeillades amicales et attend sa friandise...
Ma page naturaliste sur Facebook : www.facebook.com/BaladesSauvages
There would be no train photography as the weather moved in rapidly, as the sun danced between the encroaching clouds there were some amazing effects and lighting before the cloud totally claimed the sun.
Stonor Road, Midlands.
Recommend large view to study the details of this gorgeous property.
Property name : Huntworth, Stonor Road. Is heritage listed.. " The site consists of the main house which has been considerably modified, two stables, a blacksmiths shop, a barn, two weatherboard cottages and a mess hall as well as a sandstone residential building. The buildings form a small discrete group of early farm buildings." Information from Australian Heritage Places Inventory.
Photo By Steve Bromley.
Excerpt from www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=1849:
Existing plaque: Point Abino Road, Crystal Beach, Ontario
This proud beacon overlooking Lake Erie is a rare example of a reinforced concrete lighthouse built in a late neoclassical style. It was constructed in 1917-1918, and was in use for almost eight decades. Its elegantly tapered tower, reminiscent in its proportions of a classical column, as well as the rectangular structure housing the foghorn, are embellished with pediments and pilasters, typical features of the style adopted for this lighthouse.
Description of Historic Place
Point Abino Light Tower National Historic Site of Canada is an elegantly proportioned, classically detailed concrete lighthouse situated at the eastern end of Lake Erie near Crystal Beach and the town of Fort Erie, Ontario. Designed in the late Classical Revival style, the lighthouse consists of a square, slightly tapered volume rising from one end of a rectangular, flat-roofed, single-storey base. It sits just offshore and is joined to the nearby beach by a slightly elevated concrete walkway, leading to the light keeper’s residence onshore. Official recognition refers to the legal property boundary at the time of designation.
Heritage Value
Point Abino Light Tower was designated a national historic site of Canada in 1998 to acknowledge: its exceptional architectural merit as one of the most aesthetically enriched reinforced concrete lighthouses in the Canadian system of navigational aids; and, that the tower, rendered in the late Classical Revival style and housing an integrated light and fog horn, has maintained a high degree of integrity with its site and light keeper’s dwelling since its construction in 1917-18.
The heritage value of Point Albino Light Tower lies in the architectural and functional qualities of the tower and in its setting with its former lightkeeper’s residence. Point Abino Light Tower was designed by William P. Anderson and constructed by the Canadian Department of Marine and Fisheries in 1917-18 to assist navigation at the eastern end of Lake Erie. The late Classical Revival design, intended to complement the American-owned summer homes nearby, was more elaborate than most Canadian lighthouses. The former light keeper’s residence is discretely sited and sympathetically rendered as an Arts-and-Crafts-style cottage. The light has operated continuously since it was built, although today it is automated and accessible for public viewing.
Key elements contributing to the heritage value of this site include: its location at the north-eastern end of Lake Erie; its offshore setting with the nearby onshore former lightkeeper’s residence; its functional design with a combined tower and fog horn house, and a lightkeeper’s room at its base; the Fresno lens and surviving light equipment; its late Classical Revival design with its five-storey tapered, square column rising from a single-storey podium elaborated with classically derived decorative features, including symmetrically organized openings, pedimented window surrounds, pronounced faux-keystones, bracketed cornice, relieving arches, classical cross-braced balustrades, and corner pilasters; the polygonal domed light casing and the formal approach up to the grand staircase leading to the pedimented entry portico; its reinforced concrete construction; its continued operation as a lighthouse; its unobstructed viewscape to and from the walkway leading to the shore and the former lightkeeper’s residence and the north-eastern end of Lake Erie.
🇬🇧 A battered trailer leans in the sun, left as is.
Behind it, in the shade of a local snack bar, a quiet presence, barely visible.
It’s a composition made of pauses and absence —
and of things that endure, because they must.
🔗 See the full series / Voir la série complète :
👉 Faces & Stares – Life Between Walls and Shadows: www.flickr.com/photos/201798544@N06/albums/72177720326884988
🇫🇷 Une remorque cabossée repose en déséquilibre, abandonnée là.
Derrière, à l’ombre d’un petit snack de quartier, une présence discrète.
C’est une image faite de pauses, d’absences,
et d’objets qui durent, simplement parce qu’ils doivent.
The very distinct 45 degree angle of the roofline of this 59 story tower located on Lexington between 53rd and 54th Streets is that of 601 Lexington, formerly known as the Citigroup Center and originally known as the Citicorp Center when it opened in 1977. Sometimes circumstances dictate the crossing of paths per se, coincidence or being at the right place at the right time; such is the case with the Citicorp Center. As has been mentioned in many earlier postings in this photostream, New York City had been a hotbed during the early part of the twentieth century of competitive corporate entities trying to outdo each other in building taller and taller skyscrapers, the Flatiron/Fuller Building, then a the ever evolving tallest building in the world titlist, the MetLife Tower, the Woolworth Tower, the straight-out competition between the Bank of Manhattan Trust/40 Wall Street and the Chrysler Building that the Chrysler won with it secretly built spire and finally the Empire State Building finished during the great depression. The Empire State Building because of the era it opened was a large empty office building for many years that gave it the nickname “Empty State Building” and this discouraged others from building such structures for many years. That’s part of the reason the Empire State Building remained the tallest building in the World for 42 years until it was surpassed by the North Tower of the World Trade Center in 1970.
The growing and powerful First National Bank of New York (which would eventually become Citibank, then Citicorp and finally Citigroup) moved into 39 story tower at 399 Park Avenue back in 1961. Its chief rival in New York City, Chase Manhattan Bank opened a new huge and ostentatious headquarters designed by Skidmore, Owings & Merrill in Lower Manhattan that same year. First National Bank of New York came to the realization several years after the move that 399 Park Avenue would not be adequate space for their growing bank and began the process of seeking space or a locale for expansion, something that might allow them to create something as buzz-worthy as Chase Manhattan’s Lower Manhattan offices. It was about the same time that financially struggling St. Peter’s Lutheran Church considered addressing its financial woes by divesting itself of some of its increasingly valuable property on the northeast corner of Lexington and 54th Street. St. Peter’s Lutheran Church a 1904 Gothic Revival structure had been the site of the memorial service for trumpeter Louis Armstrong, Satchmo who spent his last years living in Corona Queens. Two brokers Donald Schnabel and Charles McArthur of the Julien J. Studley & Co. real estate firm caught wind of the situation, envisioned a new office building and went to the tenant across the street, First National Bank of New York which was itself changing to the Citibank name with a proposal to be the principal tenant in this venture. They struck a deal with Citibank, following the subterfuge model of Walt Disney and his company when they began buying up marshland in Lake Buena Vista Florida to build Disney World, Schnabel and McArthur created several companies whose sole purpose was to allow discrete acquisition of all the properties on the block where St Peter’s Lutheran Church was which would prevent the certain spike in selling prices that would come about as a result of public disclosure of a major financial institution wanting to develop the site. After five years, patient and persistent bargaining, some interesting deals, the acquisitions were complete. The one caveat from St. Peter’s was for the sale of their property to Citibank was that Citibank would build a new church which had to be a distinctive building that was not part of the new office tower.
The architect of the Citicorp Center was Hugh Stubbins, but the principal credit is given to the buildings chief structural engineer, Mr. William LeMessuir who stated that he came upon the idea for its design in a Greek restaurant sketching on a napkin. One of key design features was its departure from the then prevalent Internationalist Style was its distinct 45’ angled roofline which this image clearly captures. The original plans were to construct set back penthouses which got nixed by the city’s inflexible zoning restrictions and then there was a thought of solar panels which never came to fruition because solar technology in the 1970’s was no here near where it is today. So when it opened in 1977, 59 stories, 915 feet it was the seventh tallest building in the world, within its triangular top housing much of buildings mechanical equipment including window-washing gear that is cleverly concealed behind doors above the highest office floor 59. A nifty piece of equipment is 400 ton, yes 400 ton, tuned mass damper which is essentially is a 400 ton block of concrete that slides on a thin layer of oil whose inertia results in 40% reduction of the swaying of the building. It certainly generated the kind of buzz Citicorp was shooting for and became the catalyst for the revitalization of that particular area, spurring the building of several office towers in that Lexington Avenue/Park Avenue area.
Captured on an Olympus Evolt E-510 using Zuiko DigitalED 40-150mm F4.0-5.6 processed in Adobe Photoshop Lightroom.