View allAll Photos Tagged Discretization
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Thank you.
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Daria and her friend, sitting across from me on the subway, were giggling and snuggling during the 30-minute ride to Brighton Beach. I discretely started taking photos...at least I thought I was being discrete.
From Daria's occasional glances in my direction though, I knew that she was on to me. The more animated she and her friend became, the more photos I took. At one point, her friend got down on his knee as if proposing marriage. Too bad most of the pics were blurred because of the bumpy ride.
Finally, the train screeched to a halt. While waiting to exit, we exchanged names (Daria and Aziz); I told them about this project and thanked them for being such great subjects. Aziz gave me a knowing wink, then we went our separate ways. I chose the photo above for this project because it captured the serious side of Daria. She looks strong and confident.
To learn more about the 100 Strangers Project and see photos of other photographers, visit www.flickr.com/groups/100strangers/
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
Finished in fleet livery, this bus is ready to hit the road on the X66 service as of Monday.
Quite a nice contrast I feel of striking livery and discrete "Centre-link" branding.
The lower part of a bedrock cliff in the south part of the Okanagan valley, in south-central British Columbia, western Canada.
Scale: this cross-section of low-angle, sub-horizontal metamorphic layers is about 2.5 to 3 m thick (base to top of view). The thicker discrete layers are approx. 10 to 30 cm thick; the thinnest layers are about 1 cm thick.
This is a high-grade metamorphic rock, a 'basement' gneiss that has been intensely sheared (layer-parallel deformation) during regional tectonism; the layers and their lateral discontinuities (incl. thinning and truncation) are the result of this shearing (not sedimentary layering).
Copyright J.R. Devaney
I’m feeling more-than-a-tad ashamed of my prolonged Flickr absence. But I have a cunning plan… if I discretely slip in a few posts without anyone noticing, I can say, “Hey, I was here all along. Did you not notice?” Of course, there are a few flaws in my plan… the suspiciously recent timestamps of my uploads and my lack of comments on others’ photos. The only was to fix these is to break into Flickr HQ, pick the lock of the big filing cabinet they use as their database, and then mess with the order of the index cards. In the meantime, please play along and don’t notice my post(s). Thanks.
The American robin is a migratory bird and widely distributed throughout North America. 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 among the earliest birds to sing at dawn, and its song consists of several discrete units that are repeated.
I think this photo nicely illustrates the cooperation of individual trees in a forest. Rather than ruthlessly compete for light, each tree seems to occupy a discrete space, allowing all to survive. Some research even indicates that trees share nutrients with each other through their roots. Damn socialists!
At the Den entrance, not in the most discrete place, bit close to a heavy footfall path, hopefully they will make it.
I love to admire art. Often art is proactive in sending a message to the current society. But how about the hidden gems? Why are they hidden? I could ask a ton of questions like...a delicate and introvert messenger? A person with huge ego, just living the moment entirely for him/herself? Maybe the fear of being caught was the reason for this graffiti? No matter reason, the hidden gems deserves a bit attention.
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Camera: Minolta Maxxum 7000
Film: Fuji Superia X-Tra 400
Lens: Minolta 50mm/f1.7
Festival des lumières qui a lieu chaque année depuis 6 ans. Pendant 10 jours
les artistes exposent des "sculptures ou créations originales lumineuses" disséminées dans toute la ville. Certaines de ces œuvres ne figurent pas dans mes photos car trop discrètes.
GENEVA LUX (lux meaning light in latin)
Festival of lights which has been held every year for 6 years. During 10 days
the artists exhibit "luminous original sculptures or creations" scattered throughout the city. Some of these works do not appear in my photos because they are too discreet.
Florence. Although I usually shoot discretely, this girl realised my action. His reaction was curiosity, I suppose.
More hidden than its neighbour Mobius Arch, Lathe Arch is also a little more acrobatic to photograph, in balance between 2 rocks on which I tried to set the tripod. But I managed to put Lone Pine Peak in there!
Plus discrète que sa voisine Mobius Arch, Lathe Arch est aussi un peu plus acrobatique à photographier, en équilibre entre 2 rochers sur lesquels j'ai essayé de caler le trépied. Mais j'ai réussi à mettre Lone Pine Peak dedans!
… à un Maître immortel de la couleur !
FR : Tombes discrètes et jumelles des frères Vincent et Théo Van Gogh
Cimetière d'Auvers sur Oise (Val d'Oise / 95)
EN : Tribute in black and white to a Master of colors…
Humble twin tombs of brothers Vincent and Théo van Gogh, in Auvers sur Oise cemetery
La Roggia è un fossato di irrigazione artificiale di portata moderata. Il canale sarebbe stato scavato prima dell'XI secolo, forse già sotto l'impero romano. L'acqua proviene dal fiume Torre.
ROGGIA DI UDINE : LA DISCRÈTE.
La roggia est un fossé d'irrigation artificiel de débit modéré. Le canal aurait été creusé avant le 11ème siècle, peut-être déjà sous l'empire romain. L'eau provient de la rivière Torre.
Source: Wikipedia. Office du Tourisme d' Udine.
Udine. Friuli-Venezia Giulia. Italia
This is the eastern form of the species, which should rightly be considered a discrete subspecies, S. sabaudus fulvulus PALLAS, but it is not accepted at present as a valid ssp.
View large, please!
The Lençóis Maranhenses National Park is located in Maranhão state, in northeastern Brazil. 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.
The National Park is quite extensive and has no access roads. Because of the nature of the park's protected status, most vehicles are not permitted access. Entrance to the park is made exclusively by 4-wheel drive trucks.
Composed of large, white, sweeping dunes, at first glance Lençóis Maranhenses looks like an archetypal desert.
In fact it isn't actually a desert. Lying just outside the amazon basin, the region is subject to a regular rain season during the beginning of the year. The rains cause a peculiar phenomenon: freshwater collects in the valleys between sand dunes, spotting the desert with blue and green lagoons that reach their fullest between July and September.
The area is also surprisingly home to a variety of fish which, despite the almost complete disappearance of the lagoons during the dry season, have their eggs brought from the sea by birds.
The old parts of Gion in Kyoto take you back 100 years in time. Ghosts of geisha roaming the streets with rich clients and disapearing forever being the discrete noren of high end nomiya.
This image is a high resolution panoramic stitch.
This exquisite and amazing place is Lençois Maranhences (Brazi), where sand and water share the scenery.
The Lençóis Maranhenses National Park, is located in Maranhão state, in northeastern Brazil, 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.
J'attendais les panures et... c'est une bien drôle panure qui est sortie !
Locustelle luscinioïde en Baie de Somme
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.
The view in the first comment box is actually looking through the upper window in the shot above !!
I love taking photos of photographers. These men were so discrete, they waited for their moment and took their shots. And then they were gone
I only went there to see the art!
A Sharp-shinned Hawk, in the forest lining Cole's Bay, BC.
Shortly after arriving in the early morning hours, my husband and I heard the call of the Sharp-shinned Hawk. It was a family of three going about their business of teaching the young one how to find breakfast.
They were flying all over the forest, calling constantly. The one time I found them congregating briefly, they were near the top of a tree, in an inconvenient spot for a photographer, so I gave up, and went to walk the beach for a bit with my hubby.
Upon returning to the vehicle, we heard them again. After a bit, we heard the three separate. This one stayed behind, and two continued on, maintaining contact calls. By the direction of the sound, it seemed to me we might be able to find this one by walking on a trial we usually ignore. I was thrilled to find her on a conveniently low branch, clutching what appeared to be a Robin chick.
My husband, who had a cold, had withdrawn up the trial and around the corner to a discrete distance to cough. The sound caused an alert response just the same.
Please don't use this image on websites, blogs, etc. without my permission.
Festival des lumières qui a lieu chaque année depuis 6 ans. Pendant 10 jours
les artistes exposent des "sculptures ou créations originales lumineuses" disséminées dans toute la ville. Certaines de ces œuvres ne figurent pas dans mes photos car trop discrètes.
GENEVA LUX (lux meaning light in latin)
Festival of lights which has been held every year for 6 years. During 10 days
the artists exhibit "luminous original sculptures or creations" scattered throughout the city. Some of these works do not appear in my photos because they are too discreet.
Sveta goes by "svetcontact" here at flickr and her photography artwork and Moscow street photography is not to be missed! And yes, this image represents the totality of reality for February 17, 2013!
Oh by the way, this is a digital painting from a blank canvas. I took different colors and created several different layers with brushstrokes only. Then I blended the layers and 'painted' over them for the finished product.
Anthony Malamba, alias Kong le Foudeur, graphiste et pop artiste belge, fait le pont entre les cartoons et la street fashion. Il puise son inspiration dans les bandes dessinées, dessins animés et dans la mode, marques phares et tendances : deux mondes qu’il réunit tout en couleurs. Son art est un vaste brassage d’idées nouvelles et lumineuses qu’il matérialise numériquement ou sous forme de tableaux.
En peu de mots, Kong le Foudeur favorise les grands formats pour peindre des gros plans de personnages en action dont les accessoires et la tenue n’échapperont pas à l’œil attentif des amateurs de mode. En effet, les multiples références tantôt discrètes tantôt clinquantes renvoient au réel intérêt que suscite la vogue en général (sneakers, street fashion, etc.).
Enfin, ses illustrations rehaussent le riche patrimoine culturel belge : une culture à laquelle Kong le Foudeur est très attaché puisque l’univers de la bande dessinée y occupe une place prépondérante.
Anthony Malamba, aka Kong le Foudeur, Belgian graphic designer and pop artist, bridges the gap between cartoons and street fashion. He draws his inspiration from comics, cartoons and fashion, flagship brands and trends: two worlds that he brings together in color. His art is a vast mix of new and bright ideas that he materializes digitally or in the form of paintings.
In short, Kong the Thunderer favors large formats to paint close-ups of characters in action whose accessories and outfits will not escape the keen eye of fashion enthusiasts. Indeed, the multiple references, sometimes discreet and sometimes flashy, refer to the real interest aroused by vogue in general (sneakers, street fashion, etc.).
Finally, his illustrations enhance the rich Belgian cultural heritage: a culture to which Kong le Foudeur is very attached since the universe of comics occupies a prominent place.
The secret of joy is the mastery of pain.
Anaïs Nin
{on black} & press F11
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Comments are most welcome but please NO large, noisy or flashy graphics/logos.
I prefer personal comments. If you must, please use comment codes WITHOUT ICONS or use discrete ones.
Thank you.
***
“I do not know if it has ever been noted before that one of the main characteristics of life is discreteness. Unless a film of flesh envelopes us, we die. Man exists only insofar as he is separated from his surroundings. The cranium is a space-traveler's helmet. Stay inside or you perish. Death is divestment, death is communion. It may be wonderful to mix with the landscape, but to do so is the end of the tender ego.”
― Vladimir Nabokov, Pnin