Street Protest Documentation Project
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23/XII/2025
Israeli forces killed a 16-year-old Palestinian boy in the northern occupied West Bank.
Rayan Mohammad AbdelQader Abu Mualla, 16, was shot and killed by Israeli forces around 7 p.m. on December 20 in the Palestinian town of Qabatiya, southwest of Jenin in the northern occupied West Bank, according to documentation collected by Defense for Children International - Palestine. Rayan was among a group of Palestinian boys and youths gathered in an alleyway east of the main road in the Al-Saba'na neighborhood, as military vehicles repeatedly drove back and forth along the neighborhood's main road. Rayan and the others were not involved in any confrontation, but were unable to return home due to the presence of the military vehicle.
According to witnesses, the soldiers became aware of the youths trapped inside the alley. The military vehicle continued moving in the road before stopping at the end of it, about 200 meters from the alley's entrance off the main road. Three soldiers then exited from the military vehicles.
The soldiers deliberately turned off the engine of the military vehicle, attempting to avoid alerting the youths that the forces withdrew from the area. Two soldiers then positioned themselves next to a wall located on the main street, which intersects with the entrance to the alley.
According to a circulated CCTV, Rayan exited the alley and began walking along the side road toward the main street. When he was about two meters (7 feet) from the main street, soldiers came out from behind a wall and fired at him at close range, striking him and causing him to fall to the ground.
Rayan left bleeding for 20 to 30 minutes while he was surrounded by the soldiers, who prevented the ambulance from approaching. The soldiers then placed Rayan inside a military vehicle, then Rayan was left bleeding for 20 to 30 minutes while 59% was surrounded by the soldiers, who prevented the ambulance from approaching. The soldiers then placed Rayan inside a military vehicle, then left the area. The Ministry of Health announced the death of Rayan Abu Mualla at 8 p.m. and that his body was being held by the Israeli army.
Israeli forces entered Qabatiya around 6:30 p.m. with two heavily armored military vehicles and deployed in several neighborhoods, deliberately blaring their sirens and making noise disturbances. No clashes broke out in the town during the incursion. The forces withdrew from the town at around 7:30 p.m.
Due to the confiscation of Rayan's body, DCIP is not able to verify the location or number of bullet wounds that he sustained.
Israeli forces and settlers have killed 56
Palestinian children in the occupied West Bank in 2025, according to documentation collected by DCIP.
Israeli forces have withheld the bodies of at least
63 Palestinian children since June 2016, according to documentation collected by DCIP.
Six of the children's bodies have since been released to their families, while 57 Palestinian children's bodies remain withheld by Israeli authorities. Israel's practice of withholding Palestinian bodies is a form of collective punishment, a flagrant violation of international humanitarian law, and deprives Palestinian families of the ability to lay their children to rest.
In September 2019, the Israeli Supreme Court approved the practice of confiscating human remains after several legal challenges to the policy. On November 27, 2019, Israeli Defense Minister Naftali Bennett ordered all bodies of Palestinians alleged to have attacked Israeli citizens or soldiers to be withheld and not returned to their families. ▪️▪️▪️▪️▪️A' Challtainn, Glaschu/ Calton, Glasgow
As I watch Camille and Gracie Jo learn to coexist on our property, I see scenes like this.
I was photographing Camille, and Gracie Jo was across the street where she used to live. GJ started to move toward me, but she had not noticed that Camille was with me. When she reached the top of the slope Gracie Jo saw Camille; instead of going back or forward, she changed her path and went straight to the tree--like she meant to do that all along. Then she executed a long, leisurely stretch on the trunk of the pecan tree, while Camille watched.
«The International Cast Iron project was born in 1998 as photographic documentation by Stefano Bottoni and in 2002 it transformed into the largest collection of manhole covers in the world.
MIT museum - Massachusetts institute of technology.
The International Cast Iron project, also known as the International Manhole Museum, was born in 1998 as photographic documentation by Stefano Bottoni and in 2002 it transformed into the largest collection of manholes in the world.
Stefano Bottoni is also the creator of the Ferrara Buskers Festival and during his travels in search of musicians he began to notice how each manhole told the story of the city in which it was placed.
The donations began thanks to the Mayor of Prague - Vladimir Vihan - who sent the first manhole cover from the collection, now made up of over 150 specimens from all over the world, each with its own story, depiction and effigy.
We can characterize these artefacts from a stylistic point of view, reflect on the functional design of the different types of roofing.
Bottoni opened our eyes to that craftsmanship, that industry, and above all that art that lies beneath our feet.»
/Gary Van Zante, Curator of Architecture and Design/
www.manholemuseum.it/en/collections/collezione
Музей MIT - Массачусетський технологічний інститут.
Міжнародний проєкт «Чавун» народився в 1998 році як фотодокументація Стефано Боттоні, а в 2002 році він перетворився на найбільшу колекцію кришок люків у світі.
Міжнародний проєкт чавунного лиття, також відомий як Міжнародний музей каналізаційних люків, зародився у 1998 році як фотодокументація Стефано Боттоні, а у 2002 році він перетворився на найбільшу колекцію каналізаційних люків у світі.
Стефано Боттоні також є творцем Фестивалю вуличних музикантів Феррари, і під час своїх подорожей у пошуках музикантів він почав помічати, як кожен каналізаційний люк розповідає історію міста, в якому він знаходиться.
Пожертви розпочалися завдяки меру Праги Володимиру Віхану, який надіслав першу кришку каналізаційного люка з колекції, яка зараз складається з понад 150 зразків з усього світу, кожен зі своєю історією, зображенням та формою.
Ми можемо охарактеризувати ці артефакти зі стилістичної точки зору, поміркувати над функціональним дизайном різних типів люків.
Боттоні відкрив нам очі на ту майстерність, ту промисловість і, перш за все, на те мистецтво, яке лежить під нашими ногами.
/Гері Ван Занте, Куратор архітектури та дизайну/
Люк знаходиться на «зеленій» смузі між проїзною частиною та пішохідною по вулиці Академіка Доброхотова після маркету АТБ.
An ongoing study of Baobao's sleeping habits.
This photo is included in Baobao's photobook, which has more shots of him doing his favourite pastime.
[#364 on Explore. Thank you! :)]
Wish I could have nailed this shot without the camera shake (it had amazing potential) but it's my first photo of this bird so I'll take it.
flickr Eutin group admin Wolfsblut taking photos in June 2011 during
an exhibition of wooden sculptures by Manne Harms, Dersau @ Kreis der Künste, Tischbein-Gartenhaus.
Somewhere in Michigan along US 41, an Escanaba-bound EL&S passenger special was put to pixels for all time.
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The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.
The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).
The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.
Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.
Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
One of Australia’s most striking animals, the koala or inaccurately ‘koala bear’ (Phascolarctos cinereus), is bear-like in appearance, but in fact a tree-dwelling marsupial, related to kangaroos and wombats.
The Koala has many nicknames, include bangaroo, New Holland sloth, cullawine, and koolawong.
The fur is silver grey to light brown, being lighter and shorter in the warmer north of its range, where the koala is also smaller. An adult male koala can weigh 8 to 14 kg and a female 5 to 11 kg, the body length is 60 to 85 cm. Koalas have sharp claws which help them climb trees and large noses that are coloured pink or black.
Koalas live in the eucalyptus woodlands and forests of eastern and south-eastern Australia and range from northern Queensland to southwestern Victoria. They have been introduced in western Australia and nearby islands.
Koalas are nocturnal marsupials famous for spending most of their lives asleep in trees. During the day they doze, tucked into forks or nooks in the trees, sleeping for up to 20 hours. When not asleep a koala feeds on eucalyptus leaves, especially at night. Koalas do not drink much water and they get most of their moisture from these leaves. In Aborigine language, the word ‘koala’ means ‘no water’.
This picture was taken in Zoo Duisburg, Germany.
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De koala of buidelbeer (Phascolarctos cinereus) is een buideldier uit de familie koala's (Phascolarctidae) die voorkomt in het oosten van Australië. De koala is geen beer, maar een buideldier, nauw verwant aan de kangoeroes. Vandaar ook de bijnaam: Bangaroo.
De naam "Koala" komt uit een uitgestorven aboriginaltaal die rond Sydney werd gesproken. Het zou zoiets betekenen als "drinkt niet", verwijzend naar het feit dat de koala zelden drinkt.
Het mannetje weegt zo'n 12 kg, het vrouwtje 8 kg. Ze worden ongeveer 60 à 85 cm lang. In het noordelijke verspreidingsgebied wegen koala's bijna de helft minder. Zuidelijke koala's hebben een dikkere vacht dan die in het warmere noorden. De kleuren van de vachten variëren sterk per individu en worden lichter naarmate koala's ouder worden, maar de meeste zijn grijs met wit op de kin, borst, voorpoten en romp. Koala's hebben een korte staart, die geen functie lijkt te hebben.
Koala's komen voor in de eucalyptusbossen van de vier oostelijke deelstaten van Australië, Queensland, Nieuw-Zuid-Wales, Victoria en Zuid-Australië.
Koala's eten bijna uitsluitend bladeren van de eucalyptusboom. De bladeren zijn vezelrijk en bevatten gif dat voor de meeste andere dieren gevaarlijk is. Ze drinken bijna niet. Vocht wordt uit het voedsel gehaald. Omdat koala's een langzaam vertering hebben, slapen koala's zo'n 20 uur per etmaal, vaak in een boom.
Deze foto is gemaakt in Zoo Duisburg in Duitsland.
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All rights reserved. Copyright © Martien Uiterweerd (Foto Martien). All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without my written explicit permission.
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The kori bustard (Ardeotis kori) is the largest flying bird found throughout southern Africa. They inhabit wide, open grasslands and lightly wooded savanna.
The male kori bustard is 120 to 150 cm and may have a wingspan about 230 to 275 cm. Female length is from 80 to 120 cm with a wingspan of 177 to 220 cm.
Male birds may typically weigh between 7 and 19 kg.
The female kori bustard weighs an average of 4.8 to 6.1 kg.
This species, like most bustards, is a ground-dwelling bird and an opportunistic omnivore.
Kori bustards spend most of their time on the ground, with up to 70% of their time being on foot. Although, they can forage occasionally in low bushes and trees. It is an omnivore, eating both plant-like berries and animals like lizards, snakes and insects.
Male kori bustards, which can be more than twice as heavy as the female, attempt to breed with as many females as possible and then take no part in the raising of the young.
De koritrap (Ardeotis kori) is een grote vogel uit de familie van trappen. Het is een standvogel, die leeft in de graslanden, woestijnen en licht beboste savannes van zuidelijk Afrika.
Met een gewicht van 5 tot 19 kilogram is het de zwaarste vogel die kan vliegen. De koritrap kan 80 tot 150 cm lang worden. De vleugel-spanwijdte is 177 tot 220 cm. De vrouwtjes zijn tot de helft kleiner dan de mannetjes. Beide geslachten hebben een gelijk verenkleed.
De koritrap verblijft meestal op de grond, zoekende naar voedsel. Hij voedt zich met insecten en andere kleine dieren, maar ook plantaardig materiaal als zaden en gras. Het is een grondvogel, die niet graag vliegt, alleen in uiterste nood zal hij dit doen. Deze vogels bevinden zich meestal in de nabijheid van hoefdieren, waar ze jagen op insecten, die door de kudde worden opgeschrikt.
Deze foto is gemaakt in Zoo Duisburg in Duitsland.
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All rights reserved. Copyright © Martien Uiterweerd (Foto Martien). All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without my written explicit permission.
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I took the macro out to look for spiders and what did I find!!!! Clay-colored Sparrow! Thank goodness I had my little point and shoot!
I took the macro out to look for spiders and what did I find!!!! Clay-colored Sparrow! Thank goodness I had my little point and shoot!
1989 IVECO-Ford Cargo 3828 TS twin steer tractor unit in the livery of Derek Cooper Transport.
Cheffins Cooper Collection auction -
"VIN: SBCBXXCCDBJY07553 Recorded as an insurance total loss pay out way back in 1992, the Ford Cargo subsequently formed part of the Allan Carruthers collection in Scotland. The cab appears in very tidy order and the whole outfit is well turned out, ready for work or play and supplied with V5C documentation."
Unsold.
After the wonders of Moissac, I drove back North 125 kilometers to the small town of Souillac, back in the département of Lot but still in the old province of Quercy (and in the modern region of Occitania). According to unconfirmed local stories, the abbey of Souillac was founded by Saint Éloi († 660) before it was taken over by the Benedictines from Aurillac in the 900s. From that period, only the Western tower-porch remains.
Less famous than Moissac, this abbey was, for me, at least as interesting, beginning with the church, which has not been altogether transformed in the Gothic style like in Moissac, but retains its beauty and genuineness from the 1100s, as I hope you will see through the photos I will upload.
Sculpture is also at least as amazing at that of Moissac, and even more so in some respects —and it is in much better condition, for reasons that we will explore together as I caption the relevant photos.
Listed as a Historic Landmark on the first list of 1840, the abbey is not on the path to Compostela and was never known for housing any particularly famous relics, which is why the church, dedicated to Saint Mary, has no ambulatory around the choir.
I was very nicely received in Souillac by the local authorities as the photos I took contributed to the documentation of the nationwide crowdfunding project that is in place to restore parts of the church, under the ægis of the Fondation du Patrimoine (Mission Bern), for which I work as a pro bono photographer: www.fondation-patrimoine.org/les-projets/abbatiale-sainte....
On the other side of the western portal, opposite to the magnificent sculpture of Prophet Isaiah, is a representation of another prophet, Hosea.
This was undoubtedly sculpted by the same hand as Isaiah, but seem somewhat unfinished compared to that outstanding achievement, and of course it was severely damaged.
the child of a female worker is waiting for her mothers work to be finished. child care facilities is completely absent in maximum job in Bangladesh. including garments sector , govt. & private sector. only a few multinational organization has the facilities to keep the child in day care center situated in the work place. but in this picture where the mother is a day labor ..its beyond their imagination to get such facilities. they didn't even get any maternal leave . many pregnant women has to work hard like this due to maintain their life.
However Govt. sector & some private sector of Bangladesh allow 6 months maternal leave with full benefit.
Photo taken from The Printed Reality Group Exhibition. Projected image from ken craine
- Follow the link to The Print Reality Exhibition details
The woman at center right actually dropped her phone right after this and it nearly fell into the storm drains. Several passersby helped retrieve it.
Despite the sheer turnout, people took plenty of time to talk to one another and chat.
I have affectionately named this Grackle "Spot" as he has a white color variation on the top of his head. He is currently a regular visitor to my backyard feeders. I have come to understand after some internet research , that such "anomalous" color variations are not all that uncommon among Grackles. I never imagined that I would have anything approaching affection for the likes of a Grackle, but there you go. ;-) As of this writing, this morning I noticed another that has some white feathers on one of his wings. Stay tuned for documentation.