New Guinea Biodiversity
View allAll Photos Tagged Documentation,
Eurasian buzzard or common buzzard
Mäusebussard
[Buteo buteo]
documentation
This photograph is not composed. Indeed this are two individuals flying close behind one another.
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If interested in more photographs of mine, please visit my website
Lebanon, Ohio
This image is part of a project to photograph the Historical Markers in Lebanon, OH. Check out the album for the series.
The downtown commercial district of Lebanon is on the National Register of Historic Sites as are a of couple specific buildings. There are about 30 sites with markers out front placed by the Rotary Club. My goal of the project is to include one image of each marked site in the album. It could be a full image or some detail. I'm also trying (to the best of my ability) to make a good, interesting photograph and not just a snap shot or just "documentation" of each site. That is one reason it is taking me so long. It has taken me much longer than planned to finish the project.
Lebanon Commercial District National Register of Historic Places Ref# 84000429. Link to application catalog.archives.gov/id/71986380
Taken at the beginning of golden hour.
Historical Marker:
"The city building is Colonial Revival in style and was modeled after the chapel at Dennison University. It was dedicated in May of 1934. Two years earlier, the Opera House, built here 1878, burned down on Christmas morning. this is also where the county's first courthouse was constructed in 1805."
©Darren White Photography 2010 | All Rights Reserved | Please do not use without my permission.
Crazy waves along the Oregon Coast at Cape Kiwanda near Pacific City. No dramatic light or anything fancy like that...just basic documentation of the waves pounding the coast.
See the people in this image On Black
Any Photography Questions? Ask me here!!!
Camera: Nikon D300
Exposure: 0.6
Aperture: f/18.0
Focal Length: 16 mm
ISO Speed: 100
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.
More documentation on the development of my amaryllis - link to the Amaryllis Album is in the comments.
Berchtesgaden Documentation Center
Nikon D750, f/2.8, 1/40 sec, 14.0mm, ISO 500
AF-S Zoom-Nikkor 14-24mm f/2.8G ED
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.
www.flickr.com/photos/24928395@N06/34743515092/in/photost...
A nice new sparkly Union Pacific ET44AC was the DPU on an eastbound coal load at Elmhurst. I was on the way home from work and didn't have a "real camera" with me, so my phone was the only thing I had to document the nice fresh stick of butter.
The unmistakable silhouettes of young American Flamingos backlit by the setting sun. I had heard the excited banter of other bird watchers and photographers about the flamingos being seen at Ding Darling NWR. Having never seen one in the wild, I was hopeful to add a photo or two of one before the end of our Florida trip. After lunch one day, the three of us (Jenni, Ziggy (of course!) and I) headed into the refuge. Seeing a bunch of vehicles by the side of the road, we pulled over. To my amazement, there were a dozen immature flamingos lounging in the water! Much to my chagrin, I did not have a long lens with me, only my 24-120. Note to self – ALWAYS carry a big lens when on Sanibel! I snapped a few documentation photos and decided to head back to where we were staying to grab a more suitable lens. Knowing that the round trip would take close to an hour, I was skeptical that the birds would still be there. Luckily, I was wrong! Still there! I grabbed my gear, hopped out of the car, got into position, looked through the viewfinder and, drat! Heat distortion. Since it was midday and I was shooting across water, there was the dreaded shimmer of heat waves in the frame. I snapped away hoping that at least a few of my images would be usable.
We stayed with them for a while and then took off. After dinner, I decided to go back alone (too many bugs for Jenni and Ziggy) hoping again they would still be there. They were, but this time they had shifted to the other side of the road. Now the birds were side lit, creating harsh shadows. I decided to walk down the road a short distance to put the setting sun directly behind the birds. I dialed back the exposure and changed my white balance to shade and started shooting. At last, some images I liked! At some point a loud noise spooked the flock and off they flew. They circled around and then headed off into the distance. They are really unmistakable in flight! That’s a hint, BTW!
Taken on Sanibel Island, Florida.
My sincere thanks to all who spend the time to view, like or comment on my photos. It is much appreciated!
© 2024 Craig Goettsch - All rights reserved. Any unauthorized use without permission is prohibited.
Took some self portraits today to pass the time and keep myself warmed up. It's been a while.
Tomorrow I leave to go to LA, and it's most likely going to be the last time I go there just to visit, the next should be a little more permanent.
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.................................................best large for 50mm junkies...........................................................
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Dr. Clive Robbins, MT-BC, is a co-originator of Creative Music Therapy and has worked with developmentally and multiply disabled children for over fifty years. Throughout his sixteen years of teamwork, beginning in 1959, with Dr. Paul Nordoff, Dr. Robbins was continuously active in the practice, documentation, study, research, and demonstration of creative music therapy with children and adolescents and worked with children presenting a wide range of disabling conditions. Throughout the 1960s and 1970s he engaged in explorative clinical practice and research in a variety of settings in the United States, and in traveling and teaching extensively in treatment, training, and demonstration projects with children and adolescents in manylocations in Europe and Scandinavia.
From 1975 – 1981 he worked together with his wife Carol Robbins at the New York State School for the Deaf at Rome, New York and, in 1982, he relocated to Australia and established music therapy programs at Warrah Village, and Inala School, Sydney, Australia. During these years Clive Robbins was closely involved in establishing and developing treatment, training and research centers for the practice of Nordoff-Robbins Music Therapy in London (1974), Germany (1980), and Australia (1984). In 1989, with Carol Robbins, he established the Nordoff-Robbins Center for Music Therapy at New York University.
Through his clinical practice, teaching, supervision, lectures, workshops, writings, and media presentations with Paul Nordoff, 1959-74; Carol Robbins, 1975-96: and subsequently in collaboration with staff members of the Nordoff-Robbins Ceter for Music Therapy at New York University. Dr. Robbins has become internationally recognized for his teaching of clinical resources, his research into processes of music therapy, and for his commitment to higher standards of clinical practice, creativity and musicianship in music therapy. He continues to travel and teach internationally.
Clive Robbins holds honorary doctorates from Combs College of Music, Philadelphia; The University of Witten/Herdecke, Germany, and the State University of New York. With Paul Nordoff, he co-authored Music Therapy for Handicapped Children, 1965, St George Books; Therapy in Music for Handicapped Children, 1971-2005, Music Therapy in Special Education, 1971-2006, Creative Music Therapy, 1977-2007, all published by Barceona Publishers; and many books of musical activities for children, published by Theodore Presser. With Carol Robbins, he co-authored Music for the Hearing Impaired and Other Special Groups; Snow White: A Guide to Child Centered Music Theatre, Barcelona Publishers, and songs and musical plays for children. Together they also edited Healing Heritage: Paul Nordoff Exploring the Tonal Language of Music, 1998, Barcelona Publishers. With Michele Ritholz he edited Themes for Therapy 1999, and More Themes for Therapy 2003, Karl Fischer, New York. in 1997 he published What a Wonderful Song her Life Sang: An Anthology of Appreciation for Carol Robbins, and in 2005 he published A Journey into Creative Music Therapy, Barcelona Publishers.
China, Shanghai, Anting, "Shanghai Automobile Museum", VW Golf, a demonstration of floating separated rear parts of a VW Golf IV fastens at the ceiling with thin steel rods- Various interactive displays around the bottom lightened podium provide information about the individual parts.
The Museum officially opened an area of 11,700 square mtr, with a construction area of 27,985 square mtr, a building height of 32.45 mtr & a total exhibition area of about 10,000 square mtr to the public in January 2007.
According to its functions, the interior space of the Shanghai Automobile Museum is divided into five parts; the historical museum, the collection hall, the exploration hall, the temporary exhibition area & the conference & leisure area.
The Collection Pavilion stages milestones in automobile development from the years 1900 to 1975 with a collection of 39 classic & antique cars of more than 20 brands. Highlighted, on shiny aluminium platforms, are so-called "dream machines", dream cars that were considered unaffordable at all times. Original design products as well as films, photos & sound complete the automotive experience & allow visitors to immerse themselves in bygone times. The Collection Pavilion is located on the first upper floor of the Shanghai Auto Museum.
All-in-all, there are around 100 cars on display in the museum, dating back to the earliest automobiles from the late 19th century to the modern electric cars of this era. The accompanying documentation is also very well done, in both English & Chinese, also French & German-language audio guides.
The Shanghai Automobile Museum is a five-storey building with the essence of communication & integration of space, visual penetration & communication. The building’s façade is covered with a large area of transparent glass, allowing to enjoy the natural landscape of the surrounding park, there are several different levels of terraces, roof terraces & the interior of the building is designed to be open & closed.
The shape design of the venue uses a flowing curve, symbolizing the trajectory of the car at high speed, reflecting the sporty theme of the car museum & its architecture is also like a superimposed book, metaphorizing the museum’s knowledge & cultural taste.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
13 million visits in my photostream with countless motivating comments
Good morning everyone. Posted for today is what at best can be described as a strict "documentation" pic of my very first Red-eyed Vireo (Vireo olivaceus). Obviously it's not the best pic you'll ever see of this bird since it was taken at a very long distance for the bird's small size. At least 65 -75 feet and had to be cropped a lot.
The Red-eyed Vireo is strictly a woodland bird (deciduous forests is its preferred habitat) and small at 4.7 - 5.1 inches (12 - 13 cm) in length with a wing span of 9.1 - 9.8 inches (23 - 25 cm). Here it can be seen perched in a Canadian Hemlock.
While I'm pretty sure I identified this bird correctly, if anyone thinks I'm wrong please don't hesitate to correct me. Thank you.
And thank you for stopping by...I hope you're having a truly nice week.
Lacey
ISO1600, aperture f/8, exposure .003 seconds (1/320) focal length 630mm
fabriziomusacchio.com/blog/socialdistancing4
#Fujifilm #fujifilm_xseries #X100V #streetphotography #35mm #cologne during #covid19
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!
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.