View allAll Photos Tagged FAMILYGROUP
There was a group of coyote and this alpha female acted as the leader. I know she's a female because I watched long enough to see all the group of four pee. The alpha male is back behind with another male and a female. Like many packs, it may be a family group.
Todos los derechos reservados - copyright © Pilar Azaña Talán
Feliz con mi familia :-)
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Happy with my family :-)
We'd just landed in the Northen Serengeti headed for Nomad Lamai and look what crossed the runway just after we landed. I grabbed my camera and quickly captured the scene - a family of Maasai giraffe known as a 'journey'.
Groups of these boisterous, chatty and inquisitive birds seem to appear each year in the same locations. This party favours the semi-parkland and rain-forest vegetation near the Wynnum Mangrove Boardwalk.
Bronze sculpture by Henry Moore (1948-49) at Kew Gardens, London
"Henry Moore: Monumental Nature" exhibition
30/365 Thought I would go for an antique plate look on this (pretty poor) shot - best that came up today.
In between editing photographs from the Falklands Ride of Respect, I managed to slope off for a couple of hours to a Gold Member event at Yorkshire Wildlife Park.
Originally scheduled for 24 May, it was one of those "oh no" moments when the date changed. Not because I didn't want to go, but because the new date landed right in the middle of Ride of Respect editing. Still, some opportunities are too good to miss.
On Valentine's Day, Brook and Darcy welcomed four healthy female cheetah cubs into the world. As part of the breeding programme, that was excellent news. Their names are Dua, Rosa, Mila and Valentina, all chosen to reflect their Valentine's Day arrival.
For our allotted time, we were taken to the rear of the enclosure, an area not normally open to the public. The view was spot on and gave a completely different perspective. Although the cubs aren't used to crowds yet, they handled the attention remarkably well. Three were full of curiosity, investigating everything around them, while one preferred to sit back and watch from a safe distance.
Brook and Darcy are currently kept separate to avoid them becoming a little too comfortable with each other should future breeding plans be on the cards. Seeing them up close and on the same level as us was fascinating. My first thought was that Darcy is much smaller than I'd imagined.
The cubs, meanwhile, are at that wonderfully awkward stage. All gangly legs, slightly wild-looking camouflage hairstyles and the occasional high-pitched chirp. In other words, ridiculously cute.
Darcy proved to be a very attentive mother, keeping a close eye on her youngsters unless a keeper appeared with a bucket of chicken pieces, which understandably took priority. Unfortunately, she spent much of the session close to the fence, which made focusing a challenge, so there aren't as many photographs of her as I would have liked.
A lovely couple of hours away from the editing screen, and a real privilege to see the cubs at such a young age.
If that is Mrs. Sheehan of Lady Lane in Waterford then that is an amazing figure for a woman with seven children, corset or no corset! A really fine family group from the Poole Collection today with a really healthy looking family, a proud father and a remarkable woman!
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: ca. 1 July 1904
NLI Ref: POOLEWP 1368
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
This is a family group. The small one in the foreground is this year's foal. Assateague Island National Seashore, Assateague Island, Maryland.
This lioness & her cubs (panthera leo) were initially looking straight at me. Something off to their right caught their attention and they all stared off in that direction for a few minutes. I couldn't see anything other than more sand and dry grass - of course, their senses are way more developed than mine so whatever it was remains a mystery to me. Photographed in The Okavango, Botswana. More at "Colin Pacitti Wildlife Photography & Fishing Travels" - www.colin-pacitti.com.
The Common Crane (Grus grus), also known as the Eurasian crane, is a bird of the family Gruidae, the cranes. A medium-sized species, it is the only crane commonly found in Europe besides the demoiselle crane (Anthropoides virgo). Along with the sandhill (Grus canadensis) and demoiselle cranes and the brolga (Grus rubicunda), it is one of only four crane species not currently classified as threatened with extinction or conservation dependent on the species level. Despite the species' large numbers, local extinctions and extirpations have taken place in part of its range, and an ongoing reintroduction project is underway in the United Kingdom
Taken in West Bay Dorset, the home of TV drama Broadchurch.
Mum resting at the foot of the beach, while 4 family members climbed to the top.
This young female couldn't get enough mineral salts from the surface dust, and so knelt down and used her tusk to dig into the soil and loosen it..
A commission to photograph Mrs. Casey's children looks like it might have been a pleasure to do. Fine young girls and boys, very spruced up and serious for such a solemn occasion. The accoutrements of the Poole studio are on display and the rug is neat and clean - what more could you ask for?
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: ca. 22 October 1913
NLI Ref: POOLEWP 2500
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
The Duchess of St. Albans and her guests pose in the garden for Mr. Poole. And it seems a number of the party are careful to show their best sides to the camera! I suspect that the dress and hairstyles will make this a relatively easy shot to date. But how about naming the participants? Have a great weekend everybody!
While we don't have names (yet) for the other guests, the lady of the house and commissioner of the image (presumed to be the seated lady with the larger hat) was Grace Bernal-Osborne, Duchess of Saint Albans (c.1846-1926). There's a suggestion that her husband, the 10th Duke of Saint Albans, is not pictured. WIth consensus that the image was likely captured at Newtown Anner House, outside Clonmel, County Tipperary. Probably in around the 1900s. But certainly not after the 1920s.
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: Catalogue range c.1901-1954. Definitely before c.1926. Likely c.1900s.
NLI Ref: POOLEWP 2215
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Another entry for our "Focus on our Photographers" Album. I am hopeful of finding names for quite a few of this jolly group. I wonder which of the two men is our Mr Hogan and who took the photo? I suppose if it is the man on the right; he could have used a delay timer and had time enough to get back in position?
The consensus is that this was most likely taken with a timer - accounting for the photographer's casual ("just got here") stance to the far right. Compared to the more carefully placed ("left a bit Mary") positioning of the other subjects. We've published many of Hogan's mainly Civil War era photographs on this stream before (and in the Witness to War exhibition), and are delighted to see him in more casual surroundings....
With thanks to our amazing contributors, we learned a lot about W.D. Hogan during the discussion on this image. We knew he was a commercial photographer, with a studio on Henry Street, Dublin from 1920-1935, and that he supplied photographs to the Freeman’s Journal and Cork Examiner. We've since learned more about his life before and after this period - well captured in the comments below. As provided by guliolopez, the obituary notice for William David Hogan (1885-1956) reads:
Death of Mr W. D. Hogan
Mr. William D. Hogan, late of Fair-view, Dublin, who was very widely known in Dublin in the nineteen-twenties, has died in London aged 71.
A native of Mallow, he popularised the phrase "Hogan for Radio" in Dublin, but besides his radio in-terests he was a keen photographer and made one of the last photo-graphs of Michael Collins before the Irish leader's tragic death. His radio business was in Henry St. from which many heard their first broad-casts, including Dublin's 2RN.
In London he developed an exten-sive business as a wedding photo-grapher in the Fulham Palace Road, but of late years he suffered serious sight trouble and for the past six months was gravely ill.
He is survived by his wife, sons, daughters, grandchildren, brother and sisters.
Photographer: W. D. Hogan?
Collection: Hogan Wilson Collection
Date: Circa 1942
NLI Ref.: HOG237
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
The paddle steamer Montreux is one of a handful of small ships that circumnavigate Lake Geneva. They are used by commuters and tourists alike. This photograph was taken close to Vevey.
I found this little family on land under the trees, with two adult ducks herding them all together. Then they all headed down to the water, and off they went. Too cute!
This portrait of a mature family -with one son(?) in uniform- is today's shot from the Poole Collection. As it would appear to have been taken in November 1918, it was possibly taken to celebrate the survival of that man from the horrors of the "Great War to end all wars"?
The commissioner of this image was a "Mrs. Hally, Coolnacopogue, Tramore". While our intrepid investigators have identified a Hally/Halley family (in the Coolnagoppoge area near Tramore) in the 1901 and 1911 censuses, there's a question if those pictured are entirely from that family. Mrs. Mary Hally would have been nearly 60 in 1918, and perhaps therefore the older of the women pictured. While it also seems plausible that at least some of the chaps in the backrow are her sons (Walter, Thomas, and/or Patrick - all in their mid 30s), the chap in the uniform looks a little fresh-faced to be youngest (Patrick, 33). It could well be that the Hally family just aged incredibly well - or perhaps the date of the image out by a few years. In any event, it seems that we have other photographs commissioned by Mrs. Hally in the catalogue. Once those are fully digitised, perhaps we'll get confirmation one way or the other....
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: c.30 November 1918
NLI Ref: POOLEWP 2791
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
It's the end of January and I am officially tired of winter; unfortunately, we still have about six weeks of it remaining. But I'm craving the colour green, the sounds of birdsong and the sense of regeneration as new life explodes across the prairie. Yesterday I posted a shot of a prairie dog town in the dead of winter, swept by snow, held dormant in deep-freeze. Here's what a dogtown looks like in summer - quite a difference!
Do Black-tailed Prairie Dogs really kiss? Well, this is certainly a common sight; they often touch faces on greeting. Is it family bonding, identification, affection? Are they whispering secrets? Meanwhile one of their offspring appears to be trying to redefine togetherness. Ah, speculate away! At best we can say it's some form of complex social interaction that no doubt serves a purpose. Beyond that, who knows? Scientific data will never get us into the mind of another species.
Photographed in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2016 James R. Page - all rights reserved.
Oh, you are a mucky kid
Dirty as a dustbin lid
When he hears the things that you did
You'll get a belt from yer da
Cilla Black
Great song ... Needed resurrecting from back in the 60's.
He is really quite a big kid; getting a drink in Etosha National Park.
Maycock's Bay, St. Lucy, Barbados - January 2025: In a serene outdoor setting, sheep and their young play among scattered hay, surrounded by greenery under bright daylight. The animals roam freely, enjoying the fresh environment.
... near Dorking in Surrey.
www.nationaltrust.org.uk/box-hill
Click on the image to see a larger view.
Hats, fur coats, fur stoles, wing collars, centre partings, cows-licks and so much more to show how fashions have changed since this shot was taken for Mr. Magner way back when! I'm not too sure I would want to take on the mother-in-law second from the right!
Quick off the mark this morning, sharon.corbet gave us the text of the newspaper announcement of the wedding pictured:
MAGNER AND SMYTH—October 9, 1917, at Tramore, by the Rev. T. O'Brien, C.C., Passage-West,- William J. Magner, eldest son of John Magner, Clonmel, to Catherine (Kitty) Smyth, daughter of Mr. Edmund Smyth, Cattle Dealer, Clonmel
The date, most of the subjects, and possible town/county locations were therefore identified. And our intrepid band of Flickroonies quickly filled-in some background. Including that the groom (William Magner) was almost certainly from the Clonmel family behind the Magners/Bulmers cider brand. And that the bride's family (Kitty Smyth) was involved in the cattle and newspaper trades in the same town....
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: c.10 October 1917
NLI Ref: POOLEWP 2728
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
This may be a family group: mother to left, father right, and daughter in the middle.
Regrettable image quality (shot diagonally through the dining room window, power pole 75 feet from the house), but the content is unusual enough to warrant keeping.
After posting this shot, I went back to check the circumstances. Turns out I was shooting through a double-glazed window at an angle of about 30 degrees. The fact the XQD card received anything at all is strictly a function of the Nikkor 300mm f4 PF (and 1.4 TC III) lens quality.
Mother puma and two kittens near their den in the carbonate microbialites of Lago Sarmiento, Patagonia. The young pumas stay with their mother for 2 years and there was another kitten and also a yearling in the vicinity of the den.
09/03/2019 www.allenfotowild.com
This group of statues portrays the family of Neferherenptah, a Wah priest who supervised the funerary cult of the two great kings of the Fourth Dynasty, Khufu and Menkaure.
Neferherenptah, also known as Fifi, the head of the family is represented as a characteristic pose for male statuary. His statue rests on a base that rises at the back to form a wide dorsal pillar. Both pillar and base are painted black although areas of this colour are now faded.
Fifi wears a medium-length curly black wig that covers his ears completely. A white and blue usekh necklace hangs around his neck. He is dressed in a short white kilt with a belt in relief at the waist. Fifi's plump face has large painted eyes with blue irises topped by long raised eyebrows that follow the shape of his eyes slanting gently down at the outer ends. His calm gaze appears to be directed heavenwards. His nose is fairly large and broad and a narrow moustache above his small, fleshy mouth provides a decorative touch.
Fifi's body is well proportioned and with visible if not prominent muscles. Regardless of its relatively small size and a certain rigidity of form, this statuette is an appealing example of the sculpture produced at the end of the Fifth Dynasty. Inside the serdab Fifi's tomb his statuette was placed in the centre, between his daughter (on the left) and his wife (right), while the couple's son was on the far side of his sister.
The statuette of Satmeret, Fifi's wife, stands on a low base with a dorsal pillar. Her rather stiff pose contrasts with the bright colours that are a striking feature of the statuette. Smaller in size than her husband, Satmeret is portrayed standing with her arms held rigidly against her body, hands on her thighs. She is wearing a medium-length black wig, its curls created with tiny grooves. On her forehead, her real hair can just be seen beneath the edge of the wig. The rigidity of her body is also reflected in her facial features: her wide-open eyes have dilated pupils, painted black. Her nose is short and her mouth appears to be firmly closed. Around her neck, she wears a multicoloured collar and a wide usekh necklace comprised of rows painted blue, white and red. Hanging from the necklace is another adornment: a wide rectangular band formed of rows of variously coloured beads, adding a colourful note to her white robe. The robe is tight-fitting and long, reaching to her calves. The fabric is meant to be flimsy and elegant, revealing the form of her body underneath. Her well-rounded breasts, stomach muscles and shapely legs - barely concealed - offer a striking, perhaps even deliberate contrast with the conventional posture and rigidity of the rest of the sculpture.
Although the statuette of Itisen, the couple's son, is smaller in size he is depicted as an adult rather than a child. He is sitting on a cube-shaped seat with a plinth but no back. His clenched right hand is placed vertically on his knee, his left hand is palm down. He is wearing a curly black wig, shorter than his father's, that follows the lines of his face. Around his neck is the white outline (not painted) of a broad necklace. He is clothed in a short white kilt with a pleated border, held up by a belt with a small piece of material projecting from it.
Itisen has a rather round face and large eyes with black-painted pupils surmounted by painted eyebrows in relief. His nose is neatly shaped, and his slightly protruding mouth is not wide but has fleshy lips. His slender neck is set on broad shoulders that contrast with his lean torso, divided vertically by a median groove that narrows noticeably towards the waist. Although thin his knees and legs are meticulously carved; their shape makes it possible to visualize the bone structure beneath. His skin is painted dark ochre. Like the statuettes of his parents, Itisen is also characterized by a marked rigidity of form, only partly relieved and brightened by the strong colours.
Of the four statuettes found in the serdab of Neferherenptah's mastaba, that of Meretites, sister of Itisen, is the most expressive. Admittedly it lacks much of the colour that in some way gives life and luminosity to the others, but the almost ecstatic look of Meretite's face and the soft lines of her body confer a particular elegance and hieratic grace. Slightly larger than her brother he is represented in the classic seated pose with her hands open, palms down on her knees. She is wearing an ankle-length robe and as a note of adornment, a broad, unpainted necklace. Covering her head is a rather voluminous, medium-length wig with tiny braids that start from a central parting. On her forehead, her real hair can just be seen beneath the edge of the wig. She is leaning her head very slightly backwards with the result that her rather wide face seems to be turned upwards. Her eyes too appear to be raised towards some unknown point and have an almost inspired look. Her nose is regular and her mouth, carved with soft, precise lines, has pronounced lips. Meretites has a straight back, less prominent breasts than her mother and more rounded torso and hips. She appears to have been fashioned in keeping with older aesthetic canons dating back to between the end of the Third and the beginning of the Fourth Dynasties.
(Egyptian Treasures from the Egyptian Museum in Cairo, ed. Tiraditti)
From priest's mastaba tomb,
Giza cemetery
JE 87804, JE 87805, JE 87806, JE 87807
Egyptian Museum, Cairo