View allAll Photos Tagged Fictitious
Hi Everyone! My name is Piglet. I was born at the Billings Farm in Woodstock, Vermont, and have lived in this home for many years. My Dad said that I wasn't real, but I know that I am! But I don't think that this other piglet, who looks just like me, is real...
Single large softbox, upper left. 2.875 inches in greatest dimension.
Macro Mondays - Fictitious.
Between Lambeth Bridge and Vauxhall Bridge looking west towards the recently built St George Wharf Tower and building there which has aeroplane-like tops to the building. The MI6 building (fictitiously blown up in James Bond) is also on the left.
Le Petit Prince -
Antoine de Saint-Exupéry
the most delightful book I have read
for Macro Mondays: fictitious
Winston Smith passing Julia on his way to work in the Records Department of the Ministry of Truth.
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Miniatur Wunderland (German for miniature wonderland) is a model railway attraction in Hamburg, Germany, and the largest of its kind in the world. The railway is located in the historic Speicherstadt district of the city. In September 2015 the railway consisted of 15,400 metres (50,525 ft) of track in HO scale, divided into seven sections: Harz, the fictitious city of Knuffingen, the Alps and Austria, Hamburg, America, Scandinavia, Switzerland and a replica of the Hamburg Airport. Of the 6,400 square metres (68,889 sq ft) of floorspace, the model takes 1,300 m2 (13,993 sq ft).[1]
By 2020, the exhibit is expected to have reached its final construction phase, including at least a total of ten new sections in a model area of over 2,300 m2 (24,757 sq ft).[1] The next section is Italy and is scheduled to open in the spring of 2016. The exhibit includes 930 trains made up of over 14,450 carriages, 335,000 lights, 228,000 trees, and 215,000 human figurines. Planning is also in progress for the construction of sections for France, England, Africa and Australia.[2]
60mm section of a small mug
The Moomins are the central characters in a series of novels, short stories, and a comic strip by Finnish writer and illustrator Tove Jansson, originally published in Swedish by Schildts in Finland. They are a family of white, round fairy-tale characters with large snouts that make them resemble the hippopotamus
Located on the western side of Tiber Island, the hospital was established in 1585 and is currently run by the Brothers Hospitallers of Saint John of God. The hospital is known for having sheltered Jews during the Holocaust by diagnosing them with a fictitious disease called "Syndrome K".
Source: Wikipedia
“So, if I were to wrap this up tight with a bow or whatever, I guess I’d say my armor, it was never a distraction or a hobby: it was a cocoon. And now, I’m a changed man. You can take away my house, all my tricks and toys. One thing you can’t take away? I am Iron Man.”
-Tony Stark (Iron Man)
Captain Haddock's Nightmare
Ma proposition pour Macro Mondays sur le thème ""Fictitious" (fictif)
Le capitaine Archibald Haddock est apparu dans les aventures de Tintin le 2 janvier 1941 dans "Le Crabe aux pinces d'or".
Hergé l'a doté d'un goût immodéré pour le whisky, ce qui entraine bien des déboires pour le marin : manque, dépression, hallucinations... et lorsque la dernière goutte lui échappe, c'est un cauchemar !
La tête de la figurine mesure 23mm, du bout du nez jusqu'à l'arrière du crâne, et 25mm du bas de la barbe jusqu'en haut des cheveux.
J'ai utilisé une mignonnette, petite bouteille publicitaire (5cl) dont le goulot mesure 17mm de diamètre.
***
Captain Archibald Haddock appeared in The Adventures of Tintin on January 2, 1941 in "The Crab with the Golden Claws"
Hergé gave him an immoderate taste for whisky, which leads to many setbacks for the sailor: depression, hallucinations... and when the last drop escapes him, it's a nightmare!
The head of the figurine measures 23mm, from the tip of the nose to the back of the skull, and 25mm from the bottom of the beard to the top of the hair.
I used a miniature, a small 5cl advertising bottle with a neck measuring 17mm in diameter.
EF100mm f/2.8 L IS USM
Stack de 40 images capturées avec Helicon Remote et assemblées avec Helicon Focus
"Macro Mondays"
"Fictitious"
✨ in Explore! March 9, 2024 ✨
House Wall [Digital Art]
I made this picture from several pictures.
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Any resemblance to reality is fictitious.
© Fritz ZFG 2024 All Rights Reserved
Please do not use this image on any website, blog
or other media without my express permission.
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WE 6353 eases 19 empty coke hoppers down the Matt Branch. Originally built in 1974 as KCS 664 the locomotive is most famously known as fictitious AWVR 1206 in the 2010 movie Unstoppable starring Denzel Washington and Chris Pine.
L’église de San Nicolás de Bari est l’un des joyaux les plus fascinants de la Communauté Valencienne. À tel point qu’elle est populairement connue sous le nom de la Chapelle Sixtine de Valence, tout comme l’église de la Virgen del Ara en Estrémadure. Cette dénomination si particulière provient de sa restauration en 2016, bien qu’elle ait été classée Monument Historique Artistique National depuis 1981. Située dans le centre historique de la ville c’est le parfait exemple de la coexistence d’un édifice à l’architecture gothique du XVe siècle avec une décoration baroque frappante du XVIIème siècle.
Les fresques de l’église de San Nicolás de Bari et de San Pedro Mártir à Valence brillent à la suite de leur dernière restauration. Il est difficile de ne pas rester stupéfait en contemplant les chapelles, les autels et les voûtes de l’église, soignés dans les moindres détails. Plusieurs restaurations eurent lieu tout au long de son histoire, comme celle qui fut faite sur ordre de la famille Borja entre 1419 et 1455. C’est à ce moment que la voûte à nervures gothique de la nef centrale fut réalisée.
Deux cents ans plus tard, entre 1690 et 1693, l’intérieur de l’église fut recouvert d’une décoration baroque. Dans le même temps, des fresques furent ajoutées à la nef centrale qui représente des scènes de la vie des deux saints patrons de la paroisse, San Nicolás de Bari et San Pedro Mártir. La conception en fut réalisée par Antonio Palomino et la peinture par son disciple Dionís Vidal en 1700. Les peintures montrent des scènes de leur enfance, de leur prédication, des miracles accomplis et de leur mort.
Sur les peintures, vous pouvez observer des ouvertures fictives qui évoquent le ciel. Quant aux scènes de la vie des saints, la voûte est divisée en deux parties, correspondant à chacun des saints. Les deux convergent dans le presbytère créant une gloire des anges et des architectures fictives. Ce sont près de 2 000 m2 de peinture qui témoignent de la magnificence de l’église.
The Church of San Nicolás de Bari is one of the most fascinating jewels of the Valencian Community. So much so that it is popularly known as the Sistine Chapel of Valencia, just like the Church of the Virgen del Ara in Extremadura. This particular name comes from its restoration in 2016, although it has been classified as a National Historic Artistic Monument since 1981. Located in the historic center of the city, it is the perfect example of the coexistence of a building with 15th century Gothic with striking 17th century Baroque decoration.
The frescoes in the Church of San Nicolás in Bari and San Pedro Mártir in Valencia shine following their latest restoration. It is difficult not to be amazed contemplating the chapels, altars and vaults of the church, cared for in every detail. Several restorations took place throughout its history, such as the one that was made by order of the Borja family between 1419 and 1455. It was at this time that the Gothic ribbed vault of the central nave was made.
Two hundred years later, between 1690 and 1693, the interior of the church was covered with Baroque decoration. At the same time, frescoes were added to the central nave which depict scenes from the life of the two patron saints of the parish, San Nicolás de Bari and San Pedro Mártir. It was designed by Antonio Palomino and painted by his disciple Dionís Vidal in 1700. The paintings show scenes from their childhood, their preaching, miracles performed and their deaths.
On the paintings, you can observe fictitious openings that evoke the sky. As for the scenes from the lives of the saints, the vault is divided into two parts, corresponding to each of the saints. The two converge in the presbytery creating a glory of angels and fictional architectures. Nearly 2,000 m2 of painting bear witness to the magnificence of the church.
♫ Fable (Dream Version) – Robert Miles
fable
NOUN
1. a fictitious story meant to teach a moral lesson: the characters are usually talking animals
2. a myth or legend
3. a story that is not true; falsehood
L’église de San Nicolás de Bari est l’un des joyaux les plus fascinants de la Communauté Valencienne. À tel point qu’elle est populairement connue sous le nom de la Chapelle Sixtine de Valence, tout comme l’église de la Virgen del Ara en Estrémadure. Cette dénomination si particulière provient de sa restauration en 2016, bien qu’elle ait été classée Monument Historique Artistique National depuis 1981. Située dans le centre historique de la ville c’est le parfait exemple de la coexistence d’un édifice à l’architecture gothique du XVe siècle avec une décoration baroque frappante du XVIIème siècle.
Les fresques de l’église de San Nicolás de Bari et de San Pedro Mártir à Valence brillent à la suite de leur dernière restauration. Il est difficile de ne pas rester stupéfait en contemplant les chapelles, les autels et les voûtes de l’église, soignés dans les moindres détails. Plusieurs restaurations eurent lieu tout au long de son histoire, comme celle qui fut faite sur ordre de la famille Borja entre 1419 et 1455. C’est à ce moment que la voûte à nervures gothique de la nef centrale fut réalisée.
Deux cents ans plus tard, entre 1690 et 1693, l’intérieur de l’église fut recouvert d’une décoration baroque. Dans le même temps, des fresques furent ajoutées à la nef centrale qui représente des scènes de la vie des deux saints patrons de la paroisse, San Nicolás de Bari et San Pedro Mártir. La conception en fut réalisée par Antonio Palomino et la peinture par son disciple Dionís Vidal en 1700. Les peintures montrent des scènes de leur enfance, de leur prédication, des miracles accomplis et de leur mort.
Sur les peintures, vous pouvez observer des ouvertures fictives qui évoquent le ciel. Quant aux scènes de la vie des saints, la voûte est divisée en deux parties, correspondant à chacun des saints. Les deux convergent dans le presbytère créant une gloire des anges et des architectures fictives. Ce sont près de 2 000 m2 de peinture qui témoignent de la magnificence de l’église.
The Church of San Nicolás de Bari is one of the most fascinating jewels of the Valencian Community. So much so that it is popularly known as the Sistine Chapel of Valencia, just like the Church of the Virgen del Ara in Extremadura. This particular name comes from its restoration in 2016, although it has been classified as a National Historic Artistic Monument since 1981. Located in the historic center of the city, it is the perfect example of the coexistence of a building with 15th century Gothic with striking 17th century Baroque decoration.
The frescoes in the Church of San Nicolás in Bari and San Pedro Mártir in Valencia shine following their latest restoration. It is difficult not to be amazed contemplating the chapels, altars and vaults of the church, cared for in every detail. Several restorations took place throughout its history, such as the one that was made by order of the Borja family between 1419 and 1455. It was at this time that the Gothic ribbed vault of the central nave was made.
Two hundred years later, between 1690 and 1693, the interior of the church was covered with Baroque decoration. At the same time, frescoes were added to the central nave which depict scenes from the life of the two patron saints of the parish, San Nicolás de Bari and San Pedro Mártir. It was designed by Antonio Palomino and painted by his disciple Dionís Vidal in 1700. The paintings show scenes from their childhood, their preaching, miracles performed and their deaths.
On the paintings, you can observe fictitious openings that evoke the sky. As for the scenes from the lives of the saints, the vault is divided into two parts, corresponding to each of the saints. The two converge in the presbytery creating a glory of angels and fictional architectures. Nearly 2,000 m2 of painting bear witness to the magnificence of the church.
good evening
My name is Berti. I'm one of the Mainzelmännchen. They are six cartoon characters, who primarily serve as advertising separators on TV.
This is an old figure, today they look a bit different.
A warp drive is a theoretical superluminal spacecraft propulsion system in many science fiction works, most notably Star Trek and I, Robot by Isaac Asimov. A spacecraft equipped with a warp drive may travel at speeds greater than that of light by many orders of magnitude. In contrast to some other fictitious FTL technologies such as a jump drive, the warp drive does not permit instantaneous travel between two points, but rather involves a measurable passage of time which is pertinent to the concept. In contrast to hyperdrive, spacecraft at warp velocity would continue to interact with objects in "normal space." The general concept of "warp drive" was introduced by John W. Campbell in his 1931 novel Islands of Space
Wiki
Mind how you go !!
Andromeda M31
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Kylo Ren figurine from the last trilogy of Star Wars’s.
Only son of Han Solo (deceased by Kylos Lightsaber) and Princess Leia Organa (deceased in a complicated Force type way).
L’église de San Nicolás de Bari est l’un des joyaux les plus fascinants de la Communauté Valencienne. À tel point qu’elle est populairement connue sous le nom de la Chapelle Sixtine de Valence, tout comme l’église de la Virgen del Ara en Estrémadure. Cette dénomination si particulière provient de sa restauration en 2016, bien qu’elle ait été classée Monument Historique Artistique National depuis 1981. Située dans le centre historique de la ville c’est le parfait exemple de la coexistence d’un édifice à l’architecture gothique du XVe siècle avec une décoration baroque frappante du XVIIème siècle.
Les fresques de l’église de San Nicolás de Bari et de San Pedro Mártir à Valence brillent à la suite de leur dernière restauration. Il est difficile de ne pas rester stupéfait en contemplant les chapelles, les autels et les voûtes de l’église, soignés dans les moindres détails. Plusieurs restaurations eurent lieu tout au long de son histoire, comme celle qui fut faite sur ordre de la famille Borja entre 1419 et 1455. C’est à ce moment que la voûte à nervures gothique de la nef centrale fut réalisée.
Deux cents ans plus tard, entre 1690 et 1693, l’intérieur de l’église fut recouvert d’une décoration baroque. Dans le même temps, des fresques furent ajoutées à la nef centrale qui représente des scènes de la vie des deux saints patrons de la paroisse, San Nicolás de Bari et San Pedro Mártir. La conception en fut réalisée par Antonio Palomino et la peinture par son disciple Dionís Vidal en 1700. Les peintures montrent des scènes de leur enfance, de leur prédication, des miracles accomplis et de leur mort.
Sur les peintures, vous pouvez observer des ouvertures fictives qui évoquent le ciel. Quant aux scènes de la vie des saints, la voûte est divisée en deux parties, correspondant à chacun des saints. Les deux convergent dans le presbytère créant une gloire des anges et des architectures fictives. Ce sont près de 2 000 m2 de peinture qui témoignent de la magnificence de l’église.
The Church of San Nicolás de Bari is one of the most fascinating jewels of the Valencian Community. So much so that it is popularly known as the Sistine Chapel of Valencia, just like the Church of the Virgen del Ara in Extremadura. This particular name comes from its restoration in 2016, although it has been classified as a National Historic Artistic Monument since 1981. Located in the historic center of the city, it is the perfect example of the coexistence of a building with 15th century Gothic with striking 17th century Baroque decoration.
The frescoes in the Church of San Nicolás in Bari and San Pedro Mártir in Valencia shine following their latest restoration. It is difficult not to be amazed contemplating the chapels, altars and vaults of the church, cared for in every detail. Several restorations took place throughout its history, such as the one that was made by order of the Borja family between 1419 and 1455. It was at this time that the Gothic ribbed vault of the central nave was made.
Two hundred years later, between 1690 and 1693, the interior of the church was covered with Baroque decoration. At the same time, frescoes were added to the central nave which depict scenes from the life of the two patron saints of the parish, San Nicolás de Bari and San Pedro Mártir. It was designed by Antonio Palomino and painted by his disciple Dionís Vidal in 1700. The paintings show scenes from their childhood, their preaching, miracles performed and their deaths.
On the paintings, you can observe fictitious openings that evoke the sky. As for the scenes from the lives of the saints, the vault is divided into two parts, corresponding to each of the saints. The two converge in the presbytery creating a glory of angels and fictional architectures. Nearly 2,000 m2 of painting bear witness to the magnificence of the church.
“There exists,” Merton says, “some point at which I can meet God in a real and experimental contact with His infinite actuality: and it is the point where my contingent being depends upon His Love.” The “point” Merton speaks of is a point of mysterious identity that is neither a created reality nor an uncreated reality but a “place” where both intersect. It is a point where, in a mystery beyond fathoming, God and I are one and I experience Him. The secret, of course, is that I must really meet Him at this point. If I do not really meet Him, the God on whom I think I depend will be a fictitious God of my own making; and I will not meet him. Indeed, I cannot meet him because such a God does not exist. He is an idol. But if I really meet Him at this point of intersection of what is divine and what is human, the One I meet will be the True God as He is in Himself. For the God on Whom I actually depend can only be the True God as He is in His own reality. Nothing less than the True God can be the One on Whose Love I depend for my very existence.
-William H. Shannon, Thomas Morton’s Dark Path
Technikmuseum Speyer "Brazzeltag"
The DMC-12 became a legend thanks to its appearance in the film trilogy 'Back to the Future'. In this film, a fictitious nuclear reactor operates in the rear of the car alongside the combustion engine, providing energy for the ‘flux compensator’ that makes time travel possible. In the fictional future, the nuclear reactor is later replaced by the fusion reactor ‘Mr Fusion’.
#MacroMondays
#Fictitious
A snake? A dragon? Both, I'd say. In a fantasy world, where a year has 13 months, the Dragon Serpent is the 13th zodiac sign, and the element of fire reigns every 13th year.
This Schleich mini figurine came to my rescue when I couldn't make my original idea work. I had ventured out to a nearby toy shop replete with checkout negotiation dramas (boy, about 4: "Look, Dad, look, I absolutely still need this set, it has these special parts. I need it!" Dad, while paying for the baby doll for the boy's toddler sister who was wailing at the top of her voice because the evil lady at the register had "taken away" her new toy: "I. Won't. Buy. You. This. Today. You've. Had. Enough.") and returned home with two (too) large Schleich figures – a huge black T-Rex with an articulating mouth (and a very impressive set of teeth), and a "stone monster" troll figure with arms (and hands) bigger than Hulk's and an articulating mouth as well. With the latter, I had the idea of doing a "stone, paper, scissor" type of image, because paper beats stone ("How to shut up a Troll"). But (not surprisingly) it didn't work within the 3-inch limit even though the stone monster has a fairly small head (compared to its body) that probably contains a brain the size of a speck of dust.
So in the end I used what I already had in one of my many MM boxes. A few years or so ago, I bought a set of these "Schleich Minis", as usual with a possible MM use in mind. They are most likely part of Schleich's "Eldrador" fantasy world that is inhabited by all kinds of gruesome monsters and dragons. Just my type of thing ;)
For this small scene, I put the "dragon serpent" figurine (which is 4,5 cm/1,77 inches long) in front of a necklace that I have already used for two other MM themes ("Copper" from May 2019 and "Pouch" from September 2020, both images are in the first comment), so I knew it would yield some nice background bokeh. I wanted to create something reminiscent of traditional Chinese zodiac design. I made the pendant stand up with the help of a small piece of modeling clay. The first idea was to also drape the serpent in gold chains, but that looked too busy. So I used only the pendant and its chain which I laid out in three straight lines for a harmonious-looking background. The dragon serpent sits on a gold-coloured piece of cardboard that once was part of food packaging. Its uneven surface looks like soft ripples of water which I think looks nice in this setup and adds depth to the image. The final image is a focus stack made of 15 images which I've combined in Helicon Focus (method C, smoothing 5).
HMM, Everyone!
This is an entirely fictitious scene - the combination of two of my photos of Giverny taken in August 2013 and achieved by photo manipulation
According to Kitty's official profile, she is five apples tall, but this miniature Kitty is 1cm tall.
Every inch of our planet—and no one can convince us otherwise—is part of a timeless sacred order that Western thought and its destructive lifestyle have degraded and reduced to mere commodities, for a fictitious and spurious temporary benefit and a false sense of progress."
T.H. Delhaze
L’église de San Nicolás de Bari est l’un des joyaux les plus fascinants de la Communauté Valencienne. À tel point qu’elle est populairement connue sous le nom de la Chapelle Sixtine de Valence, tout comme l’église de la Virgen del Ara en Estrémadure. Cette dénomination si particulière provient de sa restauration en 2016, bien qu’elle ait été classée Monument Historique Artistique National depuis 1981. Située dans le centre historique de la ville c’est le parfait exemple de la coexistence d’un édifice à l’architecture gothique du XVe siècle avec une décoration baroque frappante du XVIIème siècle.
Les fresques de l’église de San Nicolás de Bari et de San Pedro Mártir à Valence brillent à la suite de leur dernière restauration. Il est difficile de ne pas rester stupéfait en contemplant les chapelles, les autels et les voûtes de l’église, soignés dans les moindres détails. Plusieurs restaurations eurent lieu tout au long de son histoire, comme celle qui fut faite sur ordre de la famille Borja entre 1419 et 1455. C’est à ce moment que la voûte à nervures gothique de la nef centrale fut réalisée.
Deux cents ans plus tard, entre 1690 et 1693, l’intérieur de l’église fut recouvert d’une décoration baroque. Dans le même temps, des fresques furent ajoutées à la nef centrale qui représente des scènes de la vie des deux saints patrons de la paroisse, San Nicolás de Bari et San Pedro Mártir. La conception en fut réalisée par Antonio Palomino et la peinture par son disciple Dionís Vidal en 1700. Les peintures montrent des scènes de leur enfance, de leur prédication, des miracles accomplis et de leur mort.
Sur les peintures, vous pouvez observer des ouvertures fictives qui évoquent le ciel. Quant aux scènes de la vie des saints, la voûte est divisée en deux parties, correspondant à chacun des saints. Les deux convergent dans le presbytère créant une gloire des anges et des architectures fictives. Ce sont près de 2 000 m2 de peinture qui témoignent de la magnificence de l’église.
The Church of San Nicolás de Bari is one of the most fascinating jewels of the Valencian Community. So much so that it is popularly known as the Sistine Chapel of Valencia, just like the Church of the Virgen del Ara in Extremadura. This particular name comes from its restoration in 2016, although it has been classified as a National Historic Artistic Monument since 1981. Located in the historic center of the city, it is the perfect example of the coexistence of a building with 15th century Gothic with striking 17th century Baroque decoration.
The frescoes in the Church of San Nicolás in Bari and San Pedro Mártir in Valencia shine following their latest restoration. It is difficult not to be amazed contemplating the chapels, altars and vaults of the church, cared for in every detail. Several restorations took place throughout its history, such as the one that was made by order of the Borja family between 1419 and 1455. It was at this time that the Gothic ribbed vault of the central nave was made.
Two hundred years later, between 1690 and 1693, the interior of the church was covered with Baroque decoration. At the same time, frescoes were added to the central nave which depict scenes from the life of the two patron saints of the parish, San Nicolás de Bari and San Pedro Mártir. It was designed by Antonio Palomino and painted by his disciple Dionís Vidal in 1700. The paintings show scenes from their childhood, their preaching, miracles performed and their deaths.
On the paintings, you can observe fictitious openings that evoke the sky. As for the scenes from the lives of the saints, the vault is divided into two parts, corresponding to each of the saints. The two converge in the presbytery creating a glory of angels and fictional architectures. Nearly 2,000 m2 of painting bear witness to the magnificence of the church.
Our first display on Front Page comes from Martha MGR, our FIRST MEMBER on *** TIERRA MADRE *** .
In group Fictitious Reality 44TH Exhibition-Martha MGR
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Excerpt from baladodiscovery.com/circuits/291/murals-of-sherbrooke--vi...:
Sherbrooke 2002 Bicentennial Mural
Near 143, Frontenac Street
Wide: 60 feet
High: 35 feet
This mural, painted with oil on fibreglass, is the first of its kind to be created in Sherbrooke by the MURIRS organization. It was produced for Sherbrooke’s bicentennial. This work represents daily life around 1902, mixing reality and fiction. It shows a fictitious rendering of historical and imagined events, on the corner of Commercial St. and Factory St. (now Dufferin Street and Frontenac Street).
Overall, 23 characters and a few animals are shown in their daily activities. The mural is a tribute to business people, politicians, and community members from another era. It seems as if time stood still on this second day of June 1902 in Sherbrooke.