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The Virgin River in Utah cut into the Colorado plateau to a depth of 1000 m. The anabranches of this river additionally cut the Zion area into three regions by forming deep and narrow canyons. Here, the walls form a slot canyon in that daylight gets only by indirect reflected light. The red sandstone is of Jurassic age and contains trace fossils of dinosaurs. This is not only the most beautiful anabranch of the Virgin River but also the most difficult part to reach in Zion Canyon. This barely reachable log is deeply hidden within the twists of the Subway Canyon. The indirect reflected light touches the scenery with a mystical almost unreal light.
June 2005
Canon 20D, EF-S 10-22mm, f/22, 1/4sec, ISO 100, tripod
More information:
Where Geoscience Meets Art
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Der Virgin River in Utah hat sich bis zu 1000 m tief in das Colorado-Plateau eingeschnitten. Die Seitenarme dieses Flusses haben die Gegend in drei Teile zerschnitten und teilweise zu extrem engen und tiefen Canyons ausgeformt. Hier stehen die Wände so eng zusammen, dass das Tageslicht nur noch durch Reflektion indirekt die Wände erreicht. Der rote Sandstein stammt aus dem Jura und birgt Spuren von Dinosauriern. Dieser Seitenarm des Virgin ist der schönste und am schwierigsten erreichbare Teil des Zion Canyons. Tief in den Windungen der Subway verborgen, steht dieser fast unerreichbare Baumstamm. Das indirekte, reflektierte Licht taucht die Szenerie in ein mystisches, fast unwirkliches Licht.
Juni 2005
Canon 20D, EF-S 10-22mm, f/22, 1/4 Sek, 100 ASA, Stativ
Mehr Information:
Where Geoscience Meets Art
My wife's sewing experiment is a nice subject for my lighting experiment.
Takumar 50mm f1.4 at f11
Dedolight DLH4 and a bare 20W CFL
A couple of weeks ago I bought this 1950s dress form from someone on Craigslist. She was "decapitated" upon purchase, but this evening I've been working on reattaching the neck. I especially love the skirt cage.
Another grainy film frame of melting and cracking ice in the shallow rocky waters at cape Lintuniemi in March 2019.
Taken with:
Olympus OM-2n
Olympus OM Zuiko 50mm f/1.4
Kodak T-Max 400
Scanned with:
Canon EOS 6D
Leica APO-Macro-Elmarit-R 100mm f/2.8
Negative Lab Pro
Der Cube Berlin (Eigenschreibweise cube berlin) ist ein würfelförmiges Bürogebäude auf dem Washingtonplatz in unmittelbarer Nachbarschaft zum Berliner Hauptbahnhof, das im Februar 2020 eingeweiht wurde. Das Gebäude ist Teil des 40 Hektar großen Stadtquartiers Europacity und schließt dessen südlichen Teil ab.
The Cube Berlin (originally spelled cube berlin) is a cube-shaped office building on Washingtonplatz, in the immediate vicinity of Berlin Central Station, which was inaugurated in February 2020. The building is part of the 40-hectare Europacity urban district and completes its southern part.
(Wikipedia)
The white form of Calopogon tuberosus or Common Grass-pink orchid is currently blooming in my bog garden.
When the world is reduced to forms, lines and shapes only, there will be no words. No emotions, no fear, no anger, no sadness and no complicated thoughts.
Have a great Friday and great weekend!
Model: Janae Fulton
Photographer: Justin Bonaparte​
Another embroidery experiment, I wanted to see if I could take one of my favourite layouts and turn it into a wall hanging. I am pretty happy with the way it turned out. Layout from Grafik no.143, page 76. I am planning a whole series of these pieces based upon my own layouts, a related much bigger project too. Exciting!
during my second shoot with Alexis, I happened to lie on the ground to get a different angle, and realized the puddle in front of her was throwing a reflection! Managed to snap this frame when the wind stopped blowing, giving a perfect mirror effect. I'm very thankful it rained the day before :D
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Brown Hare, Kinnordy. Hard frost covered the grass in the field where about a dozen hares regularly hang out. We saw around 7 easily today as they were quite obvious against the white background, tho all hunkered down, apart from one.
Somewhere in a memory
Holga 120N
Fuji Pro 160S 220 expired film, converted to BW in post
Overlapping frames/double exposures
El Museo Soumaya en la Ciudad de México ha sido descrito como "un trapezoide en movimiento", "una estructura brillante, plateada y casi como nube, reminiscente de una escultura de Rodin", y "el museo más llamativo del mundo". Diseñado por el audaz y joven arquitecto Fernando Romero, también fue llamado "imposible de construir". La fachada, en particular, presentó grandes desafÃos.
Si alguien podÃa hacerlo realidad, serÃa el dueño, Carlos Slim Helú, el hombre más rico del mundo. Slim construyó el museo del año 2008 al 2011 como parte de la Plaza Carso, su distintivo desarrollo multiusos en Polanco, Ciudad de México. Slim comentó que, debido a que muchos mexicanos no podÃan viajar por el mundo admirando colecciones de arte, él creÃa importante albergar una prestigiosa colección de arte internacional en México. Con entrada gratuita, el Museo Soumaya contiene más de 60,000 obras de arte en los seis pisos que ofrecen 6,000 metros cuadrados de área de exhibición. El jardÃn de esculturas de la planta superior, cubierto por un espectacular tragaluz, muestra numerosas piezas de Rodin. El Museo Soumaya, llamado asà en honor a la finada esposa de Slim, también contiene un auditorio con capacidad de 350 personas, una biblioteca pública, una tienda de regalos y un café.
Cada uno de los pisos en el museo tiene una forma distinta, y el peso del edificio es sostenido por un esqueleto de 28 columnas curvas, y siete losas de concreto que enmarcan la caprichosa forma. La compleja fachada, "imposible de construir", consiste de 16,000 hexágonos de aluminio brillantes que parecen "flotar" sobre su superficie, separados por milÃmetros unos de otros.
(Fuente: geometrica.com)
Montreal's iconic Olympic Stadium….designed by French architect Roger Taillibert and built for the 1976 Olympics, has had a troubled history…. construction was not completed before the games… it was finally completed in 1987… you can ride to the top of the tower on a funicular…. another feature is the retractable roof, which always struck me as useful, but this design as unnecessarily frivolous.
This image cannot be used on websites, blogs or other media without explicit my permission. © All rights reserved
The 12.00 hrs Manchester Piccadilly-Hadfield train leaves Guide Bridge on 26 February 1981 formed of Class 506 unit no. 8 (59408/59508/59608). These units were ordered by the LNER in 1938 for use on their 1500vDC system from Manchester, but were not built until 1950. There was a delay until 1954, when the Woodhead route was electrified, until they entered service.
All of these units were withdrawn when the Manchester-Glossop-Hadfield line was converted to 25kVac in 1984.
This is a re-post, on 12 July 2020, after lightening the image slightly.
Questo succedersi, mi sembra ormai chiaro, non lo afferriamo con la ripetizione di gambe, di braccia, di figure, come molti hanno stupidamente supposto, ma vi giungiamo attraverso la ricerca intuitiva della forma unica che dia la continuità nello spazio.
(Umberto Boccioni)
There are Nine Nights of Worship of Female Power. Navratri it is called and is a very important period in the Hindu calendar of Gods and yes Goddesses now.
I was at a loss to figure out whether this lady enmeshed in decaying iron by a male Hindu priest in Bhoginandishwara temple near Bangalore was a symbol of fertility what with the two betel leaves lying on the plinth of the alcove where she balanced delicately atop the head of a big horned buffalo.
I thought of asking some friends, versed rather well in matters esoteric. Then I let that urge pass. I checked images of a Hindu deity who would be on the top of a buffalo and from there I could get the thread as to who this voluptuous lady was and what was her story in Hindusim, her physical form so near perfection.
Whether the wire mesh prevented theft or the greedy advances of the worshipers, I am in no position to tell. She stood smeared in yellow powder as is the custom in temples in South India.
Meet Durga as she is popularly known or Goddess Mahalakshmi, the ultimate embodiment of a female created by all the Hindu Gods many millennia ago who imbued her with their own qualities and their own choicest weapons with 18 arms to go along in fight mode. ( In popular iconography she is generally shown with 4 or 8 arms as 18 would be impossible to accommodate in an aesthetic sculpture)
All this to vanquish Mahishasur, a demon who had attained near immortality by seeking a boon which made him immune from being killed by any man or God. The demon laughed off the suggestion that a woman could ever defeat him and that they were mere chattels. After he got his boon of immortality from the Gods, Mahishasur went off on an all conquering spree till there was nothing left to conquer on Earth. He then marched to Heaven and conquered the very Gods themselves and ruled the Heavens. The vanquished Gods wandering in the wilderness of nothingness, plotted and schemed and got together in their intrigue to manufacture a female figure who would be able to fight and get rid of the demon so that they could get on with the job of ruling their very own Heaven and Universe.
They ( Shiva, Brahma, Indra, Vishnu and others ) all gathered for the unique process of creating an entity out of nothing. A physical and metaphysical impossibility. The laws of physics can however allow light energy to be condensed and create matter. This the Gods did and created Mahalakshmi or Durga who was the epitome of feminine form and figure but imbued with a fighting spirit and armed with 18 choicest weapons of war.
Now this is a great scientific breakthrough which I am sure my fundamentally strong right wing Hindu fanatics would call superior Vedic or Pre Vedic science that precedes anything that the current day particle physics can come up with. Mind you it is easy to create light and heat energy from fission or fusion of
matter but current day science is yet to master the principle of creating matter out of light energy. We in India or let us say Indian Gods did this more than 2000 years ago and shaped a female figure of exquisite and superlative celestial beauty.
I am waiting for a Hindu scientist to come up with such a thought process and present a paper in a scientific community to highlight the glories of the Hindu civilization. I will not be surprised to see that happen in this atmosphere of over zealous interpretation of Hinduism that is ruling the roost these days.
On Fashion, read on in the comments..
_DSC3957 from jpeg
24315 Boulderopal Australien, rechteckige Form mit dicker Opalschicht, 31.5x18x5.5mm, handgeschliffenes Einzelstück, www.topcut.ch 6.1g CHF 1780.-
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Woodland Listeni/ˈwʊdlənd/ is a low-density forest forming open habitats with plenty of sunlight and limited shade. Woodlands may support an understory of shrubs and herbaceous plants including grasses. Woodland may form a transition to shrubland under drier conditions or during early stages of primary or secondary succession. Higher densities and areas of trees, with largely closed canopy, provide extensive and nearly continuous shade and are referred to as forest.
Conservationists have worked hard to preserve woodlands. For example, the woodlands in Northwest Indiana have been preserved as part of the Indiana Dunes.
Woodland is used in British woodland management to mean tree-covered areas which arose naturally and which are then managed, while forest is usually used in the British Isles to describe plantations, usually more extensive, or hunting Forests, which are a land use with a legal definition and may not be wooded at all. The term "ancient woodland" is used in British nature conservation to refer to any wooded land that has existed since 1600, and often (though not always) for thousands of years, since the last ice age (equivalent to the American term old-growth forest).
Woodlot is a closely related American term, which refers to a stand of trees generally used for firewood. While woodlots often technically have closed canopies, they are so small that light penetration from the edge makes them ecologically closer to woodland than forest.
Photo taken in the woodland on the walk from the waterfall at Janet’s Foss, only a short walk from Malham village. Somewhat uneven and rocky towards the end, this route provides that little bit of excitement to tempt the kids.
This walk is particularly memorable in springtime as the woodland is a mass of wild garlic.
The above selection of corniforms seem to be free-form - verging on doodles, and tethering them may not seem at first to be viable. The images are from C Bicknell's originally published 1913 drawings of petroglyphs from around Mont Bégo (archive.org/details/GE0036GenB212/page/n187).
For the montage I took individual shots using Jupiter 8 50mm f2 converted for an M39 adapted Pentax K3 (helicoidal removed), and then processed and colourised. The texture is therefore from half-tone dot and not rock, and the imperfections originate from Bicknell's pencil sketches and not geological fissures. One aim was to re-perceive the images and, for the fun, to take the Bronze age towards contemporary references such as Basquiat and Haring.
The corniform symbol is well known from the neolithic and bronze age and is recognisable as a schematic image of cow horns on either a scull or a reduced schematic cow's body. The majority of symbols around the Mont Bégo mega site are corniforms. Whilst many are simple in form, there are regular examples that have horns that are horn in name only. They originate either side of the cow's head before sending off like lines of free-form jazz. Some of these are presented in the above image. Giant steps.
I will argue that many of these concertinaed undulations may have been inspired by the landscapes of the crofter's 'home' - in effect linking the corniform to a local geography. The mark of a permanent address before solicitors deed, mortgage or rental agreement. Therefore, for a cow-form hut, the deciding shape of courtyard fencing can be one that links the hut to the main lines of its surrounding landscape. Some might be shared land, other fields might be from deep within a clan's past.
Here, the descriptive 'horns' are from waves in the hut's entrance fencing, a simple structural addition that remains perfectly adapted to the Alpes-Maritimes, where temperatures can be hot for long periods, winds can be strong and storm and snow a challenge. Shade, wind break and a space free from drift snow - a working court yard for a fire, general out door work, and a descriptive and idiosyncratic home 'profile' that is hard to miss if fog or mist descend and you are returning from afar.
In other posts from the Mont Bégo Flickr album, I argue that the bronze age evolution of the corniform symbol expanded its meaning to also describe cow-form huts. Here the schematic top right image may be two huts in a conglomerate with two wheel like animal pens and two storage points outside of the lower hut. The turquoise symbol, top left would be a hut backing onto an oblong of 13 field spaces - possible a series of crop gardens or allotments. The lower turquoise symbol would be a ring fence crossing a hut. Here there would have been little need for extended 'horn/valley-style' 'farmyard' fencing, and so this architectural 'convention' may have been logically atrophied. Bottom left - a six legged cow or a cow-form hut with six guide-ropes from a flat valley with steep sides. The white image in the centre may have very large entrance fences that in the end provided a perfect space for an interior hut. No need for fencing, so no 'horns' for the entrance of this building addition. Here the valley would have been a classic glacial 'U' shape.
One must expect that sometimes the horns describe a valley for its cross section and at others a valley for the buttresses of meandering rock.
AJM 21.2.19