View allAll Photos Tagged INTERCONNECTED
Netherlands, Gelderland, Arnhem, Centre, Kortestraat, Rozet (Neutelings Riedijk) (uncut)
Rozet (2013) is a multifunctional cultural building containing a public library, the Volksuniversiteit, a museum and some other facilities. It was designed by Neutelings Riedijk
Displayed here is one of the interconnected stairways (partly mini ampitheater) that gives the interior its specific feel and functionality. Architect Michel Riedijk was inspired by the staircase that was featured in the 80s ‘Fame’ TV series.
In the BG the wall is clad with the modular ‘Penrose’ tiles, that also are on the outside of the building. On the right is the roof terrace with its dashing city view.
Both the way staircases are structured and utilized and the use of modular ornamentation are important characteristics of Neutelings Riedijk ’s public buildings.
The multifunctional staircase: in the Antwerp MAS this is called the ‘wandelboulevard’,in the Amersfoort Eemhuis it’s an integral part of the amphitheatric central reading room and is also an integral part of the amphitheatric restaurant in the Hilversum Beeld en Geluid. The modular ornamentation: also in The Eemhuis, MAS and Beeld en Geluid (partly) they’re identical in- and outside the building and define the remarkable tectonics of both of them. Check out the pics of these buildings in the first comment.
Ngwe Saung beach is situated near Yangon city and it can be reached within a 5-hour drive from Yangon. The beach itself is approximately 9 miles long and one of the longest beach in South East Asia and newly opened beach in Ayeyarwaddy delta region interconnected with the Andaman Sea. Moreover, Ngwe Saung is located a bit south of Ngapali which is also another popular beach resorts in Myanmar.
The Renaissance Center is a group of seven interconnected skyscrapers in Downtown Detroit, Michigan, United States. Located on the International Riverfront, the Renaissance Center complex is owned by General Motors as its world headquarters.
216a 1 - _DSC0011 - lr-ps
It is also named as Shelf Fungi, are among the many groups of fungi that comprise the phylum Basidiomycota. Characteristically, they produce shelf- or bracket-shaped fruiting bodies called conks that lie in a close planar grouping of separate or interconnected horizontal rows. Brackets can range from only a single row of a few caps, to dozens of rows of caps that can weigh several hundred pounds.
They are mainly found on trees (living and dead) and coarse woody debris, and may resemble mushrooms. Bracket fungi often grow in semi-circular shapes, looking like trees or wood. They can be parasitic, saprotrophic, or both.
Some species of bracket fungi are cultivated for human consumption or medicinal use.They can also be used as a wick in an oil/fat lamp.
Info Source: Wikipedia, 2013.
Photo taken: Tyresta Park, Stockholm
Only 20 kilometres from the centre of Stockholm lies one of the most unspoilt areas of natural beauty in central Sweden – Tyresta National Park and Nature Reserve.
It wasn't working - it was fixed when we passed later.
Artwork: Rainbow Accordion
Location: Thomas Steers Way
Artist: Amigo & Amigo
Amigo & Amigo created six giant colourful interconnected archways inspired by the traditional accordion.
The accordion was made from illuminated steel rings and bright coloured printed fabrics.
At the base of each accordion archway there was an interactive pad, and when people jumped on the pads the accordion sounded and lights shot through the archway form creating different waves of music, colour and light.
Also see www.cultureliverpool.co.uk/amigo-amigo-affinity-and-rainb...
RÉSO, commonly referred to as the Underground City (French: La ville souterraine), is the name applied to a series of interconnected office towers, hotels, shopping centres, residential and commercial complexes, convention halls, universities and performing arts venues that form the heart of Montreal's central business district, colloquially referred to as Downtown Montreal. The name refers to the underground connections between the buildings that compose the network, in addition to the network's complete integration with the city's entirely underground rapid transit system, the Montreal Metro.
Excerpt from ontariotrails.on.ca:
Terra Cotta Lane is a great way to introduce yourself to this conservation area and is a major access route to some of our other trails. Starting near the parking area, the trail follows an old road along the eastern shore of a pond and eventually loops back to the parking area. Although this trail is a loop, there are a number of one- way arms that allow you access to the Vaughn and McGregor Spring Pond trails. This easy trail is good for nature enthusiasts of all ages. At Terra Cotta, we have created a network of interconnected hiking trails, footpaths and old roadways that will take you to different parts of the conservation area where you can experience a mosaic of natural and cultural settings.
Tonlé Sap Lake, Siem Reap, Cambodia.
The largest freshwater lake in Southeast Asia, Tonle Sap contains an exceptional large variety of interconnected eco-regions with a high degree of biodiversity. The area of the lake is home to many ethnic Vietnamese and numerous Cham communities, living in floating villages around the lake. Approximately 1.2 million people living in the greater Tonle Sap make their living by fishing on the local waters.
Our ways will meet
just like the stars, they'll meet
I have been listening to this awesome post-rock band, Stagnant Nebula and they have inspired me more and more into this space-themed mood.. their song Ways was my subconscious inspiration behind this. I think I will go further with this theme for some time, it gives me a nice feeling..
Also, I really want to thank everyone for the visits to my photostream and for the faves and the kind comments, and I promise I am catching up as fast as I can on all of your photos :)
Thank you.
And, serious eggplant, this is for you as well. You know I couldn't have done this without you.
Follow me :)
Winter view of Scarboro Pond located within Franklin Park, considered the 'crown jewel' of Boston's Emerald Necklace, a series of interconnected urban parks designed and landscaped by Fredrick Law Olmsted in the later 19th century. Beyond this footbridge is the Park's William J. Devine 18 hole golf course.
Fuji GW690III 6x9, 90mm lens
Ilford Delta 100 film, ISO 100
1/125 second, f/5.6
Ilford DD-X developer +4
Negative scanned on Canon 8800f
Photoshop Elements & NIK Silver Efex Pro software
We need a new world-culture, a global synthesis of interconnectedness and global consciousness. We need a global citizenship movement that will promote social justice and social transformation. We must fight for fundamental human rights, over all national law and cultural identity—there must be equality for everyone! Global citizens are not born; they are created through social engineering. Children, you lack a global perspective on shared humanity, but we will indoctrinate you over time. Since you are part of this cult, you must help bridge the gap and rectify all misinformation. Remember, we global citizens are New World Order ambassadors. We must not only reflect on the virtues of globalism, but we must also act on them. As we reeducate the sheep, we must live a lifestyle of activism. True leaders are global citizens, whether they are CEOs, prime ministers, or just like you: Children of the Corn (Children of the Beast).
The number one (propaganda) issue that underscores our interconnectedness is climate change. The earth depends on our collective stewardship, which transcends all geopolitical borders and economies. One of our most important duties is to protect and enforce our global(ist) compacts. The health of the planet and society depends on useful idiots like us to lead the charge.
Smart cities are the engines of global control. They are full of opportunities, which we’ll exploit. This is a classic case of global multidimensionalism, which not only involves all facets of life, but is also omnipresent (The internet is borderless, and so is globalization). The most successful city is a smart city, because it’s interconnected globally. It reaches to the corners of the earth through smart technologies like the Internet of things, Artificial Intelligence, and Machine Learning. Now we are faced with a secular humanist phenomenology and a new age cosmology in which we must develop new and efficient methodologies. This paradigm shift is in perfect alignment with the values of global citizenship.
Take the jab, take the Mark. Be a sheep, awaken the dark. Bow the knee, bow in submission. Worship the Beast, son of perdition.
Children of the Corn—deeply rooted, widespread. Children of the Beast—tares uprooted, twice dead.
Matthew 24:4 “Then Jesus replied to them: ‘Watch out that no one deceives you.’”
I have to admit that I never saw this particular group of individuals again, but they represented a common "pattern" that repeated over and over again throughout the time I sat outside the Earth Cafe. Most prominent, of course, is the couple on my left side: holding hands, smiling, look ing relaxed and comfortable with each other.
And then there is the young woman the right ... looking dazed and confused, though perhaps just straining to hear a conversation on her cell phone. I don't mean to be judgmental at all, but she struck me as one of a million similar young women on the street -- a particular "type" that may or may not be unique to New York City, but which seems oblivious to any other form of life going on around her.
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As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here. and here.).
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
Thanks to all who stop to look and comment. I will be sure to look at your photostream and leave a comment
If anyone knows of a good stacking program, I would love to hear from you
Plitvice National Park is 140 km from Zagreb and 219 km from Split. It consists of 16 lakes which are interconnected by waterfalls. These waterfalls were created by limestone from the water which was deposited between the lakes, forming a barrier of limestone rock called travertine.
Plitvice Lakes are protected as a national park and are part of the UNESCO World Heritage List.
It is without a doubt one of the most beautiful parks in Europe and perhaps the most beautiful park in Croatia.
The site is very touristy. Unfortunately, the weather is often unpredictable and that day, cold, rain and fog spoiled our visit.
Le parc national Plitvice se trouve à 140 km de Zagreb et 219 km de Split. Il se compose de 16 lacs qui sont reliés entre eux par des chutes d’eau. Ces chutes d’eau ont été créées par le calcaire de l’eau qui s’est déposé entre les lacs en formant une barrière de roche calcaire qu’on appelle le travertin.
Les lacs de Plitvice sont protégés en tant que parc national et font partie de la liste du patrimoine mondial de l’UNESCO.
C’est sans aucun doute un des plus beaux parcs d’Europe et peut-être le plus beau parc de Croatie.
Le site est très touristique. Malheureusement, la météo est souvent capricieuse et ce jour là, froid, pluie et brouillard ont gâché notre visite.
Important notice: do not use my images without my written permission, even for a non commercial use. If you're interested in any of my photos you must contact me first. All my images are under full copyright.
© All rights reserved.
This was an interesting scene to watch, though I never did figure out the details. I don't know, for example, whether this is a mother and son, or just two friends, or possibly two co-workers at an office someplace.
What I did notice was the woman walking up the street alone, looking somewhat confused and tentative. And then the man appeared at her side, and was clearly acting in a protective, supportive manner. The woman smiled and brightened up, though she still seemed a bit unsteady on her feet as the two marched forward.
The man appears to be wearing a leather yarmulka, and he is carrying a Zabars shipping bag; but Zabars is located at 81st Street, about three-quarters of a mile further south on Broadway. So it's hard to tell exactly what was going on here.
All we can say for sure is that the woman was definitely very happy to see the man, and they enjoyed each other's company as they continued walking on past me ...
Note: I chose this as my "photo of the day" for Oct 26,2015.
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As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
Nitmiluk National Park, Katherine Gorge, Northern Territory, Australia.
Nitmiluk National Park is in the Northern Territory of Australia, 244 km southeast of Darwin, around a series of gorges on the Katherine River and Edith Falls.
Previously named Katherine Gorge National Park, its northern edge borders Kakadu National Park. The gorges and the surrounding landscape have great ceremonial significance to the local Jawoyn people, who are custodians of Nitmiluk National Park. In Jawoyn, Nitmiluk means "place of the cicada dreaming".
Katherine Gorge, a deep gorge carved through ancient sandstone by the Katherine River, is the central attraction of the park. Katherine Gorge is made up of thirteen gorges, with rapids and falls, and follow the Katherine River, which begins in Kakadu.
During the Dry, roughly from April to October, the Katherine Gorge waters are placid in most spots and ideal for swimming and canoeing.
There may be freshwater crocodiles in most parts of the river, as they nest along the banks, but they are harmless to humans. Saltwater crocodiles regularly enter the river during the wet season, when the water levels are very high, and are subsequently removed and returned to the lower levels at the onset of the dry season. Thus, swimming in the wet season is prohibited.
Cruises of various lengths go as far as the fifth gorge.The gorges can be explored by canoe and flat bottomed boat. In the dry season the gorges become separated as the level of the river falls. They are interconnected in the wet. There is a visitor centre located at the Katherine Gorge, about 30 km east of the town of Katherine.
Freshwater crocodiles are widely distributed along the river year-round. During the wet season, rises in water levels may allow saltwater crocodiles to enter the gorge, where they are caught and relocated to lower levels when the dry season begins.
Birds that can be seen include ospreys, red-tailed black cockatoos, great bowerbirds, white-gaped honeyeaters and red-winged parrots. Part of the Yinberrie Hills Important Bird Area, identified as such by BirdLife International because of its importance for endangered Gouldian finches, lies in the park
The Renaissance Center (aka GM Renaissance Center) is a group of seven interconnected skyscrapers in Downtown Detroit, on the shore of the Detroit Rivers. The complex is owned by General Motors, which uses it as its world headquarters. The central tower, the Detroit Marriott at the Renaissance Center with its curved glass-clad facade, is the second tallest all-hotel skyscraper in the Western Hemisphere. It has been the tallest building in Michigan since it was erected in 1977. The principal architect was John Portman.
The Georgina Basin is a 330 000 km2 erosional remnant of a series of originally interconnected central Australian intracratonic basins, including the Savory, Officer, Ngalia and Amadeus Basins, which range from Neoproterozoic to Palaeozoic. The Georgina Basin covers most of the central-eastern Northern Territory and extends into Queensland. In excess of 1.5 km of Neoproterozoic sedimentary rocks are preserved in downfaulted blocks and half-grabens on the southern margin of the Georgina Basin in the Northern Territory. Depocentres and synclines contain up to 2.2 km of Cambrian to Devonian section. The southern region contains the thickest basinal successions, and demonstrates the strongest structuring related to distal effects of the 320 Ma Alice Springs Orogeny. This part of the basin is the most prospective undeveloped onshore petroleum province in the Northern Territory [see Georgina Basin (southern module) project].
In contrast to the southern region, the central Georgina Basin, north of latitude 21°S, contains a relatively thin stratigraphic succession, up to 450 m thick, deposited on a tectonically quiescent platform. Deposition in the central region commenced with a marine transgression in the early Middle Cambrian and may have extended into the Late Cambrian. This central platform has been subdivided into an eastern Undilla Sub-basin and a western Barkly Sub-basin, separated by the Alexandria-Wonarah Basement High. The northern Georgina Basin is largely concealed beneath Mesozoic sedimentary rocks of the Dunmarra Basin.
Mineralisation:
The Georgina Basin is prospective for a number of mineral commodities. Known Pb-Zn prospects and occurrences are widespread and throughout the succession from Neoproterozoic siliciclastic rocks to Lower Ordovician carbonate and mixed carbonate-siliciclastic rocks. There is a wide range of mineralisation styles. At the Box Hole Mine, galena and barite occur along 6.5 km of strike in the Late Cambrian Arrinthrunga Formation. About 15 t of ore, averaging 65-70% Pb and 60 g/t Ag, has been handpicked. Mineralisation is stratabound epigenetic replacement and vug-fill in a stromatolitic dolostone, possibly localised by proximity to a feeder fault. Similar surface galena and minor pyrite occur at the Trackrider Prospect. Host rocks are vuggy, siliceous and manganiferous dolostone of the Arrinthrunga Formation, just below the contact with the overlying Tomahawk Formation. Mineralisation at both Box Hole and Trackrider is similar to Mississippi Valley-type (MVT) orebodies. Visible Zn-Pb mineralisation (up to 1.2% Zn) occurs in association with hydrocarbons in and just below a shale cap at the contact of the Arthur Creek Formation and Thorntonia Limestone in Baldwin 1 and may have affinities to Century-type, stratiform, shale-hosted base metal mineralisation. A fault breccia at the Boat Hill Prospect contains two intervals with percent levels of Zn. NTGS drilling also intersected percent levels of Zn and visible galena in Thorntonia Limestone in this area, which considerably extends the area of known mineralisation. Previously undocumented visible galena has also been recognised in the Neoproterozoic Elyuah Formation at the Mount Skinner Prospect in ALCOOTA. This core contains 2.44 m assayed at 0.3 m intervals, all of which is >2000 ppm Pb.
Economic phosphate deposits in Middle Cambrian Georgina Basin rocks are being mined at Duchess in Queensland. In the Northern Territory several deposits of collophane mudstone and pelletal phosphorite have been identified in sedimentary intervals on the Alexandria-Wonarah Basement High (see Regional phosphate prospectivity assessment project). These deposits average about 16% P2O5 and could aggregate to similar tonnages to those being exploited at Duchess. Rio Tinto has recently delineated 72 Mt of phosphate ore at the Wonarah deposit on the Alexandria-Wonarah Basement High. Smaller deposits are known at Alexandria, Alroy and Buchanan Creek.
Petroleum geology:
The Georgina Basin is the most prospective undeveloped onshore petroleum province in the Northern Territory, particularly in the southern part of the basin, south of latitude 21°S, where the thickest basinal successions have developed, as well as strong folding related to distal effects of the Alice Springs Orogeny. Most previous petroleum exploration has focused on depocentres on the southern margin, now marked by the Dulcie and Toko Synclines. These depocentres contain regionally extensive, organically rich, oil-mature source rocks, with siliciclastic lenses and some phosphorite-rich layers. The Cambrian succession is the most prospective and is marked at the base by coarse siliciclastic rocks overlain by platform carbonate rocks of Early to Middle Cambrian age. The Middle Cambrian carbonate succession, comprising the Thorntonia Limestone and Arthur Creek Formation, provides a reservoir-source/seal couplet extending over 80 000 km2. Both formations include excellent microbial source rocks, which are mature over wide areas; subordinate reservoir rocks relate to secondary porosity formed in shoal and shoreline deposits. Similar plays occur in the Late Cambrian Chabalowe Formation (Hagen Member), where peritidal carbonate mud and sand are sealed by evaporite. Sediment loading during the Ordovician initiated hydrocarbon generation over wide areas of this very sparsely explored basin, which includes subtle structural traps and large stratigraphic plays.
Source: Northern Territory Government.
Ngwe Saung beach is situated near Yangon city and it can be reached within a 5-hour drive from Yangon. The beach itself is approximately 9 miles long and one of the longest beach in South East Asia and newly opened beach in Ayeyarwaddy delta region interconnected with the Andaman Sea. Moreover, Ngwe Saung is located a bit south of Ngapali which is also another popular beach resorts in Myanmar.
The navigli was a system of navigable and interconnected canals centred around Milan, in Lombardy, Northern Italy.
The "Naviglio Grande" was the first artificial canal in Europe and the most important of the Milan “navigli”.
Press L to see it large
Any comments and faves are much appreciated!!
Thank you!
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This pattern certainly did not exist before I decided to show up and watch for photo-ops each morning ... but it quickly became a regular pattern for me. The notepad contained my daily scribblings about whatever seemed noteworthy; the coffee was warm and frothy. And the croissant was ... well, if not freshly baked on the premises, it certainly got heated nicely in a stove or oven.
It will be very difficult for me to give up this pattern when the exercise is finished ... but I keep reminding myself that the croissant has far too many calories.
**********************
As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here. and here.).
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
I saw lots of parents shepherding multiple children on their way to school ... but the children were older, and could walk by themselves. There were also lots of parents with an infant in a stroller ... but typically it was only one infant.
This was the only case that I recall seeing where the father was doing his best to get two kids across the street at the same time ... and he clearly looks worried. I don't know if he was just out for an early-morning walk, or whether he had already taken an older child to school ... but he certainly had his hands full.
**********************
As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
This was taken just after 7 AM, on the southwest corner of Broadway and 97th Street -- when it was still nearly dark outside, and when the Earth Cafe had not even opened.
The woman has already gotten her first cup of coffee (probably at Dunkin Donuts, a little further down the street), and is reading something on her smartphone while carrying her baby in a Snuggly.
This scene was repeated over and over again throughout the morning -- though in most cases the baby was in a stroller, sound asleep.
**********************
As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
Taken at Tuggerah Lakes, a wetland system of three interconnected coastal lagoons, are located on the Central Coast of New South Wales, Australia
Dicyrtomina ornata is a springtail species from the Dicyrtomidae family. The scientific name of the species was first validly published in 1842 by Nicolet
Dorsal patches not interconnected is typical in forma couloni.
Studio Gang Architects’ design for the South Pond Pavilion was inspired by the tortoise shell. It features pre-fabricated wooden planks that have been interconnected and milled to form the curving structural members. The top of the pavilion is covered semi-transparent fiberglass pods, which let light filter in while still protecting those underneath. Yoga classes and other educational programs use the pavilion regularly.
The pavilion is part of a larger redevelopment of the pond at the Lincoln Park Zoo designed by Studio Gang. Their project largely consists of rehabilitating a dilapidated, 19th century urban park pond fed by city tap water into an exhibit on pond life. The depth of the pond was increased to improve oxygenation for aquatic life, and a wetland was engineered along the water’s edge with new plantings and drainage to encourage new wildlife and vegetation. A boardwalk made from recycled plastic now circles the pond and includes educational kiosks.
© all rights reserved by B℮n
Please take your time... to View it large on black
The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. Today same as last year we could ice skating on the Gouwsea. Ice skating can be done from Monnickendam to Marken and from Marken to Volendam. Infinite sea of ice is perfect for ice skating journeys. Besides ice skating Dutch also love Ice yachting. This is the sport of sailing and racing iceboats and is very popular in the Netherlands. Ice boats are racing at a speed of 100 km an hour over the ice of the Gouwsea.
Photo taken of Ice yachting on the Gouwsea at Monnickendam. A historical moment since crossing the Gouwsea by skates is such a rare occurrence. Today I skate from Monnickendam - Nes - Marken - Nes and back to Monnickendam a trip of 16km, such a beautiful sea of ice to enjoy. For the ice-yacht sailors it's always a race who will cross the Gouwsea first to Marken. When the first Ice-boats tested and crossed the Gouwsea the skaters will follow soon.
Op 25 januari 2013 een schaatstocht gemaakt rond de Gouwzee van Monnickendam - Nes - Marken - Monnickendam. Bij Volendam lag dit keer te veel sneeuw en onbegaanbaar. Een prachtige tocht van zo'n 16km met top ijs. Tot mijn verbazing was de Gouwzee helemaal dichtbevroren. Dus alweer een historische ijstocht gemaakt. Een groot ijsoppervlakte tussen Monnickendam en Marken met prima ijs. Een oneindig mooi gezicht op deze ijszee anno 2013. Het was genieten. Jong en oud staan op het ijs, zelfs koek en zopie is present in de haven van Monnickendam. Ook zijn er weer ijszeilers te zien. Met spectaculaire snelheden van wel 80 tot 100 kilometer per uur razen ze over bevroren meren en plassen: ijszeilers hebben deze dagen de tijd van hun leven. In elke ijszeiler schuilt een pionier die nieuw terrein wil ontginnen. Wie steekt er als eerste over naar Marken? Wakduikers heten de onfortuinlijken die in een overmoedige bui te ver gingen en met behulp van collega's uit het wak gehaald moesten worden. Het mag de pret niet drukken. IJszeilen is een gezamenlijke gekte, een collectieve spanning die vanwege de natuurlijke elementen zo bijzonder is. Op pure windkracht zeilen over de eindeloze ijsvlakte, geruisloos en snoeihard. De ijszeilers steken altijd het eerst de Gouwzee over. Is het veilig dan kunnen de schaatsers makkelijk volgen. .
#13 on Explore, 12/16/2023
From Wikipedia, the free encyclopedia:
Palouse Falls is a waterfall in the northwest United States on the Palouse River, about four miles (6 km) upstream of its confluence with the Snake River in southeast Washington. Within the 94-acre (38 ha) Palouse Falls State Park, the falls are 200 feet (61 m) in height,[2] and consist of an upper fall with a drop around twenty feet (6 m), which lies 1,000 feet (300 m) north-northwest of the main drop, and a lower fall.
The canyon at the falls is 377 feet (115 m) deep, exposing a large cross-section of the Columbia River Basalt Group. These falls and the canyon downstream are an important feature of the channeled scablands created by the great Missoula floods that swept periodically across eastern Washington and across the Columbia River Plateau during the Pleistocene epoch.[3][4][5]
The ancestral Palouse River flowed through the currently dry Washtucna Coulee to the Columbia River. The Palouse Falls and surrounding canyons were created when the Missoula floods overtopped the south valley wall of the ancestral Palouse River, diverting it to the current course to the Snake River by erosion of a new channel.[3][6]
The area is characterized by interconnected and hanging flood-created coulees, cataracts, plunge pools, kolk-created potholes, rock benches, buttes, and pinnacles typical of scablands. Palouse Falls State Park is located at the falls, protecting this part of the uniquely scenic area.[5]
© all rights reserved by B℮n
Please take your time... to View it large on black
The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. Infinite sea of ice is perfect for ice skating journeys. Ice skating is not only a Dutch sport, it also underwrites the history, art and culture of the Netherlands. Perhaps most importantly a good freeze provides the Dutch a chance to discover the wilderness and an outdoor challenge within their own landscape. The Netherlands are a long distance skater's dream. Hundreds of kilometres of potential routes can carry the skater to the heart of a wild landscape. Today same as last year we could ice skating on the Gouwsea. Ice skating can be done from Monnickendam - Nes - Marken and from Marken back. Infinite sea of ice is perfect for ice skating journeys. Besides ice skating Dutch also love Ice yachting. This is the sport of sailing and racing iceboats and is very popular in the Netherlands. Ice boats are racing at a speed of 100 km an hour over the ice of the Gouwsea.
Waterland in the winter is a real skater’s paradise. As temperatures plunge across Europe, many are cursing the cold. But not in the Netherlands. Many are hoping for further frigid conditions. Photo taken of a lonely Dutch skater on the vast frozen Gouwsea. A historical moment since crossing the Gouwsea by skates is such a rare occurrence. Today I skate from Monnickendam - Nes - Marken - Nes and back to Monnickendam a trip of 16km, such a beautiful sea of ice to enjoy. Look at the many geese flying in the background. At this time of year they are easy to find in Waterland.
Op 25 januari 2013 een schaatstocht gemaakt rond de Gouwzee van Monnickendam - Nes - Marken - Monnickendam. Bij Volendam lag dit keer te veel sneeuw en onbegaanbaar. Eindelijk weer een dag waarin Waterlanders de ijzers konden onderbinden. De Gouwzee helemaal dichtbevroren en dit is nu al vier van de drie laatste winters gebeurd. Maar het blijft een historische ijstocht. Vele honderden schaatsenrijders zoeken vandaag de bevroren oppervlakte van de Gouwzee op voor een schaatstocht langs alle havens. Mensen kunnen een rondje Gouwzee schaatsen. Een groot ijsoppervlakte tussen Monickendam en Marken met prima ijs. Een oneindig mooi gezicht op deze ijszee anno 2013. Het was genieten. De weilanden zijn hier wit, de Gouwzee totaal bevroren en de adem komt in kleine grijze pufjes uit mijn mond. Handen op de rug. Rustig ademen. Ik geniet van het geluid van de ijzers over het ijs en het prachtige uitzicht over de besneeuwde landschap. Het ijs is geweldig hier. Ik stop nog even voor het maken van foto. De eenzame schaatser schaatst hier richting Marken met een heerlijke rugwind. Met minimale inspanning kan je hier wel 50km/uur schaatsen. Het levert een prachtig plaatje op. De Grauwe gans, grijsbruine gans met forse oranje snavel en roze poten is hier heel veel te zien in Waterland. Duizenden ganzen vliegen altijd in V-formatie waardoor de krachtsinspanningen over de groep worden verdeeld.
This was a typical situation -- in the sense that I had seen something potentially interesting out of the corner of my eye, but had only a second to point my camera in the general direction of the scene and snap a few photos.
The school children were not particularly interesting to me, simply because I had seen so many by this time; nor did it matter to me that the young woman was getting into a taxi.
It was the purple hat that I had spotted ... and my instinct was simply that anyone wearing an outlandish hat like that must be interesting.
So I ended up with this image, culled from the half-dozen that I was able to take as the man walked by, and as I whirled around and pointed the camera in his direction. I never did figure out who he was, where he came from, where he was going, or what he was doing.
Indeed, I never saw him again.
**********************
As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
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This shot of the Oxford Malmaison hotel was taken during last months Oxford Flickr Group Photowalk. The former prison opened as an upmarket hotel back about fifteen years and the conversion was done rather well I think.
Click here for more photos of hotels around the world : www.flickr.com/photos/darrellg/albums/72157623328623131
From a review in the Telegraph, "With its rambling complex of tall 18th-century buildings surrounded by a defensive stone wall, Malmaison Oxford is, quite evidently, a former prison with its towers, metal bars at some of the peephole windows and Exercise Yard. Inside the hotel, which has several interconnected buildings including the old House of Correction and Governor's House, no attempt has been made to disguise the building's former use – and that's part of the inexplicable appeal.
Yes, there are soft carpets, attractive mood lighting against the walls and quads of plush easy chairs accommodating the long wings where cellmates once lived, but there are also the thick walls, attractively decorated with a yellow ochre limewash, the row upon row of cell doors, behind which are the now opulent bedrooms, and the original latticework staircases with crossover landings, painted white and now sporting cool glass panels as a feature balustrade."
© D.Godliman
From Bing Thom Architects:
The interior is conceived as a series of different height spaces organized around a central atrium with sunlight from the atrium skylight streaking and shifting across the walls. Spaces within the library are a diverse mixture of large interconnected high spaces with generous natural light and low more intimate spaces to accommodate the book stacks and individual activities like studying and writing. One of the most dramatic spaces is the living room, a casual double height reading area adjacent to massive windows overlooking a public plaza to the east. Spaces have been deliberately kept informal to make the library feel like an extension of the patron’s home.
Eastbound manifest freight 14G rolls through the AR interlocking at milepost PT 248.4 on the Pittsburgh Line, cresting the summit of the Allegheny Mountains at Gallitzin, PA. It won't be too long before the tower and the signal bridge are mere memories.
There was a day when all rail interlockings--interconnected systems of switches and signals--like this were controlled by an operator sitting in a trackside tower. Now these controlled points are all operated remotely from a dispatcher's work station hundreds of miles away. This old abandoned tower, perhaps haunted by ghosts of grandfathers who worked the Pennsylvania Railroad, sits atop the formidable summit of the Allegheny Mountains, a thousand feet above Johnstown to the West, and Altoona to the East..
Manufacturer: Citroën S.A., Groupe PSA Peugeot Citroën, Saint-Ouen - France
Type: AKS 400 / 3CV Fourgonette
Engine: 602cc M 28 2-cylinder boxer engine air-cooled
Power: 35 bhp / 5.750 rpm
Speed: 100 km/h
Production time: 1970 - 1977
Production outlet: 214,118
Curb weight: 630 kg
Load capacity: 475 kg
Special:
- Designed by Flaminio Bertoni as the TPV (Toute Petite Voiture) what later became the 2CV.
- This Van, based on the 2CV model, has a four-speed manual gearbox (second, third and fourth synchronized), battery ignition without distributor (“wasted spark ignition system”, a coil that fired the spark plugs), a 12 Volts electric system, a Solex 26/35SCIC 2-barrel carburettor, single plate dry disc (centrifugal) clutch, a 25 liter fuel tank and front wheel drive.
- The tube frame chassis with steel body has a 94.5 inch wheelbase, rack & pinion steering, single spoke steering wheel, manual headlight leveling, amazing roll angles, tenacious grip, independent interconnected coil spring front (longitudinal) and rear (transversal) suspension (designed by Marcel Chinon) with 4 friction dampers and 4 inertia shock absorbers, spiral-toothed final drive, disc wheels (three bolts holding), tubeless Michelin X 125x400 radial tires and hydraulic Lockheed drum brakes all around.
- In March 1978 this French icon Van was replaced by the Acadiane.
Steller Sea Lions Resting Along The Rocky Shores Of Sea Lion Caves In Florence, Oregon Sea Lion Caves is like an interconnected palace inhabited by some amazing marine animals. The Steller Sea Lions can often be seen sunning themselves on the rocky shores of Oregon’s Central Coast. These caves and caverns are open to the […]
... in the forests of my homeland. It touched the guardian of the forest very gently, allowing its splendor to be seen. The jay is my secret favorite in the woods of Switzerland, for it completely rules its domain, whether on the ground or in the air. The royal bird flies skillfully between the trees in search of food or a mate. You usually only see the master of the skies briefly, but you hear him all the better for it. I had been watching the jay for a long time that morning in the forests and stood in the same spot for a long time until my feet began to hurt. But suddenly he appeared and flew past me. I thought to myself, that was it, and I actually wanted to leave, because at some point you run out of strength and can no longer concentrate. But the clever bird probably wanted to know who was standing there in the middle of the forest—what kind of strange creature—and came back. The jay sat on a bush and jumped on it repeatedly. I could forget about taking photos, but luckily for me, he stayed for a brief moment, looked over at me, and a short time later disappeared somewhere into the dark of the forest. That was it. I could hardly believe my luck, because that brief moment meant everything to me. The jay is so clever that it's always extremely difficult to capture him in a photo.
Added to that was the delicate morning light in the background, which literally made the day seem golden.
Whatever happens to animals also happens to humans. All things are interconnected. What afflicts the earth also afflicts the sons and daughters of the earth.
- Chief Seattle
A few years ago, on another gallery I had on Flickr, I posted the first version of this photo. This road used to be one of my favorite places to shoot in the summer, but I never made it over this year because the Canadian wildfires messed with the way the fog would hit in the mornings. Hopefully, by next spring, we won’t be dealing with the aftermath. Our nations are as interconnected as the trees in the woods, and what happens to one, happens to all.
Ngwe Saung beach is situated near Yangon city and it can be reached within a 5-hour drive from Yangon. The beach itself is approximately 9 miles long and one of the longest beach in South East Asia and newly opened beach in Ayeyarwaddy delta region interconnected with the Andaman Sea. Moreover, Ngwe Saung is located a bit south of Ngapali which is also another popular beach resorts in Myanmar.
Wes Skiles Peacock Spring State Park, southwest of Live Oak, FL, is most widely known for its vast collection of interconnected underwater caves which attract cave divers worldwide to this obscure Florida gem. Apart from being an underwater destination, its a location of supreme and tranquil beauty that maintains an almost prehistoric character in the colder months. While swimming is allowed, there are springs (nearby too) which provide a better swimming experience. This spring is all about stepping back in time and seeing something truly wild.
"Multitudes of people are beauty-blind to the outdoor pictures. I doubt if one in a hundred begins to take in the beauty visible on even a short walk in city or country." - Delia Lyman Porter
I had such fun yesterday walking from home along the Waterfront Recreational Trail and through the Humber Bay Parks.
"The Waterfront Trail is made up of an interconnected series of trails mainly along the shores of Lake Ontario in Canada, beginning in Niagara-on-the-Lake, Ontario and extending to Brockville, Ontario, with an extension along Former Highway 2, to the Quebec provincial border. Through Toronto, the trail is called the Martin Goodman Trail. The Waterfront Trail is also used by commuters in parts of Southern Ontario." Wikipedia
Thanks for visiting, enjoy your day.
I'm presenting my entry for the 4th challenge of Second Life Top Model, which is themed around the 7 Deadly Sins. For this challenge, I chose to focus on Lust, Vanity, and Greed, as I believe they are all interconnected. I managed to seamlessly blend these three concepts into my showcase, and the audience was captivated by my performance. I adorned my skin with gold and diamonds to showcase my character's love for wealth and luxury. The way I draped the jewels and metals on myself was truly a sight to behold, and it's no surprise that my persona craves validation. The more attention I receive, the more I shine, and my love for attention is palpable.
Hair: Foxy- Altair Blonde
Makeup: Eyeshadow: [PAIX] Chromatic Love Eyeshadow/ Gold
Lips: Opulein: Lustrous Makeup Set/ Gold
Face: XS Primal EvoX Glided Gold
Oufit: [Glitzz] Kelsey Collection/ Gold and Diamonds
Skirt: S&P Camilla Skirt/ Gold
Shoes: Pure Poison Queen Pumps/ Gold
Jewelry: ~Soedara~ Bollywood Humble/ Gold & Diamond
-PENDULUM- SOMNUS- Gold
Astralia- Queen Legs/ Gold and Diamonds
**RE** Amira Rings/ Gold and White
Zaara: Raksha arm-chain Gold
Nails: A U R U S - Glitter Bento Nails/ Gold
The Watts Towers are a collection of 17 interconnected sculptural towers, sculptural features, and mosaics within the site of the artist’s residence in the Watts neighborhood of Los Angeles. The entire site was designed and constructed by Simon Rodia, an Italian immigrant construction worker over a 33-year period from 1921 to 1954. The tallest tower is 99.5 feet (30.3 m). The towers are decorated with found objects, including bottles, ceramic tiles, seashells, figurines, mirrors, and much more. Rodia died in 1965. The Towers were designated a United States National Historic Landmark in 1990.
M6 TTL 0.58vf
JCH Street Pan
21mm SEM
Rodinal 1+50 20C 22:00
Yellow Filter
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Tiny droplets of water caught in a spider's web
Some of my photo's are for sale!
Please go to erwinpilon.werkaandemuur.nl to learn the available options.