"I believe that nothing can be more abstract, more unreal, than what we actually see. We know that... the objective world... never really exists as we see and understand it... has no intrinsic meaning of its own, such as the meanings that we attach to it."

- Giorgio Morandi

www.artrepublic.com/biographies/240-giorgio-morandi.html

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Thanks a lot for visits and comments, everyone... Have a bright weekend...!

Please don't use this image on websites, blogs or other media without

my explicit permission. © All rights reserved

The Veil nebula is a supernova remnant in the constellation Cygnus about 1500 ly away. The progenitor supernova exploded an estimated 5000-8000 years ago and the full diameter is 3 degrees, giving a size of around 50 ly. The remnant emits radio, infrared, visible light and is also a very bright source of X-rays.

This composite shows the Hydrogen alpha (Ha) and doubly ionized oxygen (OIII) emission of the western portion of the Veil nebula, also known as the Witch's Broom and is close to the bright foreground star 52 Cygni. The emission filaments are thought to be the edge-on view of the thin shell of expanding gas. The entire 3 degree field contains this gas, but it's only in this edge-on view that the shell is visible.

The supernova must've been quite a site to our ancestors. For reference, it's about 4.3x closer than the supernova that left the Crab nebula remnant, M1, in 1054 AD, which had an apparent magnitude of -6.5 at it's peak. For supernovae with the same intrinsic brightness, this would give a 18x increase in brightness, or around 3.2 magnitudes.

Details:

Scope: TMB130SS

Camera: QSI683-wsg8

Guide Camera: Starlight Xpress Ultrastar

Mount: Mach1 GTO

Ha: 10x15min

OIII: 10x15min

5 hrs total exposure

A trace of culture/the intrinsic nature of the land.

Simon.

Excerpt from aht.ca/who-we-are/our-history/:

Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.

Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.

In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”

In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.

Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.

Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.

Excerpt from secure.toronto.ca/nm/api/individual/notice/2413.do:

Description

Take notice that Toronto City Council intends to designate the lands and building known municipally as 425 Cherry Street under Part IV, Section 29 of the Ontario Heritage Act.

Reasons for Designation

The property at 425 Cherry Street is worthy of designation under Part IV, Section 29 of the Ontario Heritage Act for its cultural heritage value, and meets Ontario Regulation 9/06, the provincial criteria prescribed for municipal designation under 5 criteria of design and physical, historical and associative, and contextual values.

Description

The property at 425 Cherry Street is located at the southeast corner of Front Street East and Cherry Street. The building is comprised of a three-storey structure fronting on Cherry Street, with a three-storey warehouse addition behind, extending along Front Street East. The building was constructed in three major stages - the two-storey Palace Street School, constructed in 1859 and designed by architect Joseph Sheard in the Jacobean style with an addition in 1869 by architect William Irving; the three-storey Cherry Street Hotel, constructed in 1890 incorporating the former school and designed by architect David Roberts Jr. in the Queen Anne Revival style; and the three-storey warehouse, constructed in c.1920.

Statement of Cultural Heritage Value

Design and Physical Value

The property at 425 Cherry Street is valued as a representative example of an evolved building type and style, reflecting the evolution of the property from its early use as one of the city's early "free" schools, to a hotel, a warehouse, and a restaurant. The building contains representative elements of the Jacobean and Queen Anne Revival styles, the former being used for many of the first schools constructed by the Toronto Board of Education, and the latter a popular style in Toronto for house form and hotel buildings between 1880 and 1910. While altered through later additions, elements of the Jacobean style can be seen on the first two floors of the former school's west and south facades, including the use of brick cladding (buff and red), brick quoins at the window surrounds and at the building's corners, the symmetrical organization of the facades featuring central projecting frontispieces bound by large rectangular window openings; and the stone drip moulds over the south entrance and the second storey window above. The building's Queen Anne Revival style is evidenced in the portion of the building constructed as the hotel (at the corner of Front and Cherry Streets) and in the third floor addition above the former school, and include the mansard roof with dormer windows; the arched window openings on the second storey; the elaborate use of brick ornamentation at the second storey cornice; the large plate-glass storefront windows with sandstone details; and the Dutch gable with inset Palladian window opening. The three-storey warehouse addition features elements indicative of the warehouse building type, including large rectangular window openings with cast stone lintels and brick sills; a flat roof with brick parapet; and minimal architectural ornamentation.

Historical and Associative Value

The historical and associative value of the property at 425 Cherry Street resides in its construction as the Palace Street School (1859), its subsequent adaptive reuse as the Cherry Street Hotel (1890) it's later conversion for use as a warehouse for various manufacturing and transportation-related businesses (1920), and its having been the location of the Canary Grill, from 1965 to 2007. Originally constructed in 1859 as one of the early "free" schools built in Toronto by the Toronto Board of Education and the first free school to serve St. Lawrence Ward, the one-storey schoolhouse was designed by architect, alderman and future Mayor of Toronto, Joseph Sheard. In 1869 the structure was expanded to the designs of architect William Irving, a former apprentice in Sheard's office and a prolific architect in Toronto through the second half of the 19th century. The Palace Street School is also associated with Georgina Stanley Reid, an educator with the Toronto Board of Education who served as principal of the school from 1882 until its closure in 1887, and who continued to serve as principal of its replacement school, Sackville Street Public School (now Inglenook Community School), until her retirement in 1912.

Following construction of the larger Sackville Street Public School in 1887, the Toronto Board of Education sold the property to brewer, businessman, and real estate developer Robert Thomas Davies, who had the building converted into a hotel to the designs of architect David Roberts Jr. in 1890. David Roberts Jr. had previously designed much of the nearby Gooderham and Worts Distillery, as well as a number of hotels, including the nearby Dominion Hotel on Queen Street East, which was also owned by Davies. Robert Davies was an influential industrialist in late Victorian Toronto who owned a concentration of businesses along the Don River; he was the founder of the Dominion Brewery, and later owned the Don Valley Brick Works and Don Valley Paper Company Limited. The hotel which at various times was called the Iverson Hotel, Darcy's Hotel/Hall, Eastern Star Hotel, and Cherry Street Hotel, was a fixture within the Corktown community from 1890 to 1910, however its role within the neighbourhood diminished alongside the demolition of the surrounding area's residential character, the displacement of the neighbourhood's working-class residents, the relocation of the nearby Don Station, and the expansion of railway lines and supporting industries. The property was subsequently converted for warehouse and manufacturing use, and the three storey warehouse addition was constructed on the east façade of the building c.1920.

In 1965 the Canary Grill moved into the first floor, and became a well-known establishment within the area catering to those employed in transportation and manufacturing-related industries, as well as commuters. Through the latter half of the 20th century studio spaces within the building were leased to a wide range of creative and cultural tenants, including musicians, artists, manufacturers and cultural sector workers. In the late 1980s, the property was expropriated as part of the joint municipal and provincial governments' plans to redevelop the West Don Lands into a new neighbourhood, called "Ataratiri". The expropriation resulted in the eviction of many of the building's tenants, however the Canary Grill remained open until 2007, after which the building was fully vacated.

Contextual Value

Contextually, the Palace Street School / Cherry Street Hotel is significant in its relation to the former Canadian National Railways Office Building, located on the northeast corner of Front Street East and Cherry Street, and is part of a larger post-industrial landscape within the West Don Lands, which includes the Gooderham and Worts Distillery, Cherry Street Interlocking Station, and the Dominion Foundry Complex. The CNR Office Building was constructed in 1923, and is recognized on the City of Toronto's Heritage Register. The two buildings complement each other, with similar setbacks from the corner and with a common low-scale brick clad form. Together, the properties form a gateway into the West Don Lands neighbourhood, a mixed-use area constructed as part of the 2015 Pan Am and Para Pan Games, and form a significant landmark within the community.

Heritage Attributes

Design and Physical Value

Attributes that contribute to the value of the property at 425 Cherry Street as representative of the Jacobean style and the Queen Anne Revival style include:

- The scale, form and massing of the former school and hotel buildings

- The symmetrical organization of the facades of the former school building, featuring centre bays bound by large rectangular window openings

- The setback of the former school building from the hotel addition on the west facade

- The use of brick cladding (buff and red) with stone foundations and sandstone detailing

- The brick detailing, including the corbelling below the mansard roof on the former school building the inset detailing on the west façade of the former hotel, and the engaged brick pier on the third floor of the west façade that extends above the cornice line alongside the corner window

- The ornamental wrought iron railing set above the corner entrance to the former hotel building

- The brick quoins, located at the corners of the former school building, the protruding bays, and the window surrounds

- The stone drip moulds over the entrance on the south facade and the second storey window above

- The mansard roof with high hipped dormers extending above the roofline

- The brick end wall on the south façade, with stepped brick detailing

- The flat headed window openings on the former school building with splayed brick lintels

- The arched window openings on the second floor of the former hotel building with radiating brick voussoirs

- The flat headed window opening set within the curved corner above the primary entrance of the hotel building

- The two-over-two hung wood windows on the former school and hotel buildings

- The entrances to the former school building on the south and west facades, both set within brick openings with shoulder arched openings

- The prominent corner entrance to the former hotel building, set atop a short flight of stairs and within a chamfered corner, with a large transom window above

- The round arched door opening on the north façade, which has been infilled

- The brick chimney on the north façade, with inset brick detailing at the third floor and above the roofline

- The large plate-glass storefront windows on the west facades with sandstone details set between brick and sandstone pilasters and below a metal-clad signboard and cornice

- The Dutch gable with inset Palladian window opening and featuring a radial transom window

Attributes that contribute to the value of the property at 425 Cherry Street as representative of the warehouse building type include:

- The scale, form and massing of the three-storey warehouse addition

- The red brick cladding with brick foundation

- The regular rhythm of the large rectangular window openings with cast stone lintels and brick sills, and multi-pane steel sash windows;

- The flat roof with brick parapet.

Attributes that contribute to the contextual value of 425 Cherry Street at the intersection of Front Street East and Cherry Street and its identification as a local landmark include:

- The setback, placement and orientation of the building, with its corner entrance and prominent curved corner windows above facing towards the intersection of Front Street East and Cherry Street

- The view of the building looking east on Front Street East from Cherry Street, and in relation to the adjacent Canadian National Railway Office Building

I had to lay there for 30 minutes (during which time I got eaten alive by mosquitos!) in order to get the right lighting, and then it came and was gone in about 5!

I'm glad I finally got around to taking a photo with these butterflies... I need to plan out some more concepts for them.

My poor little car, Wanda, decided to give up on life a few days ago... Hopefully I'll be able to get her fixed and it won't be crazy expensive. But I had several other really great things happen this week, so I really can't complain too much. :)

Happy Halloween 2015 .....

© Bob Kramer, Intrinsic Captures, 2015. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2015. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

Water architecture

Decorative recreation

Spontaneous effect

The subjects of my photography are subjects of convenience. I take my camera with me when I go somewhere, I take pictures of the things I see when I get there. As such, this is just a parking meter. But to me, its just a little bit more than that. I take photographs to learn - About light, about shapes, about focus, about composition... And with each photograph, I am a nickel or two richer in knowledge... At some point, I will be somewhere where the subject of convenience is not a parking meter - Rather, it will be something more intrinsically interesting or beautiful, more "worthy" of a photograph... And at that point, I will spend some of those nickels earned photographing parking meters and such, and the photograph I take will then be that much richer itself. That's how I see it...

And yet for now, I say this quite a lovely parking meter on quite a lovely day with quite a lovely sunset in its sights... I'm quite fond of the photograph I've taken of simple Lovely Rita :)

Well there we go, S2 has ended and I have a hunch that this will "point" us in a "flash"ing new direction in S3....

Now, this didn't leave me jumping up and down like last year, but that was a very somber and well developed ending. It left me feeling pretty satisfied though as a whole. I gotta say though, John Wesley Shipp really doesn't get enough props on this show. I'm heart broken we won't see Henry anymore, but we finally have a Jay that I feel will be fantastic if he was to return.

I feel like I had more to say about last year than this, but I have some theories and some comments to make despite that. It was nice to see a nod to Infinity Crisis, with evaporating Barry to inspire Wally, but it just didn't feel the same, impactfully to drive Wally to become a Speedster, let alone The Flash. But let's be honest, the Time-Remnant thing is a bit of a cop out.

Also, I wasn't really on board with Zoom as a character after revealing him as Hunter Zolomon. Hunter is a very compelling and complex character and it was a shame to have his name wasted on what, intrinsically speaking, was an original character, which I would have been totally fine with. I have this hunch though that we'll see Zoom again in the form of a Black Flash (maybe).

But hey, I'll keep it short and sweet, This show has yet to greatly disappoint me without redeeming itself in later episodes Like Jay being Hunter being Zoom, inevitably leading to the death of Henry but then having Shipp play Jay in the end. A problem I had, turning out to be okay after all. But hey, if I had to complain about anything in the season, it would be there wasn't enough surprises for me. It was all pretty cut and dry, playing it safe, but I don't mind it all that much in the end.

It was nice to finally see the Speed-Force. Seeing Grodd again was wonderful as always. Having Mark Hammil return with Weather Wizard during the Christmas Special was super fun, but I don't think we'll be seeing a full on Rouges Team ban together anytime soon, just because of Legends casting two of the six. But hey, It was super cool to have Tina McGee meet Henry, plus the first time we visited Earth-2 was wild! :P

At any rate, I'm really excited to see where the next season goes, and I'm also pretty pumped for Supergirl to join this CW roster (officially) in the Fall.

Those are just some of my opinions, but if I think of more, then I'll type them up in the comments. I'd love to hear what you guy's thought of the finale, and the season as a whole. I can tell you right now, The Turtle needed way more screen time than what he got :P

PS, this fig was designed and produced by Brick Asylum www.brickasylum.com/#!product-page/cd4f/57453cc8-578e-1ae... and is a fantastic PAD Printed figure! I'll post another picture of him on my instagram later so you can get another look at him. :)

But really though, what did you guy's think of S2? I loved it, and feel like the show still going strong even being a long time Flash reader. I'm sure even Arrow could learn a thing or two from this show, am I right? :P

To see a bit more, check out my Patreon! www.patreon.com/andrewcookston?ty=h

Sun Voyager (Icelandic: Sólfar) is sculpture by Jón Gunnar Árnason (1931 - 1989). Sun Voyager is a dreamboat, an ode to the sun. Intrinsically, it contains within itself the promise of undiscovered territory, a dream of hope, progress and freedom. The sculpture is located by Sæbraut, by the sea in the centre of Reykjavík, Iceland.

Some places just have an intrinsic beauty to them.

This is one of those places.

Like a bright ornament in a holiday wreath, this bright star decorates its surrounding nebula with waves of light. This image from NASA's Hubble Space Telescope shows RS Puppis, a Cepheid variable star which rhythmically brightens and dims over a six-week cycle. Its average intrinsic brightness is 15,000 times greater than the Sun's luminosity.

The nebula flickers in brightness as pulses of light from the Cepheid propagate outwards. Hubble took a series of photos of light flashes rippling across the nebula in a phenomenon known as a "light echo." Even though light travels through space fast enough to span the gap between Earth and the Moon in a little over a second, the nebula is so large that reflected light can actually be photographed crossing the nebula.

Image credit: NASA, ESA and the Hubble Heritage Team (STScI/AURA) – Hubble/Europe Collaboration; Acknowledgement: H. Bond (STScI and Pennsylvania State University)

NASA image use policy.

NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.

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Tulip mania or tulipomania (Dutch names include: tulpenmanie, tulpomanie, tulpenwoede, tulpengekte and bollengekte) was a period in the Dutch Golden Age during which contract prices for bulbs of the recently introduced tulip reached extraordinarily high levels and then suddenly collapsed. By 1636 the tulip bulb became the fourth leading export product of the Netherlands—after gin, herring and cheese. The price of tulips skyrocketed because of speculation in tulip futures among people who never saw the bulbs. Many men made and lost fortunes overnight, to the consternation of Calvinist elites who abhorred this artificial frenzy that denied the virtues of moderation, discretion and genuine work.

At the peak of tulip mania, in February 1637, some single tulip bulbs sold for more than 10 times the annual income of a skilled craftsman. It is generally considered the first recorded speculative bubble (or economic bubble), although some researchers have noted that the Kipper- und Wipperzeit episode in 1619–22, a Europe-wide chain of debasement of the metal content of coins to fund warfare, featured mania-like similarities to a bubble. The term "tulip mania" is now often used metaphorically to refer to any large economic bubble (when asset prices deviate from intrinsic values).

There! That was interesting, wasn't it! :o)

Having toyed over several months with the idea of giving medium format a go, I eventually opted for the 'budget' Yashicamat 124G Twin Lens Reflex. This was the first shot I took with it, deliberately composed to get a good idea of lens quality.

Needless to say when I stuck the neg under the enlarger on the kitchen table and projected it to the floor I wasn't disappointed - it was going to give the Nikon lenses a run for their money, at least for sharpness. That would be about the extent of the challenge though - while the sharpness was impeccable, the challenges of a reverse-image viewfinder, poor ability to freeze moving objects (probably my technique), plus the additional carrying weight with the 35mm kit, all made it a luxury that wouldn't last forever. I ended up keeping it a few years before finally selling it on in part exchange for another 35mm lens. Still, it was great while it lasted and there's something intrinsically pleasing about the square format.

So, to the shot, a Cravens two-car unit (class 105) stands at Grantham ready to tootle over to Nottingham with one of the regular hourly services of the day. A type of image which really played to the strengths of the camera imho.

Ilford FP4, developed in Acutol

16th April 1976

Old Badly Corroded Marine Pulley in the Harbourside - Porthleven Cornwall England. It is rare to find a Cornish harbour which faces southwest, directly into the prevailing winds, and Porthleven's development as a port was always hampered by its orientation. Doubtless, Porthleven would have remained a small fishing inlet to this day had not there been an overriding need, in the early nineteenth century, for a harbour of refuge along this forbidding lee shore to which ships could run in times of distress.

The construction of the harbour, which was completed in 1825, had been hugely problematical and, although a large drifter fleet was soon engaged in the mackerel and pilchard fisheries, Porthleven remained a dangerous and difficult harbour. Major improvements were carried out in the 1850s, after the port was taken over by Harvey & Co. of Hayle, and the handsome, massively-built harbour that we see today dates from this time.

Porthleven went on to be famed for its boatbuilding and shipowning, but it never fully overcame its original, intrinsic problem; you only have to visit the place during one of the frequent sou'westerly gales that beset Cornwall through the winter to see why.

Le Musée de la Photographie de Maastricht, situé au Vrijthof, présente une exposition saisissante de l'artiste photographe Jimmy Nelson. Intitulée « Entre la mer et le ciel », l'exposition présente 65 photographies et deux vidéos représentant vingt communautés néerlandaises en costumes traditionnels. Ces images, aux ciels majestueux, ont été prises dans de pittoresques villages de pêcheurs, des paysages de polders et des villes fortifiées. Avec son œuvre vibrante, Nelson célèbre la beauté, la richesse culturelle et l'authenticité de l'humanité.

Le photographe anglo-néerlandais est internationalement reconnu pour ses livres révolutionnaires « Before They Pass Away » (2013) et « Homage to Humanity » (2018), qui présentent des photographies captivantes de peuples autochtones uniques dans les régions les plus reculées du monde. L'élégant beau livre « Between the Sea and the Sky » (2022) est un récit visuel et artistique explorant le riche patrimoine culturel de la patrie d'adoption de Nelson et présente plus de 350 portraits intimistes et paysages emblématiques.

Avec cette série inspirante, Jimmy Nelson rend un hommage personnel aux traditions ancestrales. Il allie l'élégance intemporelle du naturalisme hollandais à l'art du portrait contemporain. Pour les portraits individuels et de groupe, cet artiste et conteur passionné utilise un appareil photo analogique grand format. Il en résulte des images pittoresques et romantiques, riches en détails, rappelant les célèbres maîtres hollandais.

La beauté intrinsèque de la diversité humaine et du patrimoine commun renforce le sentiment d'interdépendance mondiale, un thème récurrent dans l'œuvre de Nelson. Les visiteurs sont invités à un dialogue visuel et à une réflexion sur l'importance de la préservation et de l'unité culturelles. Avec son mélange unique d'architecture historique et moderne, le monumental Fotomuseum aan het Vrijthof offre un cadre idéal. Le musée organise un programme parallèle avec des conférences d'artistes et des activités scolaires.

Jimmy Nelson (Sevenoaks, Angleterre, 1967) a passé son enfance en Afrique, en Asie et au Moyen-Orient. Depuis 1993, il vit à Amsterdam, où se trouve le Jimmy Nelson Studio & Gallery. L'artiste photographie depuis quarante ans et expose dans les plus grands musées et galeries du monde entier. Son travail indépendant a également été présenté lors de foires d'art et de photographie telles que PAN Amsterdam, Photo London, Paris Photo et TEFAF Maastricht, ainsi qu'à la Fabrique des Lumières.

The Maastricht Museum of Photography, located in the Vrijthof, presents a striking exhibition by photographer Jimmy Nelson. Entitled "Between Sea and Sky," the exhibition features 65 photographs and two videos depicting twenty Dutch communities in traditional costumes. These images, featuring majestic skies, were taken in picturesque fishing villages, polder landscapes, and fortified towns. With his vibrant work, Nelson celebrates the beauty, cultural richness, and authenticity of humanity.

The Anglo-Dutch photographer is internationally recognized for his groundbreaking books "Before They Pass Away" (2013) and "Homage to Humanity" (2018), which present captivating photographs of unique indigenous peoples in the world's most remote regions. The elegant coffee table book "Between the Sea and the Sky" (2022) is a visual and artistic narrative exploring the rich cultural heritage of Nelson's adopted homeland and features over 350 intimate portraits and iconic landscapes.

With this inspiring series, Jimmy Nelson pays personal homage to time-honored traditions. He combines the timeless elegance of Dutch naturalism with contemporary portraiture. For both individual and group portraits, this passionate artist and storyteller uses a large-format analog camera. The result is picturesque and romantic images, rich in detail, reminiscent of the famous Dutch masters.

The intrinsic beauty of human diversity and shared heritage reinforces the sense of global interdependence, a recurring theme in Nelson's work. Visitors are invited to engage in a visual dialogue and reflect on the importance of cultural preservation and unity. With its unique blend of historic and modern architecture, the monumental Fotomuseum aan het Vrijthof provides an ideal setting. The museum organizes a parallel program with artist talks and school activities.

Jimmy Nelson (Sevenoaks, England, 1967) spent his childhood in Africa, Asia, and the Middle East. Since 1993, he has lived in Amsterdam, where the Jimmy Nelson Studio & Gallery is located. The artist has been photographing for forty years and exhibits in major museums and galleries worldwide. His independent work has also been presented at art and photography fairs such as PAN Amsterdam, Photo London, Paris Photo, and TEFAF Maastricht, as well as at the Fabrique des Lumières.

My thanks to Alistair Duncombe for the use of his flawless photo. No way to improve on it, but thought it would make a great painting. His photos can be seen here: www.flickr.com/photos/49841219@N06/

© Bob Kramer, Intrinsic Captures, 2016. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2016. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

In all my years, in my many thousands of hours working with snowflakes, I’ve never seen anything quite like this before. That’s a solid statement – and one worth spending more words on!

The previous few snowflakes (www.flickr.com/photos/donkom/46263921474/ and www.flickr.com/photos/donkom/46095818545/ ) have included elements of fusing together that creates air-gap thicknesses that can produce thin film interference effects. I’ve described this many times before, so I’ll just state that it’s the same physics as rainbows in soap bubbles… but the way it behaves here is very strange. Even more strange, is the way these snowflakes are connected.

There are really two separate crystals here forming into a single “snowflake”. I suppose the term snowflake can always mean more than one crystal, but I define it as either a single crystal, or multiple crystals that cannot be separated without destroying their collective identity. These two are intrinsically linked. There is a main “base” snowflake, the largest footprint, but then there is a smaller branched snowflake that somehow, some way, collided and “stuck” to the larger one. This part, aside from winning the cosmic lottery, I cannot explain. But this attached snowflake is very unique in its own rights!

Column-type crystals will often grow into plates on either side, running parallel and competing for available water vapour (“building blocks”) for their continued growth. When they are close, the competition is fierce and when one side gains an advantage, the other side stays at roughly the same smaller footprint it was when it’s parallel partner started growing out further. If the column is longer, however, the two plates are free to grow together without much hindrance, like we see here: www.flickr.com/photos/donkom/25449366121/

But that’s not the case here. We have very separated growth which should result in more even development of the two plates. Based on the fusing of the branches from the larger plate, it collided with the larger crystal in this form, or something very similar… and that I can’t explain either. Other than winning another cosmic lottery in the same image. Like getting attacked by a shark, and then surviving only because lightning strikes the shark. (I know, you'd probably die in that scenario too... but maybe you win the cosmic lottery and still survive!)

Then there is that same odd bubble tendril pattern that we saw on one of the earlier snowflakes linked above. I can’t identify the exact physics to explain why, but the “how” is starting to become obvious: when enclosed bubbles internally sublimate, with molecules flying from one side to another, they get more spherical. They leave behind traces though, that slowly become thin lines and eventually spherical bubbles on their own. The magic of natural physics at work that I wish I could explain!

Shot on the pre-production Lumix S1 I had on loan to me for a while, and one of my favourites from that camera not only for the mystery it provides, but for the level of clarity I am now growing very fond of.

Merry Christmas everybody! Here's a fig I conceptualized a couple months ago with the re-release of Lester to the mass market. Took me a while to finally pull the trigger on an eBay auction and it wasn't cheap. But hey, my collection's nothing but intrinsically rewarding at this point!

Check the pockmarked face, the tilted ciggie, the purplish-blue hair, and the emblazonment of British glory upon his chest - this is as accurate of a Manchester Black fig you'll get!

Anybody been reading DC lately? Thoughts on Metal/Doomsday Clock? The return of the 90s in Action Comics?

The Sphere Worlds Of Argoth - Dathor Prime by Daniel Arrhakis (2023)

* With the music : From Nowhere Until the Beginning

Celebrating Elvis week ........

© Bob Kramer, Intrinsic Captures, 2015. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2015. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

what are you doing today, stanley?

oh, I dunno, edna. I thought I'd clear out some of that old stuff in the basement.

what stuff?

you know, that pile of garbage that's been down there for years.

not my antiques and found artifacts! they're valuable!

really?

maybe not intrinsically, but, well, emotionally. to me. you know?

you can't be fixated on this attachment to useless material objects, edna. it's not healthy.

but I cherish the memories!

I see. do you remember when we met?

well, sure. sort of.

what was I wearing?

I don't know. the same torn levis you always wore?

did you keep them?

those rags? no way!

me neither.

Taken at Plemont Bay, Jersey.

Aleatoric, at least serendipitous; accident follows intent, concept and, in this heavily edited reflection upon Jersey's unique, Pan-European beauty, chance worked dreamily and fairly well. The concept was simple, to exploit the perspective that was exaggerated by the close proximity of the wild foliage at the bottom of the photo and to report on beauty and fecundity. As I was editing the photograph, the painful state of the UK's, supposed and protracted exit from the EU entered my mind on numerous occasions, hence the title. Jersey is equally British and French and a little bit Continental European, per se! If Jersey can exist as a multicultural, pro-European, pro-British island state, then it would seem commonsensical to conclude that the UK could co-exist with its Continental neighbours. I am very Pro-European and anti Brexit, culturally, economically and intellectually, indeed I love the global nature of our shrinking world and cannot abide artificial segregation and "exclusivity". I hope my dream of European cohesion and collaboration doesn't become an aloof, beautiful fantasy, and Brexit or no Brexit we can continue to travel between countries freely, retain our unique heritages and cultures, while enjoying our intrinsic differences.

Au revior pour maintenant!

:-)

Simon

Excerpt from the Information Poster:

The TTC street cars are an intrinsic part of the Toronto life.

The tracks are the veins that run through town, feeding the never ending pulse of the city. From home to work, from work back to families, the street car produces a tireless movement that keeps this city alive and vibrant. Like a system that connects people with their destination, the Food Bank connects families with food.

Using this Toronto icon to speak to an international concern, it addresses the hunger situation in the same way that the TTC addresses transportation.

Given this TTC hop on/hop off model, we encourage everyone to hop on the right track to feeding the city.

www.visitsouthport.com/sefton/nature-and-wildlife/ainsdal...

Ainsdale Sand Dunes National Nature Reserve is a 508-hectare site comprising rare dunes, beach and woodland habitats. There are 10 kms of way-marked footpaths to follow, and so tranquil and wild is the place that you will forget within minutes that you are surrounded by one of the most urban areas in England.

The Reserve received its designation as a National Nature Reserve in 1965, and is home to a vast diversity of rare, special and beautiful species that you might not have noticed. There is the rare Natterjack Toad, whose astonishing chorus earns it the local name of ‘Birkdale Nightingale’.

There is the Great Crested Newt, Britain’s most protected species of amphibian, whose numbers are on the increase on the Reserve. Another rare species found on the Reserve is the Sand Lizard, a secretive, shy reptile that is rarely actually seen. Rare wildflowers found on the Reserve include the Dune Helleborine, Seaside Centaury and Yellow Bartsia.

As Ainsdale Sand Dunes National Nature Reserve is a legally designated Reserve, public access is restricted. Anyone can follow the way-marked footpaths marked with colour-topped wooden marker posts, but people wishing to explore the Reserve off the beaten track must apply for a Natural England general permit. These are available free of charge by telephoning the Reserve on 01704 578774. Similarly, dogs are allowed on way-marked footpaths as long as they are kept under close control at all times, but cannot be taken off the public paths. This is because of the disturbance they could cause to the rare species, birds and grazing livestock.

Natural England is here to conserve and enhance the natural environment for its intrinsic value, the wellbeing and enjoyment of people and economic prosperity that it brings.

I took this image a couple of years ago when the city opened a new skate park near my house. Tried some new processing on this one. Best viewed at the largest size.

© Bob Kramer, Intrinsic Captures, 2012. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.

Bob Dylan espoused the phrase ‘don’t look back’. I don’t agree. I think you should look back, and look back often. I am not the first person to say this (and I am surely not the last) but those who fail to learn the mistakes of the past are doomed to repeat them. This is intrinsic to an individual’s development and it’s how we learn. So look back.

Another capture of one of the lonely people who wanders around Venice Beach. I beginning to think I should start paying him as a model since I have posted several images of him. Best viewed at the largest size.

© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.

***uʍop-ǝpısdn***

" Style is the image of character. "

..........Edward Gibbon ... ( 1737 - 1794 ).

.....English historian.

Memorial dedicated to Tony Hancock by Bruce Williams, 1996. In the background is the tower of the Methodist Central Hall, Old Square, Birmingham.

Anthony John "Tony" Hancock (12 May 1924 – 24 June 1968) was an English comedian and actor.

www.tonyhancock.org.uk/

~Tony Hancock in Hancock's Half Hour. :))

"Look at this China Dog. A family heirloom. Intrinsic sentimental value, this. It was my mother's. Clacton's Fairground, 1926. She struck three darts in the six of diamonds without batting an eyelid. And Drunk, I might add. A feat unequalled by the rest of the coach outing."

Happy Day my friends!

The "Wire Artisans Guild" theme challenge for the Month of March is "Emerald Isle". As St. Patty's Day is in March, all things Irish (and all things green, for that matter) are intrinsically linked together in my mind.

But, with this necklace I depart from the story of St. Patrick and venture into the violent & seductive epoch of Ireland's heroic age...

Maeve, the queen of Connacht, looms larger than life in the Ulster Cycle of Irish Mythology. No delicate and dainty queen, she had several husbands and countless lovers in an attempt to satisfy her seemingly insatiable libido. Nor did she hesitate to fight and kill in order to get what she wanted; She went to war in order to obtain the prize stud- bull, Donn Cúailnge, and prevent her husband's wealth from surpassing her own...

This necklace, all golden and flashing green, is my tribute to that intoxicating and provocative queen.

Inscription on the wall:

“Three things I wish and nothing more:

Above all else to love my Lord and God

No overflow of riches’ wealth

But to desire what the wisest prayed for:

An honorable life in this vale.”

P.Sutton et al., Masters of Seventeenth-Century

Dutch Genre Painting. 1984

www.theleidencollection.com/

«satisfaction from the activity itself (intrinsic motivation); or they may receive a tangible external reward, so that satisfaction comes not from the activity itself but from that reward (extrinsic motivation)»

youtu.be/cIYfiRyPi3o

Christmasy Danesh

rumble.com/vc6bin-what-makes-christianity-so-unique.html

Globular clusters are inherently beautiful objects, but the subject of this NASA/ESA Hubble Space Telescope image, Messier 3, is commonly acknowledged to be one of the most beautiful of them all.

Containing an incredible half-million stars, this 8-billion-year-old cosmic bauble is one of the largest and brightest globular clusters ever discovered. However, what makes Messier 3 extra special is its unusually large population of variable stars — stars that fluctuate in brightness over time. New variable stars continue to be discovered in this sparkling stellar nest to this day, but so far we know of 274, the highest number found in any globular cluster by far. At least 170 of these are of a special variety called RR Lyrae variables, which pulse with a period directly related to their intrinsic brightness. If astronomers know how bright a star truly is based on its mass and classification, and they know how bright it appears to be from our viewpoint here on Earth, they can thus work out its distance from us. For this reason, RR Lyrae stars are known as standard candles — objects of known luminosity whose distance and position can be used to help us understand more about vast celestial distances and the scale of the cosmos.

Messier 3 also contains a relatively high number of so-called blue stragglers, which are shown quite clearly in this Hubble image. These are blue main sequence stars that appear to be young because they are bluer and more luminous than other stars in the cluster. As all stars in globular clusters are believed to have formed together and thus to be roughly the same age, only a difference in mass can give these stars a different color. A red, old star can appear bluer when it acquires more mass, for instance by stripping it from a nearby star. The extra mass changes it into a bluer star, which makes us think it is younger than it really is.

Image credit: ESA/Hubble & NASA, G. Piotto et al.

NASA image use policy.

NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.

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=====

The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

=====

Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:

七月盂蘭 Mid Summer Ghost Story

For my past visits to the Hungry Ghosts "Yu Lan" Festival here:

Hungry Ghosts "Yu Lan" Festival

More Chinese Temples images here:

Caves & Temples

=====

Unlike the Grand Lantern which stood right at the center, shinning its guardian over the whole ceremony; by the corner, a waxed-paper lantern is seen hanging high up from a bamboo.

This lantern is called the Light of Summon, day and night, sending invitation to the spiritual "good brothers" from far to join this salvation ceremony, the higher it hangs, the further it will summon and relatively, more oblation materials are to be prepared. Therefore, the scale of the ceremony can be seen through the height of this lantern.

=====

** Origin and facts of the Hungry Ghost Festival:

The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

=====

More images of the Hungry Ghosts "Yu Lan" Festival here:

Hungry Ghosts "Yu Lan" Festival

More Chinese Temples images here:

Caves & Temples " Festival

=====

Photo shot with Nikon D600 + AF-S NIikkor 50mm f/1.8G

Edited with Photoshop CS5

=====

A glorious day to walk the dog along the beach pathway in Cambria, California. Well, it may not look exactly like this, but one can always dream.

© Bob Kramer, Intrinsic Captures, 2013. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright.Please, do not use them without my permission!Copyright: All images © 2013. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

A consequence of the mass–energy equivalence is that if a body is stationary, it still has some internal or intrinsic energy, called its rest energy, corresponding to its rest mass. When the body is in motion, its total energy is greater than its rest energy, and, equivalently, its total mass (also called relativistic mass in this context) is greater than its rest mass. This rest mass is also called the intrinsic or invariant mass because it remains the same regardless of this motion, even for the extreme speeds or gravity considered in special and general relativity...(Wikipedia)

I think that what that all means is when you ride a motorcycle, go real fast...

copyright SB ImageWorks

Happy Thanksgiving to all ....

Colorized and painted from a black and white photo.

© Bob Kramer, Intrinsic Captures, 2018. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2018. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

I think this photo was originally an ad for Arthur Murray Dance Studio. (for those of you old enough to remember them)

© Bob Kramer, Intrinsic Captures, 2016. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION. All my pictures have copyright. Please, do not use them without my permission! Copyright: All images © 2016. All rights reserved. The photos are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law.

The Eastern Veil nebula is a portion of the supernova remnant in the constellation Cygnus about 1500 ly away. This composite shows the Hydrogen alpha (Ha) and doubly ionized oxygen (OIII) emission and contains NGC6992 and NGC6995 collectively known as the Network nebula. However, to me, it takes a more haunting appearance as this side of the Veil supernova remnant resembles a face in profile with the mouth area prominent in the lower portion.

The progenitor supernova exploded an estimated 5000-8000 years ago and the full diameter is 3 degrees, giving a size of around 50 ly. The remnant emits radio, infrared, visible light and is also a very bright source of X-rays. As with the Western Veil nebula, the emission filaments are thought to be the edge-on view of the thin shell of expanding gas. The entire 3 degree field contains this gas, but it's only in this edge-on view that the shell is visible. The supernova must've been quite a site to our ancestors. For reference, it's about 4.3x closer than the supernova that left the Crab nebula remnant, M1, in 1054 AD, which had an apparent magnitude of -6.5 at it's peak. For supernovae with the same intrinsic brightness, this would give a 18x increase in brightness, or around 3.2 magnitudes.

Details:

Scope: TMB130SS

Camera: QSI683-wsg8

Guide Camera: Starlight Xpress Ultrastar

Mount: Mach1 GTO

Ha: 6x15min

OIII: 6x15min

3 hrs total exposure

| Illustration_ Martin Grohs

| Created for the Intrinsic Nature - Experiment 12

"Everybody is like a moon - one has a dark side which one shows to nobody."

Please take a look at the DETAILS

AVAILABLE AS WALLPAPER!!!

© Martin Grohs 2012. All rights reserved.

This is not a stock image. This image may not be reproduced in any form without my written permission.

WEBSITE | FACEBOOK

“With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”

― Italo Calvino, Invisible Cities

Listen: Lush Intrinsic (2009) · Keith Kirchoff

youtu.be/uK9TTiXWVrA

‘…seeding the embryo of the Illustrious with the deathless absence…’

frottage 594mm x 420mm

I did not take this photo, but I did change the background, added the snow, added the fog and tried my hand again at painting it. Best viewed at the largest size.

© Bob Kramer, Intrinsic Captures, 2012. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.

Intrinsic

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Le Musée de la Photographie de Maastricht, situé au Vrijthof, présente une exposition saisissante de l'artiste photographe Jimmy Nelson. Intitulée « Entre la mer et le ciel », l'exposition présente 65 photographies et deux vidéos représentant vingt communautés néerlandaises en costumes traditionnels. Ces images, aux ciels majestueux, ont été prises dans de pittoresques villages de pêcheurs, des paysages de polders et des villes fortifiées. Avec son œuvre vibrante, Nelson célèbre la beauté, la richesse culturelle et l'authenticité de l'humanité.

Le photographe anglo-néerlandais est internationalement reconnu pour ses livres révolutionnaires « Before They Pass Away » (2013) et « Homage to Humanity » (2018), qui présentent des photographies captivantes de peuples autochtones uniques dans les régions les plus reculées du monde. L'élégant beau livre « Between the Sea and the Sky » (2022) est un récit visuel et artistique explorant le riche patrimoine culturel de la patrie d'adoption de Nelson et présente plus de 350 portraits intimistes et paysages emblématiques.

Avec cette série inspirante, Jimmy Nelson rend un hommage personnel aux traditions ancestrales. Il allie l'élégance intemporelle du naturalisme hollandais à l'art du portrait contemporain. Pour les portraits individuels et de groupe, cet artiste et conteur passionné utilise un appareil photo analogique grand format. Il en résulte des images pittoresques et romantiques, riches en détails, rappelant les célèbres maîtres hollandais.

La beauté intrinsèque de la diversité humaine et du patrimoine commun renforce le sentiment d'interdépendance mondiale, un thème récurrent dans l'œuvre de Nelson. Les visiteurs sont invités à un dialogue visuel et à une réflexion sur l'importance de la préservation et de l'unité culturelles. Avec son mélange unique d'architecture historique et moderne, le monumental Fotomuseum aan het Vrijthof offre un cadre idéal. Le musée organise un programme parallèle avec des conférences d'artistes et des activités scolaires.

Jimmy Nelson (Sevenoaks, Angleterre, 1967) a passé son enfance en Afrique, en Asie et au Moyen-Orient. Depuis 1993, il vit à Amsterdam, où se trouve le Jimmy Nelson Studio & Gallery. L'artiste photographie depuis quarante ans et expose dans les plus grands musées et galeries du monde entier. Son travail indépendant a également été présenté lors de foires d'art et de photographie telles que PAN Amsterdam, Photo London, Paris Photo et TEFAF Maastricht, ainsi qu'à la Fabrique des Lumières.

The Maastricht Museum of Photography, located in the Vrijthof, presents a striking exhibition by photographer Jimmy Nelson. Entitled "Between Sea and Sky," the exhibition features 65 photographs and two videos depicting twenty Dutch communities in traditional costumes. These images, featuring majestic skies, were taken in picturesque fishing villages, polder landscapes, and fortified towns. With his vibrant work, Nelson celebrates the beauty, cultural richness, and authenticity of humanity.

The Anglo-Dutch photographer is internationally recognized for his groundbreaking books "Before They Pass Away" (2013) and "Homage to Humanity" (2018), which present captivating photographs of unique indigenous peoples in the world's most remote regions. The elegant coffee table book "Between the Sea and the Sky" (2022) is a visual and artistic narrative exploring the rich cultural heritage of Nelson's adopted homeland and features over 350 intimate portraits and iconic landscapes.

With this inspiring series, Jimmy Nelson pays personal homage to time-honored traditions. He combines the timeless elegance of Dutch naturalism with contemporary portraiture. For both individual and group portraits, this passionate artist and storyteller uses a large-format analog camera. The result is picturesque and romantic images, rich in detail, reminiscent of the famous Dutch masters.

The intrinsic beauty of human diversity and shared heritage reinforces the sense of global interdependence, a recurring theme in Nelson's work. Visitors are invited to engage in a visual dialogue and reflect on the importance of cultural preservation and unity. With its unique blend of historic and modern architecture, the monumental Fotomuseum aan het Vrijthof provides an ideal setting. The museum organizes a parallel program with artist talks and school activities.

Jimmy Nelson (Sevenoaks, England, 1967) spent his childhood in Africa, Asia, and the Middle East. Since 1993, he has lived in Amsterdam, where the Jimmy Nelson Studio & Gallery is located. The artist has been photographing for forty years and exhibits in major museums and galleries worldwide. His independent work has also been presented at art and photography fairs such as PAN Amsterdam, Photo London, Paris Photo, and TEFAF Maastricht, as well as at the Fabrique des Lumières.