AIA 150: America's Favorite Architecture
View allAll Photos Tagged METHODOLOGY
Since I haven't figured out the latest public/private "embedding" methodology and have little intention of doing so, both versions are public which allows you to better express your preference anyway.
“According to this methodology, Japan Railway explains that this is what it would feel like as a passenger:”
For Smile on Saturday and the theme "Gemstones".
I must pay credit to Ben Tuxworth at Adaptalux Lighting Studio whose idea and methodology I've followed for this image.
Have a super Saturday and stay safe.
This from my last walkabout in Moabit last December. I saw this last remaining leaf on a branch but also noticed the emergence of the next generation behind it, I was struck by this as it reminded me of those scenes you see, when the hero is about to die but sees before him/her the objective ideal unfolding as they die, their last smile knowing their sacrifice was worth all the pain, suffering and sacrifice, as others shall now survive; I know how awfully dramatic that is, all that over a leaf?
But that's the beauty of photography, to bring to life more than what is there in the just the literal sense. Photography is perhaps the greatest methodology of creating an allegorical imager, well, sometimes!
I hope everyone is well and so as always, thank you! :)
Did my Breeding Bird Survey (BBS) on Sheriffmuir this morning early. Still plenty of these on the road up, but unfortunately none on the square itself. BBS involves walking two 1km transects 500m apart and recording all the species you see and hear. Administered by the British Trust for Ornithology it is our flagship survey and provides trends in bird populations as the survey is carried out with rigorous methodology and is long term - I have been doing this square for 12 years now.
Living History Farms is a 500-acre open-air museum located in Urbandale, Iowa, United States. The museum's mission is to educate visitors and demonstrate the past 300 years of Iowa's agricultural history. As its name implies, the museum follows the methodology of living history in depicting the lives of people living on farms in the years of 1700, 1850, and 1900, engaging in various agricultural activities.
I love this particular methodology for constructing fences. No need for those pesky nails.
Happy Fence Friday everyone.
Grand Teton National Park, Wyoming
València
© 2023 Salva Benlloch
Without my permission, do not copy, reproduce, distribute, modify, post this image on websites, blogs or other media and do not use it for commercial.
En el silenci de la nit. (Vilanova i la Geltrú - Catalunya).
En el silencio de la noche. (Vilanova i la Geltrú - Cataluña).
In the silence of the night. (Vilanova i la Geltrú - Catalonia).
English:
Dear friends, I am forced to spend less time on Flickr, so I will only comment on the pictures of my liking and the favorites that are very good.
I have always tried to be kind and respectful to all of you and I have returned your visits and comments. I am sorry to have to change my methodology so I will not be able to visit your galleries so often, as I have been doing so far.
Although I will continue making photos and uploading them on Flickr. I await your understanding.
A hug dear friends. Antoni
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos del meu grat i les favorites que siguin molt bones.
Sempre he intentat ser amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris.
Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries com venia fent fins ara.
Continuaré fent fotografies i pujant-les a Flickr.
Espero la vostra comprensió.
Una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos de mi agrado y las favoritas que sean muy buenas.
Siempre he intentado ser amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, como venia haciendo hasta ahora.
Continuaré realizando fotos y subiendolas en Flickr. Espero vuestra comprensión.
Un abrazo queridos amigos y amigas. Antoni.
A Sunset over Bournemouth, taken from Groyne 52 at Southbourne in 2020.
A post processing test in DPP. The only Post processing that has taken place is the basic processing within Canon’s Digital Photo Professional software. The file was then opened in Photoshop and converted to 8 Bit and sRgb, logo and border added, then exported at 2000 pixels on the long edge at 96 ppi and saved as a jpeg at Photoshop level 10.
I am very much a follower of the processing methodology of Vincent Versace as I believe his books and processing techniques produces the finest outcome from a file. Vincent also believes that no one knows a file better than the company/manufacturer that actually produced that camera, in my case Canon. So I attempted this today using only Digital Photo Professional to do basic adjustments then exporting it to 16 bit. My Photoshop work was only to prepare if for the web, Flickr and Instagram.
The quality of the file I have to say was not only very clean and but also very sharp from DPP, I do think sometimes we all discard the manufacturers free software without actually giving it a try.
Either way, I was happy with the result.
Technical details;
Exposure 1.5 sec @ F13 at ISO100
Canon EOS 60D & Sigma 10-20 F4-F5.6
Manfrotto 190 XDB tripod
Hahnel Remote Capture remotes
Formatt Hitech Filters Firecrest CPL, ND 0.6 SE
Mindshift by Think Tank Filter Case
There are some 450 authorized gondoliers distributed over the five hundred gondolas in the city, just a few if compared to the 10,000 boatmen who plied the waters of Venice at the time of Goldoni, but a good number considering that there are around 2500 taxis are in Milan. These facts show that in the end, the traffic along the Venetian canals has not changed substantially since the Renaissance, as has happened in other cities instead.
This is why Gondolas and Squeri are so important to Venice’s economy. The squeri are the famous workshops where gondolas are manufactured and undergo maintenance. Originally, these workshops were all located on the Grand Canal, just to make their overriding importance and centrality to the city’s needs, but nowadays only two of them still exist in the center of Venice: San Trovaso and Tramontin.
San Trovaso Squero is even legendary, as its existence is documented since Goldoni’s times, but the oldest is surely the Tramontin Squero, as the Tramontin family has been handing down the art since 1884 and has been the pioneer of the modernization of construction techniques, renewing methodologies used since the 1500s and 1600s.
The construction technique of gondolas is virtually unchanged since the days of Giovanni Tramontin, great- great-grandfather to Roberto, who said he was so skilled in his work that he made a bet with his student Alberto Mingaroni and fashioned a gondola in a single night.
Who knows if it was a legend or a real story, but certainly nowadays his grandchildren need to work for hundreds of hours to build a gondola in a workmanlike manner, as each one is a unique piece. Indeed, each gondolier has his own gondola and each boat is customized to its gondolier, to his weight and height – indeed, it is no coincidence that the weight of the iron bow varies according to the size of the gondolier and serves as a mass balancer. Also the steering position, the oar and the forcola where it rests are designed and manufactured considering the height and the arms of the gondolier. This need to customize gondolas is not an artistic habit, but rather responds to its peculiar navigation technique based on arm strength. This technique is very complex and relies on experience and direct knowledge of the routes, channels and pitfalls, however, quite different from any other traditional navigation mode.
For further information please visit www.thatsvenice.com/travel-guides/squeri/
Venice (Italian: Venezia [veˈnɛttsja] ( listen), Venetian: Venexia [veˈnɛsja]) is a city in northeast Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region. In 2009, there were 270,098 people residing in Venice's comune (the population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; 31,000 live on other islands in the lagoon). Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE) (population 1,600,000).
The name is derived from the ancient Veneti people who inhabited the region by the 10th century B.C. The city historically was the capital of the Venetian Republic. Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Masks", "City of Bridges", "The Floating City", and "City of Canals". Luigi Barzini described it in The New York Times as "undoubtedly the most beautiful city built by man". Venice has also been described by the Times Online as being one of Europe's most romantic cities.
The city stretches across 117 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy. The saltwater lagoon stretches along the shoreline between the mouths of the Po (south) and the Piave (north) Rivers.
The Republic of Venice was a major maritime power during the Middle Ages and Renaissance, and a staging area for the Crusades and the Battle of Lepanto, as well as a very important center of commerce (especially silk, grain, and spice) and art in the 13th century up to the end of the 17th century. This made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period. Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi.
Please visit en.wikipedia.org/wiki/Venice for further information...
Floater - This beautiful Barn Owl popped out of a dense willow stand and floated by me full frame, allowing for some cool shots. The SEOW's seemed to start their hunt first, followed by the Barn Owls.
I really had to push the ISO and reduce my shutter speed here, but the electronic shutter really helped me with the spray and pray methodology and I came away with some sharp frames.
Species: Barn Owl (Tyto alba)
Location: Central California, CA, USA
Equipment: Canon EOS R5 + EF 100-400 IS II, Handheld
Settings: 1/400s, ISO: 6400, f/5.6 @400mm, Electronic Shutter
Un viatge al passat. (Carcassona - França).
Un viaje al pasado. ( Carcasona - Francia).
A trip to the past. (Carcassonne - France)
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos que siguin del meu grat i donaré com a favorites a les que realment siguin molt bones.
A causa de tot això sou lliures de comentar les meves fotos o no i de marcar-les com a favorites o no.
Sempre he estat amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris. Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries, per que no puc destinar el temps que venia fent fins ara. Espero el comprendreu ..... una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos que sean de mi agrado y daré como favoritas a las que realmente sean muy buenas.
Debido a todo ello sois libres de comentar mis fotos o no y de marcarlas como favoritas o no.
Siempre he sido amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, por que no puedo destinar el tiempo que venia haciendo hasta ahora. Espero lo comprendereis.....un abrazo queridos amigos y amigas. Antoni.
English:
Dear friends, I am forced to spend less time than I want on Flickr, so I will only comment on the photos that are to my liking and I will give as favorites those that are really good.
Because of all this you are free to comment my photos or not and mark them as favorites or not.
I have always been kind and respectful to all of you and I have returned your visits and comments. I'm sorry to have to change my methodology so I will not be able to visit your galleries so often, because I can not use the time I've been doing so far. I hope you will understand ... a hug dear friends. Antoni
Floater II - This beautiful Barn Owl popped out of a dense willow stand and floated by me full frame, allowing for some cool shots. The SEOW's seemed to start their hunt first, followed by the Barn Owls.
I really had to push the ISO and reduce my shutter speed here, but the electronic shutter really helped me with the spray and pray methodology and I came away with some sharp frames.
Species: Barn Owl (Tyto alba)
Location: Northern California, CA, USA
Equipment: Canon EOS R5 + EF 100-400 IS II, Handheld
Settings: 1/400s, ISO: 6400, f/5.6 @400mm, Electronic Shutter
macro / water, leaves, spoon / found object
youtu.be/6lYuqiHYwDY?si=aUhFgf2_hDTP3v5y
Remembering: Professor Fred Woell
"Art, like life, is a challenge. It challenges all our resources, mentally and physically. It can't be predictably created from a linear didactic formula. It eludes methodology, technology, or ritual. It is, like life, more about being human, being vulnerable, being imperfect, and about things unexplainable. It is not a science. Art is about surprise, about the unexpected, about letting go and risking. It is about taking steps towards places where there may not be any footholds, and falling and failing.” – J. Fred Woell (2)
www.metalmuseum.org/post/2018/04/19/inside-the-collection...
A couch made from strips and blocks of turf sits in a bayside park in Keflavík on the Reykjanes Peninsula, Iceland. Turf cut from the Icelandic landscape has long been used in construction on the Island. From the Age of Settlement up until the turn of the 20th Century, turf houses dominated Icelandic housing design. These abodes were in essence timber houses, methodologically based upon the longhouse designs of Norway, Sweden, Denmark and the Scottish Isles, but adjusted to specific Icelandic conditions.
The foundation of turf houses was usually one or more layers of rock, but with a wooden structural base. The walls were double-stacked and lined with compressed soil for isolation; before an outer layer of turf, cut into strings, diamonds or squares got pressed together; creating the grassy surface of these original and iconic Icelandic homes.
So much happening right now, so many pieces being moved about the chess board of the ever-expanding realm of human consciousness. And yet so few actually now what is going on. That’s why they call it Esoteric.
The invasion of soldier age Islamist illegal migrants onto western shores, all attacking with knives (ever noticed that?) modus operandi of the field of battle, yet, they’re as much pawns in this game as the victims are, of course I don’t expect a nation’s society to stand idly by when rape and murder is beset upon them, however, after two world wars (Imperialist) then the desecration of Palestine by Israel (Zionist) and now the aforementioned activities (Wahhabism), neatly allowing Israel to re-adjust the narrative making themselves look to be good guys now, aided by the Bondi Beach incident (Interesting timing) this is a slow motion methodology of “Poisoning the Well” a CIA narrative altering strategy and method of pursuing propaganda. So thus, the final initiative for the oil pipeline and reserves can be tapped into beyond Palestinian shores. And beyond the 3 aforementioned factions are the ones who really pull the strings, not your governments.
In recent history: First it was the money (Federal Reserve / Central Banking), second it was the territory and central bank implementation (Middle East Wars), then it’s the minerals (Oil and Agricultural take over) then it’s population control (Constant Fear, Vaccines, Digital ID’s and Internet “Safety” Bills, etc). Marching toward a world central government, single world currency and one world religion.
If you still think it’s Left vs Right, you haven’t got a clue, if you still blame your world “Leaders” and Government than you haven’t got a clue, if you listen to “Alternative” news agencies who only steer the hate and division, then your attention is in the wrong place and you haven’t got a clue. The two great time lines have become very apparent, the kicker is that the ones on the lower time line won’t even realise it, somewhat akin to a patient with Alzheimer’s who won’t realise they are dying from Alzheimer’s, and those at the higher time line look down at the lowers and despair for them!
For those of the higher realm, do not engage with the lower realities, you can only retain a higher vibration, equip oneself with knowledge and go forward (transcend consciousness). If you don’t, you’re just amongst the people of echopraxia!
I hope everyone is finally waking the fuck up and so as always, thank you! 😊
An isolated barn on a deserted farm site stands with its lower door open giving an almost human expression of being aghast at all the changes around it. This past decade of my life has been a battle to accept generational changes without betraying a sense of being aghast. Technology advances and changes in methodology can be bewildering to older folks yet positive. Changes in morality and a breakdown in genteelness is more difficult to accept.
Garraf liegt zwischen Barcelona und Sitges in Katalunien, Spanien
Lafarge (Holcim) zeigt internationalen Experten seine wegweisende Methodik im Bereich des nachhaltigen Steinbruchmanagements.
Der Link (kann mit einem Rechtsklick übersetzt werden)
Garraf is located between Barcelona and Sitges in Catalonia, Spain
Lafarge (Holcim) is showing international experts its pioneering methodology in the field of sustainable quarry management.
The link (can be translated with a right click)
El Garraf está situado entre Barcelona y Sitges en Cataluña, España.
Lafarge (Holcim) está mostrando a los expertos internacionales su metodología pionera en el campo de la gestión sostenible de canteras.
www.lafargeholcim.es/lafarge-muestra-su-metodologia-pione...
Bitte respektiere mein Copyright. Keine Verwendung des Fotos ohne meine ausdrückliche Genehmigung.
Please respect my copyright. No use of the photo without my expressly permission.
Por favor, respete mis derechos de autor. Ningún uso de la foto sin mi permiso explícito.
Après des centaines d'heures d'entraînement, des chercheurs ont réussi à faire comprendre à une intelligence artificielle le « langage » des poules 🤔
Et, le potentiel serait plus important qu'il n'y paraît !!!
« Notre méthodologie utilise une technique d'IA de pointe que nous appelons Deep Emotional Analysis Learning (DEAL) », explique Cheok, « une approche innovante et hautement mathématique qui permet de comprendre de manière nuancée les états émotionnels à partir de données auditives ». Et les résultats semblent positifs, puisque dans 80 % des cas, ils correspondent aux observations des chercheurs.
En attendant de savoir si les ragondins disent « pain au chocolat » ou « chocolatine », l'équipe de Cheok envisage de créer une application gratuite permettant aux éleveurs de mieux identifier les émotions de leurs poulets …
Un outil bien utile, car ces bêtes ne sont pas “aussi “stupides" qu'elles en ont l'air, et seraient même "des animaux très sociaux", selon les chercheurs
_________________________________________PdF______
After hundreds of hours of training, researchers managed to make an artificial intelligence understand the “language” of chickens 🤔
And, the potential would be greater than it seems !!!
“Our methodology uses a cutting-edge AI technique we call Deep Emotional Analysis Learning (DEAL),” explains Cheok, “an innovative and highly mathematical approach that provides nuanced understanding of emotional states from auditory data.” And the results seem positive, since in 80% of cases, they correspond to the researchers' observations.
While waiting to know whether coypu say “pain au chocolat” or “chocolatine”, Cheok’s team plans to create a free application allowing breeders to better identify the emotions of their chickens…
A very useful tool, because these animals are not “as stupid as they seem, and are even “very social animals”, according to the researchers
________________________________________PdF_______
It has been a while but last night I went out to Coopers Lagoon beach (west of Lake Ellesmere) to shoot the aurora. The forecast looked kind of promising but it didn't really eventuate as I had hoped. As the aurora wasn't the most exciting, I decided to do a 120-image star trail stack combined with the aurora. I think I got a pretty pleasing result due to the stacking methodology. Each image was a 30 sec exposure, f/2.8, ISO 4000, 17mm lens and the Sony A7R V.
Excerpt from www.bwst.ca/the-artists/duggan:
Brendan Duggan
Location: W5 - The Buzz Barber & Co., 359 Brant St.
Title: Infestation
Material: Metal
Artist Statement:
My work shifts between design, craft and art. Combining elements from a broad scope of metalsmithing methodology that includes commercial fabrication and machinist skills as well as traditional blacksmithing techniques. My work can include found art, constructivist assassemblages, and free form linear monoliths.
Snowy Egrets employ several different fishing methodologies, but this one is the most entertaining to me. They'll fly just over the surface of the water, dragging their feet in the water as they fly. I presume this both slows them down and riles up little fish. When they spot a fish, they stab their heads down into the water while maintaining flight. If they're successful, they'll give the fish a little toss and down the throat it goes (this shot). If fish are plentiful, they can down several small fish on a single pass across the pond. (hit L to go large)
So as I mentioned in my last photo, I was thinking of bringing back my CPTSD theme, well, I also was considering writing Trigger Warning after the title, but then again you've already seen the photo, so, err, yea... however, that said, this shit needs to be spoken about, ***Trigger Warning*** below...
Please Note: This is all about education, awareness and support, it is not meant for sympathy or anything else on those lines.
The subject here is perhaps one of the most horrible symptoms concerning CPTSD (Complex Post Traumatic Stress Disorder), that is, Suicide Ideation, that is to become obsessed over the consideration of committing suicide, it works like intrusive thoughts but whilst they can be random, these versions are fixating upon the one subject matter. Many a time I was trapped into this form of thinking, my own personal methodology differed but on one particularly horrifying night, I ended up in intensive care after a failed OD, and other attempts through the years that landed me in psyche wards, often arriving in handcuffs in the back of an ambulance under the escort of less than sympathetic police officers.
One of the most hardest and cruellest aspects of Suicide Ideation, is when in the actual act, if the thoughts have driven one to it, is the locked in combination of suffering Depression and Anxiety at the same time, picture this; two tornadoes one clockwise, one anti clockwise and you are caught emotionally between the two, so thus the depression tells you to do it, that you're worthless, life is shit, etc, but the Anxiety tells you that you are too afraid, you don't know what's on the otherside, there's no turning back, on and on it spins around in your head. Ultimately the anxiety can be your best friend and pulls one back at the last moment, thank god!
I never succeeded, obviously, but fuck me I came close and I would strongly advise, if you are feeling this way, you speak to someone, you have every right to live. Remember, it's truly an emotional bluff (as big and convincing as it may seem), you are better than your thoughts and you are a hero for coming this far, having ever faced such a battle, never, ever give in to it my dear friend. It's actually because you just want the goddamn pain to stop, it can, and it will!
Think of it like this, so many people before you have been there, survived and thereafter life got beautiful for them, you are no exception from that miracle, I am living proof. Now I use my experience to guide others as I hope I am doing here. You live in a universe of infinite possibilities and life can still surprise you. Believe that!
I hope everyone is well and so as always, thank you! :)
PS: If however you are getting to that point, please consider going here...
I was barefoot on the beach and pushing Blanca along in her limousine when I suddenly stopped in my tracks: There was a garter snake on the beach right at the waterline! It was low tide and the distance to any wooded area was considerable. I was baffled how this snake could have gotten there.
The snake seemed unhurt albeit somewhat slow and disoriented, seeming just as puzzled as I was to understand what had happened. Since I didn't have my camera (of course!), I fumbled with my cell phone to at least get a couple of pictures before any rescue attempt. The waves came closer and closer to the snake and after endless minutes my phone only managed to tell me that it hadn't enough battery power to start up! Tssss, isn't it always like that?!
So I scooped up the mysterious little castaway and carried her to where the forest begins. She curled up in my hand and looked directly at me during the whole walk. It was a rare moment of closeness with a wild snake and very adorable!
I found a nice place among the trees at the bottom of the hill. A trail winds up the hill from the beach and on this trail I have seen garter snakes a number of times - right before they vanish into the underbrush. Snakes are so shy in Oregon! I gently set her down and she was still looking at me. I gave her a long goodbye glance, wishing her all the best and wishing I'd been able to get a picture.
At first, since all things on the beach are brought there by the waves, I just assumed she must've somehow fallen into the Rogue River and then been washed out to sea and up onto this beach, which is what happens to branches and trees after storms. It just seemed so hard to believe how she could survive that. I know some snakes are excellent swimmers but garter snakes? She was dry when I found her. I didn't see any slithering tracks around her in any direction.
Later, it occurred to me that a hawk may have grabbed her from somewhere and for some strange reason flew out to the beach and accidentally dropped her there? That also seems pretty hard to believe. I just don't know!!
A few days later, still regretting that I wasn't able to get a photo, it suddenly occurred to me that I could illustrate the encounter another way. Back in December I had started using watercolors, learning from the many excellent YouTube tutorials out there. It's a difficult art and quite intimidating for a beginner, but when I thought of it as simply the only methodology available to me for documenting my snake encounter, I found it most enjoyable!
She was very beautiful! I think she was a Coast Gartersnake but I'm no expert. I hope she was able to recover and thrive. :)
Yeegads, it's come to this. Always on the lookout for macro-sized creatures in my yard, I got excited when I saw these guys mating. I have to keep reminding myself where I see them often - on my daily rounds of possum poop detail in the back yard. Yup, decaying trash and scat lovers and carriers of disease. Yuk. Where's a Robber Fly when you need one?
About the photography: Camera was already set up with macro and ring light, so I grabbed it for some handheld shots. Then, just for fun, I did an unplanned focus stack of 2 - they were pretty sharp all the way through to begin with, but Bernie inspired me to try the stack. I used Lightroom to Photoshop as the methodology - my first successful attempt.
Retrat 11. ( Book Silvia Model U.K.)
Retrato 11. ( Book Silvia Model U.K.)
Portrait 11 . ( Book Silvia Model U.K.)
English:
Dear friends, I am forced to spend less time on Flickr, so I will only comment on the pictures of my liking and the favorites that are very good.
I have always tried to be kind and respectful to all of you and I have returned your visits and comments. I am sorry to have to change my methodology so I will not be able to visit your galleries so often, as I have been doing so far.
Although I will continue making photos and uploading them on Flickr. I await your understanding.
A hug dear friends. Antoni
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos del meu grat i les favorites que siguin molt bones.
Sempre he intentat ser amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris.
Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries com venia fent fins ara.
Continuaré fent fotografies i pujant-les a Flickr.
Espero la vostra comprensió.
Una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos de mi agrado y las favoritas que sean muy buenas.
Siempre he intentado ser amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, como venia haciendo hasta ahora.
Continuaré realizando fotos y subiendolas en Flickr. Espero vuestra comprensión.
Un abrazo queridos amigos y amigas. Antoni.
Methodology. Tedium Warning!
I make a folder for each calendar year. Inside are folders for each of the twelve months. Inside each of those are folders for each of the days I do any photography. A very nested folder array.
I don't do any labeling of photos in the folders, or categorizing. A daily folder may be labeled "Oct 16 Woods" or similar, but that's as far as it goes. Clearly in very short order I no longer know where particular types of photos can be found, other than by opening folders and looking. When I come back from a day's shooting with many hundreds of exposures, I have not found a way to title or catalog so many shots.
It isn't a great way to organize, but I have managed to make it work...mostly. What doesn't work so well is when I get a lot of good shots on a particular outing. I choose a couple or a few of the ones I like and process them for Flickr. In many cases, other equally good ones get forgotten or overlooked in the ongoing daily addition of ever more files in increasing numbers of folders.
All of that leads to this. It is a quite nice photo of a juvenile Bald Eagle. I just found it again, checked to ensure that I had not used it previously. Had not...so here it is now.
Incidentally, significant of NOTHING, I just passed 3.5 million views. One might suspect that in a very large percentage of the cases no one even opened a photo page to view the image.
[Enlarge to see the textures.]
Well the methodology is different, but the result is similar. We accept abstraction in modern art. Isn't that what these young people are doing?
My whole family will be away for a few days for Eid al-Adha celebrations. We intend to start our journey early in the morning Saturday. It’s gonna be a long drive back to the place where I belong, over in the east coast of the Malaysian Peninsular - Kota Bharu, Kelantan, some 450 km from Kuala Lumpur.
The mosque in the picture above is a small mosque in my village I took a few months ago when I was there for my Eid al-Fitr celebrations. This mosque is only to cater to the people in “pondok”. (Pondok is a religious learning institution that would normally follow less formal learning methodology and yet regimented in nature - Psantren, the Indonesian term for it). We have another bigger one as an official mosque for the village.
Anyway, this is the place where it holds part of my childhood story, and I'd like to relate through my HDR version of it.
I often will try to return to the same location for photography again and again in the hope of capturing the place in the best light possible. Well, the methodology seems to work. Mt. Washington, part of the Cascade Range of the Pacific Northwest, USA at sunrise. The forested area in the foreground was scorched years ago by a devastating wildfire in the Mt. Washington Wilderness near Sisters, Oregon.
Nature's own way of recycling. witnessed this methodological dismemberment of this bee 10 times bigger than the red ants.
Rose Seidler House is one of Australia's most famous buildings and one of its most unusual. The house is the work of architect Harry Seidler, who had the idea already sketched before he even set foot on Australian soil.
Completed in 1950, Rose Seidler House immediately created a sensation. The house featured glass walls, asymmetrical composition, cubic shapes and a flat roof; this was architecture unlike anything built in Australia before.
Rose Seidler House won the RAIA Sir John Sulman Medal for 1951, one of the most prestigious awards in Australian architecture and the first of five he won. Harry Seidler was 28 years old. Bringing international modernist ideas and methodology, he almost immediately influenced the shape of local architecture to come.
Wahroonga, Sydney
July, 2020
This is a VERY small blossom. It would hide behind a honeybee. These grow in bunches...I photographed a single bloom.
The honorary (and imaginary) trophy for figuring out the flower goes to Laurie Frisch. LOBELIA SIPHILITICA. Laurie either REALLY knows her flowers, or is top tier in search methodology!
Apparently also known as Blue Cardinal Flower.
The State Historical Museum, Red Square, Moscow, Russia at night.
The State Historical Museum in Moscow The imposing building that stands to your right if you enter Red Square through the Resurrection Gate is the State Historical Museum. The museum was opened in 1894, to mark the coronation of Aleksander III, and was the result of a 20-year-long project to consolidate various archaeological and anthropological collections into a single museum that told the story of the history of Russia according to the latest scientific methodology.
The building, which prompts mixed aesthetic reactions, is undeniably impressive. A mass of jagged towers and cornices, it is a typical example of Russian Revivalism, the Eastern equivalent of the Neo-Gothic movement. It was built by architect Vladimir Sherwood (whose father was an English engineer, hence the very un-Russian surname) on the site of the old Pharmacy Building, which was the original home of the Moscow University.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Barangaroo, Sydney, NSW, Australia
The Crown Towers Hotel in the Barangaroo area of Sydney is a 6 star hotel and a first for Sydney. We went in for a nosey and instantly felt out of our depth such is the lavishness of the hotel… and way, way out of our league! Still, it’s a longer walk into the heart of the city so the Shangri-La still trumps it for me.
Here’s the engineering bit…
Completed in 2020, the 72-storey, 270m-tall Crown Sydney hotel and residential tower on Sydney Harbour is the city’s tallest building, designed by architects Wilkinson Eyre in association with Bates Smart. Its height and striking profile make it an iconic focal point of the harbour, its structure mimicking three petals twisting and changing shape as the building climbs.
Less obvious to the observer was the innovative engineering solution employed in its construction, necessitated by the building’s site, which was formerly occupied by a disused wharf and container storage facility.
A first for the edge of Sydney Harbour, the “top-down jump-start” construction methodology, proposed by Robert Bird Group, provided significant programme savings.
Brought onto the project early in 2013, Robert Bird Group had to work out the best construction solution considering the tight timeframe required, the choices being either “blue sky” or “top-down”.
The site’s condition was a major factor in the decision. It had been built up to provide a level area suitable for a container wharf, with the raised ground contained by the harbour wall. The site geology is therefore raised (“made”) ground and alluvial material over sandstone that dips steeply towards the harbour, with the rock depth varying across the site from 18m to 33m below ground level.
The new building’s footprint is contained inshore of the existing harbour wall. The development shares its basement car park with the proposed residential buildings on the neighbouring site because the legal boundary between the sites bisects the combined basement.
This creates a situation where the harbour-side of Crown Sydney site must permanently retain unbalanced earth and water pressures on the full basement depth. This unbalanced loading drove the entire foundation solution; the magnitude of the unbalanced load was more than double the base shear from the tower wind loading, and was present from the very start of the construction sequence.
The rock profile, dipping steeply towards the harbour, and the presence of the existing harbour wall just 25 metres from the tower’s base, precluded the traditional use of rock anchors to provide temporary stability to the basement walls during excavation.
Robert Bird Group’s advice was to adopt a top-down, jump-start construction methodology. The unique engineering twist was to build much of the basement structure – including the core – prior to excavation commencing by using barrettes that would support the out-of-balance soil loads.
The blue-sky method is well understood, and is often the preference when temporary support of basement walls can be achieved with temporary rock or ground anchors. This allows an open, easily accessible site for the excavation of the basement and construction of the permanent structure.
On a development such as Crown Sydney, temporary anchors are not efficient nor practical, and in lieu of anchors, it is common for internal strutting and bracing to be used instead. However, internal struts place logistical constraints on both the basement excavation and construction of the new permanent structure. In these situations, a top-down methodology that eliminates all need for internal struts starts to become attractive.
The top-down method relies on constructing the permanent structure in a sequence whereby it provides restraint to the walls during basement excavation and construction. The advantage of this technique is that it reduces the risk of delay and, when combined with a jump-start approach, permits acceleration of the construction programme by creating a dual work-front; both basement and tower could be constructed in unison. Adopting this approach, Crown Sydney progressed very quickly.
Above ground, to accommodate the building’s sculptural form, Robert Bird’s solution included “helical” columns that twist around the perimeter of the building to achieve the architect’s desired geometry and “walking columns” to manage differential axial shortening between the internal core and external columns. A tuned mass damper was also incorporated to control accelerations and achieve the building’s elegant, slender profile.
In conclusion, there is no question that adopting the “top-down jump-start” methodology adds complexity to the basement design and detailing; however, this is offset by the reduction in time to complete the project. As a result, the core construction at Crown commenced just one month after the excavation operation began and the tower superstructure was well underway before the excavation operation was completed.
Arguably, if a conventional open-excavation sequence had been followed, the core and tower superstructure would have commenced much later, once the basement was fully excavated and foundations constructed.
Excerpt from www.bwst.ca/the-artists/duggan:
Brendan Duggan
Location: W5 - The Buzz Barber & Co., 359 Brant St.
Title: Infestation
Material: Metal
Artist Statement:
My work shifts between design, craft and art. Combining elements from a broad scope of metalsmithing methodology that includes commercial fabrication and machinist skills as well as traditional blacksmithing techniques. My work can include found art, constructivist assassemblages, and free form linear monoliths.
El Paradís de nit. (El trabucador - Delta de l'Ebre - Catalunya).
El paraiso de noche. (El trabucador - Delta del Ebro - Cataluña).
The Paradise nat night. ( The trabucador - Delta de l'Ebre - Catalonia).
English:
Dear friends, I am forced to spend less time on Flickr, so I will only comment on the pictures of my liking and the favorites that are very good.
I have always tried to be kind and respectful to all of you and I have returned your visits and comments. I am sorry to have to change my methodology so I will not be able to visit your galleries so often, as I have been doing so far.
Although I will continue making photos and uploading them on Flickr. I await your understanding.
A hug dear friends. Antoni
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos del meu grat i les favorites que siguin molt bones.
Sempre he intentat ser amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris.
Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries com venia fent fins ara.
Continuaré fent fotografies i pujant-les a Flickr.
Espero la vostra comprensió.
Una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos de mi agrado y las favoritas que sean muy buenas.
Siempre he intentado ser amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, como venia haciendo hasta ahora.
Continuaré realizando fotos y subiendolas en Flickr. Espero vuestra comprensión.
Un abrazo queridos amigos y amigas. Antoni.
”Призрачный город,
Весь блеклый, в буром тумане зимнего дня.
Гн Евгенидис, купец из Смирны,
Небритый, с карманом полным изюма,
C.i.f. London. Документы в порядке,
Спросил хрипло, по французски,
Отобедать в отеле на Пушкинской,
А потом – выходной в Петергофе.” T.S. Eliot
Finished artwork using recycled materials on the theme of Child Labour using the SCREAM (Supporting Children's Rights through Education, Arts and the Media) methodology. Made by students of the COLEGIO CARLOS III in Madrid.
See
www.ilo.org/ipec/Campaignandadvocacy/Scream/lang--en/inde...
and
www.12to12.com (named after the 12th of June, World Day Against Child Labour) to join a newly created community portal for action against child labour and to see more photos in the Gallery section.
I use blank of a book as memo. Same four icon methodology is applied. Circle for Records, Electric Bulb for Discovery (my own opinion), Square for ToDo (e.g. buy a reference book of the book), Hat for Citation.
The bookshelf filled by such books become "external data storage" in the PoIC system. The number of Cite Cards in the dock is reduced naturally.
As for the Fieldnote, I use a mechanical pencil as a bookmark.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
An old self portrait I never uploaded here -- not because I didn't like it, but because I couldn't find it (my teenage portfolio organization methodology was beyond a bit haphazard -- it was nothing short of labryinthine).
I took this standing on a graveyard wall at dusk the summer I was 16. See another photo from this shoot here.
My best friend Chris and I were Lana Del Rey superfans at the time, spending many nights a week either sitting in front of my open bedroom window -- or just outside it, on the rooftop...
...or rolling around on the floor on a huge synthetic polar-bear-skin-rug we lovingly named "the Ruphus thing" or some variation of that name, in reference to the huge, fluffly goldendoodle I had, who Chris had a special connection with.
The influence of Lana's music on these photos is palpable, especially in the photo I've linked above. ((The hotpants, though, are the result of my tweenage obsession with Jenny Lewis of Rilo Kiley -- over a decade later and I still think she had some of the most iconic outfits of all time).
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.