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.

VWS5436 © VW Selburn 2016: Taken through a coach window. I was fascinated by the simple irrigation methodology in the apple farms in the Trentino region of Italy. It just happened that the sun was catching the sprays of water as they fell.

See all of the Italy (Leger) trip in my album www.flickr.com/photos/vwselburn/albums/72157672693117891

”This follows because they assume that what exist for us only in intention is actually realized somewhere; namely, a system of absolutely true thoughts capable of coordinating all phenomena, a geometrical plan that makes sense of all perspectives, and a pure object onto which all subjectivities open.” M. Merleau-Ponty

 

aka "This Time Out"

This is getting to be more me than the previous ones of late.The idea and files ain't mine, but the methodology is from stuff I've managed to learn lately.

 

The original idea is from Jason Kim. The methodology is mostly from the stuff I've learned in the last several days.

 

This one is a work in progress sort of and I'll be updating it from time to time as I get tired of working on it. So far way too many hours of my life are in it. But it is fun.

 

www.youtube.com/watch?v=SGGHAjr8zRA

 

Published on 28 Aug 2016

 

Deviantart:http://fav.me/dafo73y

Cape png: goo.gl/BpjpGZ

Door: pixabay.com/photo-983783/

Dead Tree png: goo.gl/MXzRWm

Cloud: pixabay.com/photo-847072/

Lamp png: goo.gl/K2bJsR

Wall: pixabay.com/photo-1475318/

Step png: fav.me/d5kvomt

Flare: goo.gl/GUZpdR

Cloud Brush: goo.gl/fImaUY

Crack brushes: goo.gl/F9QauP

Stone BG: goo.gl/HVrYiK

Crow png: goo.gl/HGCyBS

 

Original File: My Door.psb

This is a new flow which following a trial several months ago and a maiden run on 4th May is a pretty impressive watch. 70010 combines with 66618 and 70017 (banking out of sight at the back) on the 4400T 6z88 20:44 Tunstead Sdgs to Wembley Receptions 1-7. This type of operation has been ongoing for years down south between the Somerset quarries and London with double headed 59s running night services to Acton where the train is split into two and maybe Freightliner having learnt from these operations is adopting the methodology with stone trains from the Peak District quarries.

 

Arrival in North London having run down the WCML is at 05:21 with onward trains being 06:36 to Park Royal Marcon listed as 2400T and 07:36 to Bow Depot listed at 2000T.

 

Next challenge to find a stretch of track long enough to photograph the whole train.

There comes a time when a spider's patience runs out. We were surely near that point when I decided to pack up before they packed it in. There's really no point in stressing a houseguest that far.

 

One last shot! Yes, I'm close to the wall and that springy cable can only go so far before it just topples everything. How about a very, and I mean VERY, acute bounce shot off the ceiling. This is what happened!

 

Not an enormous amount of that flash hit the subject. But it did do something. I really dislike macro-style — let's call it close-up photography —with a naked flash simply because the shadows are harsh and everything looks flat.

 

Now you can see something else too. This is more the true colour of that wall. Yes, it's not the fashionable "greige", and my painter hates me. For that matter, I'm not that fond of him either.

 

I did have to work harder to pull up the details in this shot. But it has a certain "dark" appeal which, I hope, sets the secret fears of the arachnophobes scurrying off like the spiders they irrationally fear. Most spiders are not lurking in the dark with predatory intent, least of all for a big bag of bones too big to make their soup. When it is safe to do so, I hope to relocate this beauty. That could have happened instead of a photoshoot. But it was bucketing down tonight, and if I didn't want to go outside, why would a spider?

The high-tech methodology behind Day 165 - The Silent World.

For the month of December I've decided I'm going to count down my 31 best Milky Way shots of the year, each day posting a different shot counting down what I think is my best/most favorite shot of 2016. I'll try and provide the story behind the shot as well the technical details regarding how it was taken and edited.

 

So to start the countdown I figured I'd start with my first Milky Way shot of the year. After having spent all winter reading and learning as much as I could about tracking and editing techniques using my iOptron Skytracker mount I was excited to put it to use shooting the Milky Way. It was early March and still very cold, but I decided to head up to Rockport Reservoir to get some shooting in. The reservoir was still mostly frozen over and it was still pretty damn cold at night. That night was also the first time I had really shot airglow, which was kind of a surprise given how close to Salt Lake City I still was, I did not expect to be able to see the phenomenon given the light pollution.

 

Using the tracking mount (and reading the wonderful tutorials by Roger Clark) gave me ideas on how to image the sky in a way to really reduce noise, bring out details, and create a shot that represents the highest quality I think can be produced. It allows me to stop down my lens to sharpen stars, lower ISO to reduce noise, and capture enough light to bring out the most in the night sky. Of course using a tracking mount means that you take long exposures of the sky which causes the foreground to be blurred, this means learning advanced editing techniques to merge foreground and sky shots in post-processing. This has caused my post-processing to be an ever evolving methodology that has changed significantly as I've learned new techniques, new tricks, and practiced new ideas. So with this edit I've combined everything I've learned over the course of the year to maximize detail, color, and creativity while keeping noise to near zero and (hopefully) not making a wildly over-processed looking shot.

 

This is a panorama of 8 shots total, 4 for the sky and 4 for the foreground, taken with my Nikon D600 and Rokinon 24mm f1.4 lens. As with all my images I create using a tracking mount, all the shots were taken back to back, I also try my hardest to make all shots have the same exposure settings. In this case the sky shots were 2 minute exposures at ISO 400 and f2.8, the foreground shots were 2 minute exposures at ISO 800 and f2.8.

 

I shoot at a white balance setting of 5000k, this white balance is as close to accurate as one can shoot the night sky. Most people shoot at white balance settings in the 3000-4000k range which is not an accurate white balance and produces an image that is too blue. There is a back and forth about the balance between art and science for Milky Way photography among photographers, I'm unwilling to sacrifice the accuracy of a shot based upon scientific backing in this regard and I will do my absolute best to produce an image of the night sky that has the correct color balance. People are certainly free to produce an artistic shot of the night sky, color balancing it any way they choose, but among the hardcore astrophotography community you will find an agreement that shooting at a white balance setting around 5000k is the most accurate DSLR cameras can be set at to produce a natural image of the night sky. If people are curious about reading the reasoning, the actual science, behind this I highly recommend reading Roger Clark's series at www.clarkvision.com/articles/color.of.the.night.sky/

It is not unusual to see Belted Kingfishers on my regular lake paddles, they often seemingly acting as guides by flying in intervals just ahead of me from branch to overhanging branch. But over the years I've learned not to even bother to pick up my camera since they always depart just as I approach, their familiar bell-like call filling the air.

 

Yesterday was a glorious autumn day, brisk and sunny with the lake loudly calling and finding me more than responsive. While cruising along, I heard a splash close behind me and spotted this guy/gal/thing emerge from its dive, fish in beak. It landed on this branch close enough for me to observe his dining methodology which included slapping the small, hapless fish back and forth on the branch. I was surprised in that I don't think I've seen them this late in the year before, and over the years, I think I've only seen two actually dive into the water. Also surprising was the fact that it didn't take off on my approach, actually allowing me time to get my camera. You can see from the two shots, he hasn't moved but the slight change in perspective is from my canoe drifting toward him. You can also barely see (imagination helps) the fish.

 

Hardly great photos by any stretch, they document an event I never expected to capture, and one of those few times I wished for a better camera.

with John Tucker, Earl's Hill, Shropshire 13th May 2009

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.

River Avon (the ‘Hampshire’ Avon), Wiltshire. Kodak Ektar 100, Nikon F3, Nikkor 50mm f1.4 AiS.

 

I am resurrecting my project River River. After a few years of just photographing with no methodology or guiding principle i stumbled across one for how work like this (following the course of a river) can be approached. It was right under my nose for the whole time (for example in books I’ve owned for years) but I hadn’t ‘seen’ it until now. Anyway, the light bulb has switched on and I’m off, and it feels good. This is older work but it fits into what I now want to do.

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.

All fairly quick except for selecting the fence. A photoshop sky was added also. With no colours pumped (on the original) or canvas effect.

Hans-Georg Gadamer (February 11, 1900 – March 13, 2002) was a German philosopher of the continental tradition, most famous for his 1960 magnum opus, Truth and Method.

~

AI/GIMP/PIXLR

Getting my feet wet with new aesthetics and (for me) new methodology. For those that must know, this is a photo of a staircase from below.

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.

Edith lost her husband two years ago. He didn't die. He just got lost. Misplaced. Mislaid.

 

Mislaid, she thought. What a funny word. As if he had been fucked incorrectly.

 

Just like those addictions counsellors, always making references to "substance misuse." As though their chief concern was not addiction at all, but the use of improper techniques and methodologies in the self-administration of substances.

 

Yes indeed. The husband, Gordon, had been mislaid. Edith wasn't sure where or when or how it happened. Which was, of course, the nature of loss. If you knew where a thing had gone, it wouldn't be lost now, would it.

 

"You should have put him on a chain," her mother said, "and worn him around your neck."

 

"You should have kept your pockets in better working order," said her friend Iris, who was always offering to fix up the seams on Edith's raggedy coats.

 

Gordon's friend Eddy didn't say anything. But he'd always thought Edith should have kept her husband in her panties.

 

In fact, they'd tried that early on, but Edith had found it troublesome. Gordon was always climbing up in there, and distracting her when she needed to be concentrating on her work.

 

They'd tried a number of other arrangements as well, including the ill-fated hair nest and the nearly fatal boot experiment.

 

They'd settled for a while for the top of a stocking. Edith's stockings had wide soft bands at their tops that held them in place, and Gordon could nestle in there nicely. He had plenty of freedom under her skirts (as long as he didn't go up in her panties) and she could reach down and touch him easily, discreetly, any time she was seated.

 

Things probably would have been fine. They might have even lived happily ever after. If not for the horse. Edith was called upon to ride and, even side saddle, it made Gordon's spot in the stockingtop far too treacherous.

 

So she put him in her pocket. Her coat pocket, just a few layers of fabric away from his old familiar stockingtop. And even that might have been fine, if Edith's coat had been sturdier. But they had little money. Her job as a typist barely paid for their cold little bed-sit and, more than once, she was grateful at the butcher shop for Gordon's tiny appetite. Although she'd never said as much, the butcher had assumed that Edith had a cat. And so he set aside tender little scraps of this and that in advance of her weekly visits, effectively feeding Gordon in grand style free of charge, while Edith would make do with a few fatty bones for soup.

 

Once the rent was paid and the food bought, Edith had little left over for clothing. And she was not one for mending. So she wore the same few heavy wool garments over and over until they were rags.

 

It was widely assumed that Gordon had fallen from one of these raggedy pockets. Where he had fallen, or how exactly, or how Edith had failed to notice... these were the mysteries the townsfolk discussed when ladies met for tea, and when men reached that particular stage of drunkenness known as melancholy.

 

For Edith and Gordon had been - well, they'd been the closest couple anyone had ever known, or heard tell of. And if they could come apart...

      

Phenomenography is a qualitative research methodology that investigates the qualitatively different ways in which people experience something or think about something. Phenomenography aims at studying the variation of ways people understand phenomena in the world.

www.jsricephotography.com

www.facebook.com/jsrice00

 

i thought an explanation of this photograph might be in order. the lady was absorbed with her smartphone as i approached and i tried to not alert her dog. suddenly i sensed she had seen me out of the corner of her eye, so i just waited to hit the shutter until the moment you see above. then i immediately smiled and squatted down to pet her dog while introducing myself. she broke into a big smile and maintained her completely relaxed demeanor. i sat down and we chatted a while and i took more pictures of her and her dog. this is a side of chicago that you don't hear about so much in the news media -- the casual friendliness of the people on the street and their willingness to be photographed.

 

street photography may seem very strange to people who have no sense of the value or history of documenting ordinary life with completely candid photographs. great street photographers (past and present), use varying methodologies for capturing such images, including invasive (bruce gilden), inconspicuous (henri cartier-bresson), communicative (peter turnley), and cheerful (craig semetko). typically i utilize the methodology of cartier-bresson, turnley, and semetko. that fits my personality and results in a lot of wonderful conversations with strangers -- and that has enriched my life greatly.

  

This is my first successful HDR with my new Nikon D80!

Methodology:

- took three shots, each shot had an increase of 1 EV (using bracketing)

- used a remote control to release the shutter.

- used Photomatix to generate the HDR and then used "Tone Mapping" in photomatix.

- saved the image, and opened it in Photoshop to increase the contrast, add a warming filter and adjust the levels.

- cropped it a little from the bottom.

 

Enjoy! :)

 

Print Available at My DeviantART

Reflections on the fifth Row Pond; methodologically the last day of summer, autumn starts tomorrow the first of September. A time to reflect of the long, hot, dry summer just gone and to reflect on the autumn to come. Will we get a good autumn? Lots of berries on the elder and hawthorn, good food for the birds.

 

I have heard that a cold winter followed by a dry summer gives good autumn colour, no idea if it's true, we will have to wait and see.

 

I've suspected it for a while but now I'm almost certain there are two grey heron around Hardwick. One was on great pond when I started my walk and another at the side of the fourth Row Pond; the first was still up to it's belly in Great Pond when I returned.

We need a new world-culture, a global synthesis of interconnectedness and global consciousness. We need a global citizenship movement that will promote social justice and social transformation. We must fight for fundamental human rights, over all national law and cultural identity—there must be equality for everyone! Global citizens are not born; they are created through social engineering. Children, you lack a global perspective on shared humanity, but we will indoctrinate you over time. Since you are part of this cult, you must help bridge the gap and rectify all misinformation. Remember, we global citizens are New World Order ambassadors. We must not only reflect on the virtues of globalism, but we must also act on them. As we reeducate the sheep, we must live a lifestyle of activism. True leaders are global citizens, whether they are CEOs, prime ministers, or just like you: Children of the Corn (Children of the Beast).

 

The number one (propaganda) issue that underscores our interconnectedness is climate change. The earth depends on our collective stewardship, which transcends all geopolitical borders and economies. One of our most important duties is to protect and enforce our global(ist) compacts. The health of the planet and society depends on useful idiots like us to lead the charge.

 

Smart cities are the engines of global control. They are full of opportunities, which we’ll exploit. This is a classic case of global multidimensionalism, which not only involves all facets of life, but is also omnipresent (The internet is borderless, and so is globalization). The most successful city is a smart city, because it’s interconnected globally. It reaches to the corners of the earth through smart technologies like the Internet of things, Artificial Intelligence, and Machine Learning. Now we are faced with a secular humanist phenomenology and a new age cosmology in which we must develop new and efficient methodologies. This paradigm shift is in perfect alignment with the values of global citizenship.

 

Take the jab, take the Mark. Be a sheep, awaken the dark. Bow the knee, bow in submission. Worship the Beast, son of perdition.

Children of the Corn—deeply rooted, widespread. Children of the Beast—tares uprooted, twice dead.

 

Matthew 24:4 “Then Jesus replied to them: ‘Watch out that no one deceives you.’”

 

The State Historical Museum, Red Square, Moscow, Russia.

 

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.

For Smile on Saturday here are three emotions. My thanks to Gavin Hoey for the idea and methodology.

Have a great Saturday friends.

Deerpark Road, Ardstraw, County Tyrone, Northern Ireland

 

This stunning sunflower field was planted for the sole purpose to raise money for 'The Children's Cancer Unit Charity' in 'Royal Belfast Hospital for Sick Children'. The methodology is that everyone is welcome to visit, donate what they wish into a sealed collection box, then are free to walk anywhere & enjoy these flowers in any form. For your contribution you are advised to cut a few flowers to take home as a thank you token. Don’t panic as these flowers are going to wither away soon, so cutting a few to bring home doesn’t impact the ecology of the field. There are literally millions of these flowers so there are plenty to be shared with folk to help brighten their day a little 🌻

 

As everyone can clearly see, this is a wonderful idea for a very great cause. Although whilst standing in the middle of this sea of sunflowers waiting for patches of light to shine through the moving clouds, I soon recognised an equally important underlining benefit to all these sunflowers. All around me on almost every flower head were Bumblebees & other flying insects feeding off the sunflower pollen. I have heard recently that our bees are in decline due to lack of flowers etc, so this was an amazing experience 🐝

 

These stunning Sunflowers are helping both us humans & bees equally. There should be more projects like this, even if there was funding for farmers to partially plant a small corner portion of their fields with sunflowers. It would have an immediate positive effect on us all.

 

Hope you enjoy! Please Favourite & Follow to view my newest upcoming works, Thank you

 

Facebook | Website | Instagram

I decided to take a step back last night to try and grasp the functionality and methodology of my drop kit. This is a two drop collision using full fat milk.

 

I added some blue food colouring and shot this one from above at a slight angle (this of course reduces the focal plain significantly using a macro lens). I set up two flash guns (at 1/64 power) on either side of the collision, pointed directly at the activity as, being white / slightly blueish in this case, milk reflects the light. The flash guns included a purple gel to the right and yellow to the left. Ideally, another flash positioned above would expose this shot perfectly but you have to work with what you've got!

 

0.5 sec exposure, f16, ISO 400 (to adjust for the missing flash).

 

Thanks in advance for any comments or favourites you may wish to make.

As seen on the Embarcadero, San Francisco.

The Living Bridge consists of six spans cable trussed bridge structure constructed off location and then carefully integrated into a Special Area of Conservation across the River Shannon. The design is meant to create an organic relationship between the landscape, the bridge and the user.

The bridge is set out on a large, sweeping arch to minimize the impact of the structure on the rivers islands. Arup developed the construction methodology to support the planning application and demonstrate that every effort had been made to minimize the environmental impact during the construction works.

Sea level drop refers to the phenomenon in which melting glaciers cause the surrounding land to rise.. Between 1901 and 2018, the average global sea level rose by 15–25 cm (6–10 in), or an average of 1–2 mm per year. This rate accelerated to 4.62 mm/yr for the decade 2013–2022.[3] Climate change due to human activities is the main cause. Between 1993 and 2018, thermal expansion of water accounted for 42% of sea level rise. Melting temperate glaciers accounted for 21%, with Greenland accounting for 15% and Antarctica 8%.: 1576  Sea level rise lags changes in the Earth's temperature. So sea level rise will continue to accelerate between now and 2050 in response to warming that is already happening. What happens after that will depend on what happens with human greenhouse gas emissions. Sea level rise may slow down between 2050 and 2100 if there are deep cuts in emissions. It could then reach a little over 30 cm (1 ft) from now by 2100. With high emissions it may accelerate. It could rise by 1 m (3+1⁄2 ft) or even 2 m (6+1⁄2 ft) by then.[6][7] In the long run, sea level rise would amount to 2–3 m (7–10 ft) over the next 2000 years if warming amounts to 1.5 °C (2.7 °F). It would be 19–22 metres (62–72 ft) if warming peaks at 5 °C (9.0 °F): 21  meters. Rising seas ultimately impact every coastal and island population on Earth. This can be through flooding, higher storm surges, king tides, and tsunamis. These have many knock-on effects. They lead to loss of coastal ecosystems like mangroves. Crop production falls because of salinization of irrigation water and damage to ports disrupts sea trade. The sea level rise projected by 2050 will expose places currently inhabited by tens of millions of people to annual flooding. Without a sharp reduction in greenhouse gas emissions, this may increase to hundreds of millions in the latter decades of the century. Areas not directly exposed to rising sea levels could be affected by large scale migrations and economic disruption. At the same time, local factors like tidal range or land subsidence, as well as the varying resilience and adaptive capacity of individual ecosystems, sectors, and countries will greatly affect the severity of impacts. For instance, sea level rise along the United States (particularly along the US East Coast) is already higher than the global average, and it is expected to be 2 to 3 times greater than the global average by the end of the century. Yet, out of the 20 countries with the greatest exposure to sea level rise, 12 are in Asia. Bangladesh, China, India, Indonesia, Japan, the Philippines, Thailand and Vietnam collectively account for 70% of the global population exposed to sea level rise and land subsidence. Finally, the greatest near-term impact on human populations will occur in the low-lying Caribbean and Pacific islands—many of those would be rendered uninhabitable by sea level rise later this century.

Societies can adapt to sea level rise in three ways: by managed retreat, by accommodating coastal change, or by protecting against sea level rise through hard-construction practices like seawalls or soft approaches such as dune rehabilitation and beach nourishment. Sometimes these adaptation strategies go hand in hand; at other times choices must be made among different strategies. A managed retreat strategy is difficult if an area's population is quickly increasing: this is a particularly acute problem for Africa, where the population of low-lying coastal areas is projected to increase by around 100 million people within the next 40 years. Poorer nations may also struggle to implement the same approaches to adapt to sea level rise as richer states, and sea level rise at some locations may be compounded by other environmental issues, such as subsidence in so-called sinking cities. Coastal ecosystems typically adapt to rising sea levels by moving inland; but may not always be able to do so, due to natural or artificial barriers. Between 1901 and 2018, the global mean sea level rose by about 20 cm (or 8 inches). More precise data gathered from satellite radar measurements found a rise of 7.5 cm (3 in) from 1993 to 2017 (average of 2.9 mm/yr), accelerating to 4.62 mm/yr for the decade 2013–2022.

Regional variations: Sea level rise is not uniform around the globe. Some land masses are moving up or down as a consequence of subsidence (land sinking or settling) or post-glacial rebound (land rising due to the loss of weight from ice melt). Therefore, local relative sea level rise may be higher or lower than the global average. Gravitational effects of changing ice masses also add to differences in the distribution of sea water around the globe. When a glacier or an ice sheet melts, the loss of mass reduces its gravitational pull. In some places near current and former glaciers and ice sheets, this has caused local water levels to drop, even as the water levels will increase more than average further away from the ice sheet. Consequently, ice loss in Greenland has a different fingerprint on regional sea level than the equivalent loss in Antarctica. On the other hand, the Atlantic is warming at a faster pace than the Pacific. This has consequences for Europe and the U.S. East Coast, which receives a sea level rise 3–4 times the global average. The downturn of the Atlantic meridional overturning circulation (AMOC) has been also tied to extreme regional sea level rise on the US Northeast Coast. Many ports, urban conglomerations, and agricultural regions are built on river deltas, where subsidence of land contributes to a substantially increased relative sea level rise. This is caused by both unsustainable extraction of groundwater and oil and gas, as well as by levees and other flood management practices preventing the accumulation of sediments which otherwise compensates for the natural settling of deltaic soils, over 3 m (10 ft) in urban areas of the Mississippi River Delta (New Orleans), and over 9 m (30 ft) in the Sacramento–San Joaquin River Delta.  On the other hand, post-glacial isostatic rebound causes relative sea level fall around the Hudson Bay in Canada and the northern Baltic.

Projections: A comparison of SLR in six parts of the US. The Gulf Coast and East Coast see the most SLR, whereas the West Coast the least NOAA predicts different levels of sea level rise through 2050 for several US coastlines. There are two complementary ways of modeling sea level rise and making future projections. In the first approach, scientists use process-based modeling, where all relevant and well-understood physical processes are included in a global physical model. An ice-sheet model is used to calculate the contributions of ice sheets and a general circulation model is used to compute the rising sea temperature and its expansion. While some of the relevant processes may be insufficiently understood, this approach can predict non-linearities and long delays in the response, which studies of the recent past will miss. In the other approach, scientists employ semi-empirical techniques using historical geological data to determine likely sea level responses to a warming world, in addition to some basic physical modeling. These semi-empirical sea level models rely on statistical techniques, using relationships between observed past contributions to global mean sea level and global mean temperature. This type of modeling was partially motivated by most physical models in previous Intergovernmental Panel on Climate Change (IPCC) literature assessments having underestimated the amount of sea level rise compared to observations of the 20th century.

Projections for the 21st century: Historical sea level reconstruction and projections up to 2100 published in 2017 by the U.S. Global Change Research Program.[35] RCPs are different scenarios for future concentrations of greenhouse gases. The Intergovernmental Panel on Climate Change provides multiple plausible scenarios of 21st century sea level rise in each report, starting from the IPCC First Assessment Report in 1990. The differences between scenarios are primarily due to the uncertainty about future greenhouse gas emissions, which are subject to hard to predict political action, as well as economic developments. The scenarios used in the 2013-2014 Fifth Assessment Report (AR5) were called Representative Concentration Pathways, or RCPs. An estimate for sea level rise is given with each RCP, presented as a range with a lower and upper limit, to reflect the unknowns. The RCP2.6 pathway would see GHG emissions kept low enough to meet the Paris climate agreement goal of limiting warming by 2100 to 2 °C. Estimated SLR by 2100 for RCP2.6 was about 44 cm (the range given was as 28–61 cm). For RCP8.5 the sea level would rise between 52 and 98 cm (20+1⁄2 and 38+1⁄2 in). A set of older estimates of sea level rise. Sources showed a wide range of estimates

Sea level rise projections for the years 2030, 2050 and 2100

The report did not estimate the possibility of global SLR being accelerated by the outright collapse of the marine-based parts of the Antarctic ice sheet, due to the lack of reliable information, only stating with medium confidence that if such a collapse occurred, it would not add more than several tens of centimeters to 21st century sea level rise. Since its publication, multiple papers have questioned this decision and presented higher estimates of SLR after attempting to better incorporate ice sheet processes in Antarctica and Greenland and to compare the current events with the paleoclimate data. For instance, a 2017 study from the University of Melbourne researchers estimated that ice sheet processes would increase AR5 sea level rise estimate for the low emission scenario by about one quarter, but they would add nearly half under the moderate scenario and practically double estimated sea level rise under the high emission scenario. The 2017 Fourth United States National Climate Assessment presented estimates comparable to the IPCC for the low emission scenarios, yet found that the SLR of up to 2.4 m (10 ft) by 2100 relative to 2000 is physically possible if the high emission scenario triggers Antarctic ice sheet instability, greatly increasing the 130 cm (5 ft) estimate for the same scenario but without instability. A 2016 study led by Jim Hansen presented a hypothesis of vulnerable ice sheet collapse leading to near-term exponential sea level rise acceleration, with a doubling time of 10, 20 or 40 years, thus leading to multi-meter sea level rise in 50, 100 or 200 years, respectively. However, it remains a minority view amongst the scientific community. For comparison, two expert elicitation papers were published in 2019 and 2020, both looking at low and high emission scenarios. The former combined the projections of 22 ice sheet experts to estimate the median SLR of 30 cm (12 in) by 2050 and 70 cm (27+1⁄2 in) by 2100 in the low emission scenario and the median of 34 cm (13+1⁄2 in) by 2050 and 110 cm (43+1⁄2 in) by 2100 in a high emission scenario. They also estimated a small chance of sea levels exceeding 1 meter by 2100 even in the low emission scenario and of going beyond 2 meters in the high emission scenario, with the latter causing the displacement of 187 million people. The other paper surveyed 106 experts, who had estimated a median of 45 cm (17+1⁄2 in) by 2100 for RCP2.6, with a 5%-95% range of 21–82 cm (8+1⁄2–32+1⁄2 in). For RCP8.5, the experts estimated a median of 93 cm (36+1⁄2 in) by 2100, with a 5%-95% range of 45–165 cm (17+1⁄2–65 in). By 2020, the observed ice-sheet losses in Greenland and Antarctica were found to track the upper-end range of the AR5 projections. Consequently, the updated SLR projections in the 2019 IPCC Special Report on the Ocean and Cryosphere in a Changing Climate were somewhat larger than in AR5, and they were far more plausible when compared to an extrapolation of observed sea level rise trends. The main set of sea level rise projections used in IPCC Sixth Assessment Report (AR6) was ultimately only slightly larger than the one in SROCC, with SSP1-2.6 resulting in a 17-83% range of 32–62 cm (12+1⁄2–24+1⁄2 in) by 2100, SSP2-4.5 resulting in a 44–76 cm (17+1⁄2–30 in) range by 2100 and SSP5-8.5 leading to 65–101 cm (25+1⁄2–40 in). The report also provided extended projections on both the lower and the upper end, adding SSP1-1.9 scenario which represents meeting the 1.5 °C (2.7 °F) goal and has the likely range of 28–55 cm (11–21+1⁄2 in), as well as "low-confidence" narrative involving processes like marine ice sheet and marine ice cliff instability under SSP5-8.5. For that scenario, it cautioned that the sea level rise of over 2 m (6+1⁄2 ft) by 2100 "cannot be ruled out".[7] And as of 2022, NOAA suggests 50% probability of 0.5 m (19+1⁄2 in) sea level rise by 2100 under 2 °C (3.6 °F), increasing to >80% to >99% under 3–5 °C (5.4–9.0 °F)." If countries cut greenhouse gas emissions significantly (lowest trace), the IPCC expects sea level rise by 2100 to be limited to 0.3 to 0.6 meters (1–2 feet).However, in a worst case scenario (top trace), sea levels could rise 5 meters (16 feet) by the year 2300. A map showing major SLR impact in south-east Asia, Northern Europe and the East Coast of the US

Map of the Earth with a long-term 6-metre (20 ft) sea level rise represented in red (uniform distribution, actual sea level rise will vary regionally and local adaptation measures will also have an effect on local sea levels). Models consistent with paleo records of sea level rise:  1189  indicate that substantial long-term SLR will continue for centuries even if the temperature stabilizes. After 500 years, sea level rise from thermal expansion alone may have reached only half of its eventual level, which models suggest may lie within ranges of 0.5–2 m (1+1⁄2–6+1⁄2 ft).[51] Additionally, tipping points of Greenland and Antarctica ice sheets are expected to play a larger role over such timescales, with very long-term SLR likely to be dominated by ice loss from Antarctica, especially if the warming exceeds 2 °C (3.6 °F). Continued carbon dioxide emissions from fossil fuel sources could cause additional tens of metres of sea level rise, over the next millennia. The available fossil fuel on Earth is enough to ultimately melt the entire Antarctic ice sheet, causing about 58 m (190 ft) of sea level rise. In the next 2,000 years the sea level is predicted to rise by 2–3 m (6+1⁄2–10 ft) if the temperature rise peaks at its current 1.5 °C (2.7 °F), by 2–6 m (6+1⁄2–19+1⁄2 ft) if it peaks at 2 °C (3.6 °F) and by 19–22 m (62+1⁄2–72 ft) if it peaks at 5 °C (9.0 °F).[6]: SPM-28  If temperature rise stops at 2 °C (3.6 °F) or at 5 °C (9.0 °F), the sea level would still continue to rise for about 10,000 years. In the first case it will reach 8–13 m (26–42+1⁄2 ft) above pre-industrial level, and in the second 28–37 m (92–121+1⁄2 ft). As both the models and observational records have improved, a range of studies has attempted to project SLR for the centuries immediately after 2100, which remains largely speculative. For instance, when the April 2019 expert elicitation asked its 22 experts about total sea level rise projections for the years 2200 and 2300 under its high, 5 °C warming scenario, it ended up with 90% confidence intervals of −10 cm (4 in) to 740 cm (24+1⁄2 ft) and −9 cm (3+1⁄2 in) to 970 cm (32 ft), respectively (negative values represent the extremely low probability of very large increases in the ice sheet surface mass balance due to climate change-induced increase in precipitation ). The elicitation of 106 experts led by Stefan Rahmstorf had also included 2300 for RCP2.6 and RCP 8.5: the former had the median of 118 cm (46+1⁄2 in), a 17%-83% range of 54–215 cm (21+1⁄2–84+1⁄2 in) and a 5%-95% range of 24–311 cm (9+1⁄2–122+1⁄2 in), while the latter had the median of 329 cm (129+1⁄2 in), a 17%-83% range of 167–561 cm (65+1⁄2–221 in) and a 5%-95% range of 88–783 cm (34+1⁄2–308+1⁄2 in). By 2021, AR6 was also able to provide estimates for year 2150 SLR alongside the 2100 estimates for the first time. According to it, keeping warming at 1.5 °C under the SSP1-1.9 scenario would result in sea level rise in the 17-83% range of 37–86 cm (14+1⁄2–34 in), SSP1-2.6 a range of 46–99 cm (18–39 in), SSP2-4.5 of 66–133 cm (26–52+1⁄2 in) range by 2100 and SSP5-8.5 leading to 98–188 cm (38+1⁄2–74 in). Moreover, it stated that if the "low-confidence" could result in over 2 m (6+1⁄2 ft) by 2100, it would then accelerate further to potentially approach 5 m (16+1⁄2 ft) by 2150. The report provided lower-confidence estimates for year 2300 sea level rise under SSP1-2.6 and SSP5-8.5 as well: the former had a range between 0.5 m (1+1⁄2 ft) and 3.2 m (10+1⁄2 ft), while the latter ranged from just under 2 m (6+1⁄2 ft) to just under 7 m (23 ft). Finally, the version of SSP5-8.5 involving low-confidence processes has a chance of exceeding 15 m (49 ft) by then. In 2018, it was estimated that for every 5 years CO2 emissions are allowed to increase before finally peaking, the median 2300 SLR increases by the median of 20 cm (8 in), with a 5% likelihood of 1 m (3+1⁄2 ft) increase due to the same. The same estimate found that if the temperature stabilized below 2 °C (3.6 °F), 2300 sea level rise would still exceed 1.5 m (5 ft), while the early net zero and slowly falling temperatures could limit it to 70–120 cm (27+1⁄2–47 in). Measurements: Sea level changes can be driven by variations in the amount of water in the oceans, by changes in the volume of that water, or by varying land elevation compared to the sea surface. Over a consistent time period, assessments can source contributions to sea level rise and provide early indications of change in trajectory, which helps to inform adaptation plans. The different techniques used to measure changes in sea level do not measure exactly the same level. Tide gauges can only measure relative sea level, whilst satellites can also measure absolute sea level changes. To get precise measurements for sea level, researchers studying the ice and the oceans on our planet factor in ongoing deformations of the solid Earth, in particular due to landmasses still rising from past ice masses retreating, and also the Earth's gravity and rotation. Satellites: Jason-1 continued the sea surface measurements started by TOPEX/Poseidon. It was followed by the Ocean Surface Topography Mission on Jason-2, and by Jason-3. Since the launch of TOPEX/Poseidon in 1992, an overlapping series of altimetric satellites has been continuously recording the sea level and its changes. Those satellites can measure the hills and valleys in the sea caused by currents and detect trends in their height. To measure the distance to the sea surface, the satellites send a microwave pulse towards Earth and record the time it takes to return after reflecting off the ocean's surface. Microwave radiometers measure and correct the additional delay caused by water vapor in the atmosphere. Combining these data with the precisely known location of the spacecraft determines the sea-surface height to within a few centimetres (about one inch).[59] Rates of sea level rise for the period 1993–2017 have been estimated from satellite altimetry to be 3.0 ± 0.4 millimetres (1⁄8 ± 1⁄64 in) per year. Satellites are useful for measuring regional variations in sea level, such as the substantial rise between 1993 and 2012 in the western tropical Pacific. This sharp rise has been linked to increasing trade winds, which occur when the Pacific Decadal Oscillation (PDO) and the El Niño–Southern Oscillation (ENSO) change from one state to the other.[61] The PDO is a basin-wide climate pattern consisting of two phases, each commonly lasting 10 to 30 years, while the ENSO has a shorter period of 2 to 7 years.Tide gauges: Between 1993 and 2018, the mean sea level has risen across most of the world ocean (blue colors). The global network of tide gauges is another important source of sea-level observations. Compared to the satellite record, this record has major spatial gaps but covers a much longer period of time. Coverage of tide gauges started primarily in the Northern Hemisphere, with data for the Southern Hemisphere remaining scarce up to the 1970s. The longest running sea-level measurements, NAP or Amsterdam Ordnance Datum established in 1675, are recorded in Amsterdam, Netherlands. In Australia, record collection is also quite extensive, including measurements by an amateur meteorologist beginning in 1837 and measurements taken from a sea-level benchmark struck on a small cliff on the Isle of the Dead near the Port Arthur convict settlement in 1841. This network was used, in combination with satellite altimeter data, to establish that global mean sea-level rose 19.5 cm (7.7 in) between 1870 and 2004 at an average rate of about 1.44 mm/yr (1.7 mm/yr during the 20th century). By 2018, data collected by Australia's Commonwealth Scientific and Industrial Research Organisation (CSIRO) had shown that the global mean sea level was rising by 3.2 mm (1⁄8 in) per year, at double the average 20th century rate,[68][69] while the 2023 World Meteorological Organization report found further acceleration to 4.62 mm/yr over the 2013–2022 period.[3] Thus, these observations help to check and verify predictions from climate change simulations. Regional differences are also visible in the tide gauge data. Some are caused by the local sea level differences, while others are due to vertical land movements. In Europe for instance, only some land areas are rising while the others are sinking. Since 1970, most tidal stations have measured higher seas, but sea levels along the northern Baltic Sea have dropped due to post-glacial rebound. Past sea level rise: Changes in sea levels since the end of the last glacial episode. An understanding of past sea level is an important guide to where current changes in sea level will end up once these processes conclude. In the recent geological past, thermal expansion from increased temperatures and changes in land ice are the dominant reasons of sea level rise. The last time that the Earth was 2 °C (3.6 °F) warmer than pre-industrial temperatures was 120,000 years ago, when warming due to Milankovitch cycles (changes in the amount of sunlight due to slow changes in the Earth's orbit) caused the Eemian interglacial; sea levels during that warmer interglacial were at least 5 m (16 ft) higher than now. The Eemian warming was sustained over a period of thousands of years, and the magnitude of the rise in sea level implies a large contribution from the Antarctic and Greenland ice sheets: 1139  According to Royal Netherlands Institute for Sea Research, levels of atmospheric carbon dioxide similar to today's ultimately increased temperature by over 2–3 °C (3.6–5.4 °F) around three million years ago. This temperature increase eventually melted one third of Antarctica's ice sheet, causing sea levels to rise 20 meters above the present values. Since the Last Glacial Maximum, about 20,000 years ago, sea level has risen by more than 125 metres (410 ft), with rates varying from less than 1 mm/year during the pre-industrial era to 40+ mm/year when major ice sheets over Canada and Eurasia melted. meltwater pulses are periods of fast sea level rise caused by the rapid disintegration of these ice sheets. The rate of sea level rise started to slow down about 8,200 years before present; sea level was almost constant for the last 2,500 years. The recent trend of rising sea level started at the end of the 19th century or at the beginning of the 20th.

 

Causes: A graph showing ice loss sea ice, ice shelves and land ice. Land ice loss contributetes to SLR. Earth lost 28 trillion tonnes of ice between 1994 and 2017: ice sheets and glaciers raised the global sea level by 34.6 ± 3.1 mm. The rate of ice loss has risen by 57% since the 1990s−from 0.8 to 1.2 trillion tonnes per year. The three main reasons warming causes global sea level to rise are the expansion of oceans due to heating, along with water inflow from melting ice sheets and glaciers. Sea level rise since the start of the 20th century has been dominated by retreat of glaciers and expansion of the ocean, but the contributions of the two large ice sheets (Greenland and Antarctica) are expected to increase in the 21st century. The ice sheets store most of the land ice (~99.5%), with a sea-level equivalent (SLE) of 7.4 m (24 ft 3 in) for Greenland and 58.3 m (191 ft 3 in) for Antarctica. Each year about 8 mm (5⁄16 in) of precipitation (liquid equivalent) falls on the ice sheets in Antarctica and Greenland, mostly as snow, which accumulates and over time forms glacial ice. Much of this precipitation began as water vapor evaporated from the ocean surface. Some of the snow is blown away by wind or disappears from the ice sheet by melt or by sublimation (directly changing into water vapor). The rest of the snow slowly changes into ice. This ice can flow to the edges of the ice sheet and return to the ocean by melting at the edge or in the form of icebergs. If precipitation, surface processes and ice loss at the edge balance each other, sea level remains the same. However scientists have found that ice is being lost, and at an accelerating rate. Ocean heating: There has been an increase in ocean heat content during recent decades as the oceans absorb most of the excess heat created by human-induced global warming. The oceans store more than 90% of the extra heat added to Earth's climate system by climate change and act as a buffer against its effects. The amount of heat needed to increase average temperature of the entire world ocean by 0.01 °C (0.018 °F) would increase atmospheric temperature by approximately 10 °C (18 °F): a small change in the mean temperature of the ocean represents a very large change in the total heat content of the climate system. When the ocean gains heat, the water expands and sea level rises. The amount of expansion varies with both water temperature and pressure. For each degree, warmer water and water under great pressure (due to depth) expand more than cooler water and water under less pressure : 1161  Consequently cold Arctic Ocean water will expand less than warm tropical water. Because different climate models present slightly different patterns of ocean heating, their predictions do not agree fully on the contribution of ocean heating to SLR. Heat gets transported into deeper parts of the ocean by winds and currents, and some of it reaches depths of more than 2,000 m (6,600 ft). Antarctic ice loss: The large volume of ice on the Antarctic continent stores around 70% of the world's fresh water. There is constant ice discharge along the periphery, yet also constant accumulation of snow atop the ice sheet: together, these processes form Antarctic ice sheet mass balance. Warming increases melting at the base of the ice sheet, but it is likely to increase snowfall, helping offset the periphery melt even if greater weight on the surface also accelerates ice flow into the ocean. While snowfall increased over the last two centuries, no increase was found in the interior of Antarctica over the last four decades. Further, sea ice, particularly in the form of ice shelves, blocks warmer waters around the continent from coming into direct contact with the ice sheet, so any loss of ice shelves substantially increases melt raises and instability. The Ross Ice Shelf, Antarctica's largest, is about the size of France and up to several hundred metres thick. Different satellite methods for measuring ice mass and change are in good agreement, and combining methods leads to more certainty about how the East Antarctic Ice Sheet, the West Antarctic Ice Sheet, and the Antarctic Peninsula evolve. A 2018 systematic review study estimated that the average annual ice loss across the entire continent was 43 gigatons (Gt) during the period from 1992 to 2002, acceletating to an annual average of 220 Gt from 2012 to 2017.[85] The sea level rise due to Antarctica has been estimated to be 0.25 mm per year from 1993 to 2005, and 0.42 mm per year from 2005 to 2015, although there are significant year-to-year variations. In 2021, limiting global warming to 1.5 °C (2.7 °F) was projected to reduce all land ice contribution to sea level rise by 2100 from 25 cm to 13 cm (from 10 to 6 in.) compared to current mitigation pledges, with mountain glaciers responsible for half the sea level rise contribution,[86] and the fate of Antarctica the source of the largest uncertainty.[86] By 2019, several studies have attempted to estimate 2300 sea level rise caused by ice loss in Antarctica alone: they suggest 16 cm (6+1⁄2 in) median and 37 cm (14+1⁄2 in) maximum values under the low-emission scenario but a median of 1.46 m (5 ft) metres (with a minimum of 60 cm (2 ft) and a maximum of 2.89 m (9+1⁄2 ft)) under the highest-emission scenario. East Antarctica: The world's largest potential source of sea level rise is the East Antarctic Ice Sheet (EAIS). It holds enough ice to raise global sea levels by 53.3 m (174 ft 10 in)[87] Historically, it was less studied than the West Antarctica as it had been considered relatively stable, an impression that was backed up by satellite observations and modelling of its surface mass balance. However, a 2019 study employed different methodology and concluded that East Antarctica is already losing ice mass overall. All methods agree that the Totten Glacier has lost ice in recent decades in response to ocean warming and possibly a reduction in local sea ice cover. Totten Glacier is the primary outlet of the Aurora Subglacial Basin, a major ice reservoir in East Antarctica that could rapidly retreat due to hydrological processes. The global sea level potential of 3.5 m (11 ft 6 in) flowing through Totten Glacier alone is of similar magnitude to the entire probable contribution of the West Antarctic Ice Sheet. The other major ice reservoir on East Antarctica that might rapidly retreat is the Wilkes Basin which is subject to marine ice sheet instability. Ice loss from these outlet glaciers is possibly compensated by accumulation gains in other parts of Antarctica. In 2022, it was estimated that the Wilkes Basin, Aurora Basin and other nearby subglacial basins are likely to have a collective tipping point around 3 °C (5.4 °F) of global warming, although it may be as high as 6 °C (11 °F), or as low as 2 °C (3.6 °F). Once this tipping point is crossed, the collapse of these subglacial basins could take place as little as 500 or as much as 10,000 years: the median timeline is 2000 years. On the other hand, the entirety of the EAIS would not be committed to collapse until global warming reaches 7.5 °C (13.5 °F) (range between 5 °C (9.0 °F) and 10 °C (18 °F)), and would take at least 10,000 years to disappear.[92][93] It is also suggested that the loss of two-thirds of its volume may require at least 6 °C (11 °F) of warming. West Antarctica: Even though East Antarctica contains the largest potential source of sea level rise, West Antarctica ice sheet (WAIS) is substantially more vulnerable. In contrast to East Antarctica and the Antarctic Peninsula, temperatures on West Antarctica have increased significantly with a trend between 0.08 °C (0.14 °F) per decade and 0.96 °C (1.73 °F) per decade between 1976 and 2012. Consequently, satellite observations recorded a substantial increase in WAIS melting from 1992 to 2017, resulting in 7.6 ± 3.9 mm (19⁄64 ± 5⁄32 in) of Antarctica sea level rise, with a disproportionate role played by outflow glaciers in the Amundsen Sea Embayment. In 2021, AR6 estimated that while the median increase in sea level rise from the West Antarctic ice sheet melt by 2100 is ~11 cm (5 in) under all emission scenarios (since the increased warming would intensify the water cycle and increase snowfall accumulation over the ice sheet at about the same rate as it would increase ice loss), it can conceivably contribute as much as 41 cm (16 in) by 2100 under the low-emission scenario and 57 cm (22 in) under the highest-emission one. This is because WAIS is vulnerable to several types of instability whose role remains difficult to model. These include hydrofracturing (meltwater collecting atop the ice sheet pools into fractures and forces them open), increased contact of warm ocean water with ice shelves due to climate-change induced ocean circulation changes, marine ice sheet instability (warm water entering between the seafloor and the base of the ice sheet once it is no longer heavy enough to displace the flow, causing accelerated melting and collapse) and even marine ice cliff instability (ice cliffs with heights greater than 100 m (330 ft) collapsing under their own weight once they are no longer buttressed by ice shelves). These processes do not have equal influence and are not all equally likely to happen: for instance, marine ice cliff instability has never been observed and was ruled out by some of the more detailed modelling. Thwaites Glacier, with its vulnerable bedrock topography visible.

The Thwaites and Pine Island glaciers are considered the most prone to ice sheet instability processes. Both glaciers' bedrock topography gets deeper farther inland, exposing them to more warm water intrusion into the grounding zone. Their contribution to global sea levels has already accelerated since the beginning of the 21st century, with the Thwaites Glacier now amounting to 4% of the global sea level rise. At the end of 2021, it was estimated that the Thwaites Ice Shelf can collapse in three to five years, which would then make the destabilization of the entire Thwaites glacier inevitable. The Thwaites glacier itself will cause a rise of sea level by 65 cm (25+1⁄2 in) if it will completely collapse,[107][102] although this process is estimated to unfold over several centuries. Since most of the bedrock underlying the West Antarctic Ice Sheet lies well below sea level, it is currently buttressed by Thwaites and Pine Island Glaciers, meaning that their loss would likely destabilize the entire ice sheet.[38][108] This possibility was first proposed back in the 1970s,[37] when a 1978 study predicted that anthropogenic CO2 emissions doubling by 2050 would cause 5 m (15 ft) of SLR from the rapid WAIS loss alone. Since then, improved modelling concluded that the ice within WAIS would raise the sea level by 3.3 m (10 ft 10 in). In 2022, the collapse of the entire West Antarctica was estimated to unfold over a period of about 2000 years, with the absolute minimum of 500 years (and a potential maximum of 13,000 years). At the same time, this collapse was considered likely to be triggered at around 1.5 °C (2.7 °F) of global warming and would become unavoidable at 3 °C (5.4 °F). At worst, it may have even been triggered already: subsequent (2023) research had made that possibility more likely, suggesting that the temperatures in the Amundsen Sea are likely to increase at triple the historical rate even with low or "medium" atmospheric warming and even faster with high warming. Without unexpected strong negative feedbacks emerging, the collapse of the ice sheet would become inevitable. While it would take a very long time from start to end for the ice sheet to disappear, it has been suggested that the only way to stop it once triggered is by lowering the global temperature to 1 °C (1.8 °F) below the preindustrial level; i.e. 2 °C (3.6 °F) below the temperature of 2020. Other researchers suggested that a climate engineering intervention aiming to stabilize the ice sheet's glaciers may delay its loss by centuries and give more time to adapt, although it's an uncertain proposal, and would necessarily end up as one of the most expensive projects ever attempted by humanity. Greenland ice sheet loss: Greenland 2007 melt, measured as the difference between the number of days on which melting occurred in 2007 compared to the average annual melting days from 1988 to 2006. Most ice on Greenland is part of the Greenland ice sheet which is 3 km (10,000 ft) at its thickest. Other Greenland ice forms isolated glaciers and ice caps. The sources contributing to sea level rise from Greenland are from ice sheet melting (70%) and from glacier calving (30%). Average annual ice loss in Greenland more than doubled in the early 21st century compared to the 20th century,[117] and there was a corresponding increase in SLR contribution from 0.07 mm per year between 1992 and 1997 to 0.68 mm per year between 2012 and 2017. Total ice loss from the Greenland Ice Sheet between 1992 and 2018 amounted to 3,902 gigatons (Gt) of ice, which is equivalent to the SLR of 10.8 mm.[118] The contribution for the 2012–2016 period was equivalent to 37% of sea level rise from land ice sources (excluding thermal expansion).[119] This rate of ice sheet melting is also associated with the higher end of predictions from the past IPCC assessment reports. In 2021, AR6 estimated that under the SSP1-2.6 emission scenario which largely fulfils the Paris Agreement goals, Greenland ice sheet melt adds around 6 cm (2+1⁄2 in) to global sea level rise by the end of the century, with a plausible maximum of 15 cm (6 in) (and even a very small chance of the ice sheet reducing the sea levels by around 2 cm (1 in) due to gaining mass through surface mass balance feedback). The scenario associated with the highest global warming, SSP5-8.5, would see Greenland add a minimum of 5 cm (2 in) to sea level rise, a likely median of 13 cm (5 in) cm and a plausible maximum of 23 cm (9 in). Certain parts of the Greenland ice sheet are already known to be committed to unstoppable sea level rise. Greenland's peripheral glaciers and ice caps crossed an irreversible tipping point around 1997, and will continue to melt. A subsequent study had found that the climate of the past 20 years (2000–2019) would already result of the loss of ~3.3% volume in this manner in the future, committing the ice sheet to an eventual 27 cm (10+1⁄2 in) of SLR, independent of any future temperature change.[126] There is also a global warming threshold beyond which a near-complete melting of the Greenland ice sheet occurs. Earlier research has put this threshold value as low as 1 °C (1.8 °F), and definitely no higher than 4 °C (7.2 °F) above pre-industrial temperatures.[128][26]: 1170  A 2021 analysis of sub-glacial sediment at the bottom of a 1.4 km Greenland ice core finds that the Greenland ice sheet melted away at least once during the last million years, even though the temperatures have never been higher than 2.5 °C (4.5 °F) greater than today over that period.[129][130] In 2022, it was estimated that the tipping point of the Greenland Ice Sheet may have been as low as 0.8 °C (1.4 °F) and is certainly no higher than 3 °C (5.4 °F) : there is a high chance that it will be crossed around 1.5 °C (2.7 °F). Once crossed, it would take between 1000 and 15,000 years for the ice sheet to disintegrate entirely, with the most likely estimate of 10,000 years. Mountain glacier loss: Based on national pledges to reduce greenhouse gas emissions, global mean temperature is projected to increase by 2.7 °C (4.9 °F), which would cause loss of about half of Earth's glaciers by 2100—causing a sea level rise of 115±40 millimeters. There are roughly 200,000 glaciers on Earth, which are spread out across all continents. Less than 1% of glacier ice is in mountain glaciers, compared to 99% in Greenland and Antarctica. However, this small size also makes mountain glaciers more vulnerable to melting than the larger ice sheets. This means they have had a disproportionate contribution to historical sea level rise and are set to contribute a smaller, but still significant fraction of sea level rise in the 21st century. Observational and modelling studies of mass loss from glaciers and ice caps indicate a contribution to sea level rise of 0.2-0.4 mm per year, averaged over the 20th century. The contribution for the 2012–2016 period was nearly as large as that of Greenland: 0.63 mm of sea level rise per year, equivalent to 34% of sea level rise from land ice sources. Glaciers contributed around 40% to sea level rise during the 20th century, with estimates for the 21st century of around 30%.[4] The IPCC Fifth Assessment Report estimated that glaciers contributing 7–24 cm (3–9+1⁄2 in) to global sea levels: 1165 . In 2023, a Science paper estimated that at 1.5 °C (2.7 °F), one quarter of mountain glacier mass would be lost by 2100 and nearly half would be lost at 4 °C (7.2 °F), contributing ~9 cm (3+1⁄2 in) and ~15 cm (6 in) to sea level rise, respectively. Because glacier mass is disproportionately concentrated in the most resilient glaciers, this would in practice remove between 49% and 83% of glacier formations. It had further estimated that the current likely trajectory of 2.7 °C (4.9 °F) would result in the SLR contribution of ~11 cm (4+1⁄2 in) by 2100. Mountain glaciers are even more vulnerable over the longer term. In 2022, another Science paper estimated that almost no mountain glaciers can be expected to survive once the warming crosses 2 °C (3.6 °F), and their complete loss largely inevitable around 3 °C (5.4 °F): there is even a possibility of complete loss after 2100 at just 1.5 °C (2.7 °F). This could happen as early as 50 years after the tipping point is crossed, although 200 years is the most likely value, and the maximum is around 1000 years. Sea ice loss: Sea ice loss contributes very slightly to global sea level rise. If the melt water from ice floating in the sea was exactly the same as sea water then, according to Archimedes' principle, no rise would occur. However melted sea ice contains less dissolved salt than sea water and is therefore less dense, with a slightly greater volume per unit of mass. If all floating ice shelves and icebergs were to melt sea level would only rise by about 4 cm (1+1⁄2 in). Changes to land water storage: Human activity impacts how much water is stored on land. Dams retain large quantities of water, which is stored on land rather than flowing into the sea (even though the total quantity stored will vary somewhat from time to time). On the other hand, humans extract water from lakes, wetlands and underground reservoirs for food production, which often causes subsidence. Furthermore, the hydrological cycle is influenced by climate change and deforestation, which can lead to further positive and negative contributions to sea level rise. In the 20th century, these processes roughly balanced, but dam building has slowed down and is expected to stay low for the 21st century: 1155 . Water redistribution caused by irrigation from 1993 to 2010 caused a drift of Earth's rotational pole by 78.48 centimetres (30.90 in), causing an amount of groundwater depletion equivalent to a global sea level rise of 6.24 millimetres (0.246 in). Impacts: High tide flooding, also called tidal flooding, has become much more common in the past seven decades.[ The impacts of sea level rise include higher and more frequent high-tide and storm-surge flooding, increased coastal erosion, inhibition of primary production processes, more extensive coastal inundation, along with changes in surface water quality and groundwater. These can lead to a greater loss of property and coastal habitats, loss of life during floods and loss of cultural resources. Agriculture and aquaculture can also be impacted. There can also be loss of tourism, recreation, and transport related functions.[10]: 356  Coastal flooding impacts are exacerbated by land use changes such as urbanisation or deforestation of low-lying coastal zones. Regions that are already vulnerable to the rising sea level also struggle with coastal flooding washing away land and altering the landscape.

Because the projected extent of sea level rise by 2050 will be only slightly affected by any changes in emissions,[5] there is confidence that 2050 levels of SLR combined with the 2010 population distribution (i.e. absent the effects of population growth and human migration) would result in ~150 million people under the water line during high tide and ~300 million in places which are flooded every year—an increase of 40 and 50 million people relative to 2010 values for the same.[13][141] By 2100, there would be another 40 million people under the water line during high tide if sea level rise remains low, and 80 million for a high estimate of the median sea level rise.[13] If ice sheet processes under the highest emission scenario result in sea level rise of well over one metre (3+1⁄4 ft) by 2100, with a chance of levels over two metres (6+1⁄2 ft),[16][6]: TS-45  then as many as 520 million additional people would end up under the water line during high tide and 640 million in places which are flooded every year, when compared to the 2010 population distribution.

Major cities threatened by sea level rise. The cities indicated are under threat of even a small sea level rise (of 1.6 feet/49 cm) compared to the level in 2010. Even moderate projections indicate that such a rise will have occurred by 2060.[142][143]

Over the longer term, coastal areas are particularly vulnerable to rising sea levels, changes in the frequency and intensity of storms, increased precipitation, and rising ocean temperatures. Ten percent of the world's population live in coastal areas that are less than 10 metres (33 ft) above sea level. Furthermore, two-thirds of the world's cities with over five million people are located in these low-lying coastal areas.[144] In total, approximately 600 million people live directly on the coast around the world.[145] Cities such as Miami, Rio de Janeiro, Osaka and Shanghai will be especially vulnerable later in the century under the warming of 3 °C (5.4 °F), which is close to the current trajectory.[12][36] Altogether, LiDAR-based research had established in 2021 that 267 million people worldwide lived on land less than 2 m (6+1⁄2 ft) above sea level and that with a 1 m (3+1⁄2 ft) sea level rise and zero population growth, that number could increase to 410 million people. Even populations who live further inland may be impacted by a potential disruption of sea trade, and by migrations. In 2023, United Nations secretary general António Guterres warned that sea level rises risk causing human migrations on a "biblical scale". Sea level rise will inevitably affect ports, but the current research into this subject is limited. Not enough is known about the investments required to protect the ports currently in use, and for how they may be protected before it becomes more reasonable to build new port facilities elsewhere. Moreover, some coastal regions are rich agricultural lands, whose loss to the sea can result in food shortages elsewhere. This is a particularly acute issue for river deltas such as Nile Delta in Egypt and Red River and Mekong Deltas in Vietnam, which are disproportionately affected by saltwater intrusion into the soil and irrigation water. Ecosystems:

When seawater reaches inland, coastal plants, birds, and freshwater/estuarine fish are threatened with habitat loss due to flooding and soil/water salinization.[153] So-called ghost forests emerge when coastal forest areas become inundated with saltwater to the point no trees can survive. Starting around 2050, some nesting sites in Florida, Cuba, Ecuador and the island of Sint Eustatius for leatherback, loggerhead, hawksbill, green and olive ridley turtles are expected to be flooded, and the proportion would only increase over time. And in 2016, Bramble Cay islet in the Great Barrier Reef was inundated, flooding the habitat of a rodent named Bramble Cay melomys.[157] In 2019, it was officially declared extinct. While some ecosystems can move land inward with the high-water mark, many are prevented from migrating due to natural or artificial barriers. This coastal narrowing, sometimes called 'coastal squeeze' when considering human-made barriers, could result in the loss of habitats such as mudflats and tidal marshes. Mangrove ecosystems on the mudflats of tropical coasts nurture high biodiversity, yet they are particularly vulnerable due to mangrove plants' reliance on breathing roots or pneumatophores, which might grow to be half a metre tall.[ While mangroves can adjust to rising sea levels by migrating inland and building vertically using accumulated sediment and organic matter, they will be submerged if the rate is too rapid, resulting in the loss of an ecosystem. Both mangroves and tidal marshes protect against storm surges, waves and tsunamis, so their loss makes the effects of sea level rise worse. Human activities, such as dam building, may restrict sediment supplies to wetlands, and thereby prevent natural adaptation processes. The loss of some tidal marshes is unavoidable as a consequence. Likewise, corals, important for bird and fish life, need to grow vertically to remain close to the sea surface in order to get enough energy from sunlight. The corals have so far been able to keep up the vertical growth with the rising seas, but might not be able to do so in the future.

 

en.wikipedia.org/wiki/Sea_level_rise

 

en.wikipedia.org/wiki/Sea_level_drop

 

Tidal range is the difference in height between high tide and low tide. Tides are the rise and fall of sea levels caused by gravitational forces exerted by the Moon and Sun, by Earth's rotation and by centrifugal force caused by Earth's progression around the Earth-Moon barycenter. Tidal range depends on time and location. Larger tidal range occur during spring tides (spring range), when the gravitational forces of both the Moon and Sun are aligned (at syzygy), reinforcing each other in the same direction (new moon) or in opposite directions (full moon). The largest annual tidal range can be expected around the time of the equinox if it coincides with a spring tide. Spring tides occur at the second and fourth (last) quarters of the lunar phases. By contrast, during neap tides, when the Moon and Sun's gravitational force vectors act in quadrature (making a right angle to the Earth's orbit), the difference between high and low tides (neap range) is smallest. Neap tides occur at the first and third quarters of the lunar phases. Tidal data for coastal areas is published by national hydrographic offices. The data is based on astronomical phenomena and is predictable. Sustained storm-force winds blowing from one direction combined with low barometric pressure can increase the tidal range, particularly in narrow bays. Such weather-related effects on the tide can cause ranges in excess of predicted values and can cause localized flooding. These weather-related effects are not calculable in advance. en.wikipedia.org/wiki/Tidal_range

“The beginning is a Presence that imposes itself. The beginning is a provocation, but not to the ‘brain,’ … to our life; whatever is not a provocation to our life wastes our time and energy, and blocks us from true joy,” and therefore, in time, no longer interests us. “The educative presence is the presence of the adult as a unified person,” and this concerns everything, from teaching methodology to the environment. Indeed, if we do not reach the point at which this newness of gaze, sparked by the encounter, opens us to discover more the way to go to deal with and communicate the subject matter in a new and more fulfilled way, if we don’t reach that point, if we don’t arrive at the level of teaching methodology, we succumb to dualism.

-Disarming Beauty ESSAYS ON FAITH, TRUTH, AND FREEDOM , JULIÁN CARRÓN Foreword by Javier Prades

It had been about a month that Bruce had been working along side Dick, so far he appreciated Dick's methodology when it came to fighting the plague of crime that had descended over Gotham during Batman's absence.

 

-Robin- You sure that this 'anonymous' tip you got will pan out alright?

 

-Batman- Yeah, and even if it doesn't we have the skill set required to fight off anyone that gets in our way.

 

The two had been running through back alley after back alley until they finally came through a narrow corridor and found them selves in an open courtyard.

 

-Robin- You sure this is the place?

 

-Batman- Yup

 

-Robin- i've got a bad felling about this Bruce......

 

Before Dick could finish his sentence a loud noise was heard approaching over the surrounding buildings.

 

-Robin- Hey, uh, Bruce....Hate to say it, but i don't think that's a petty criminal.

 

-Batman- Run.

 

The helicopter landed in the center of the courtyard as Bruce and Dick rushed for the narrow alleyway, soldiers jumped from the helicopter and gave chase.

 

-Batman- Meet me back at the cave Robin!

 

Bruce followed his command by launching a grapple up towards the top of a building.

 

-Robin- Oh. Well thats just great.

  

Hey guys. Its been awhile, this is an older pic but i haven't had time to write about it until now. I hope to pick up activity soon, but in all honesty school has been so involving (started a new school and its a bit difficult getting back into the swing).

  

Have a nice night,

- Captain Warner

liberal art aka le fumeur artistique

 

Making up the family syrphidae, the 6000 species of this frequently seen insect inhabit the globe with the exception of Antarctica. Not only important pollinators, they are also pest eaters preying on aphids and other plant nuisances. If trying to attract them to your garden, offer yellow flowering species, proven to be their clear preference.

 

They are also remarkably photogenic and, despite their very small size, seem to be the perfect entomological subject for the camera, their apparent total lack of fear and movement methodology providing a wide range of opportunities. They almost appear to enjoy posing in various positions both in-flight and stationary.

National Aviary, Pittsburgh, Pa

 

The Northern Bald Ibis has a very distinctive appearance, with a bare red face, neck and throat and long, narrow feathers projecting from the back of the head and neck, forming a dark ‘ruff’.

 

Their numbers have continuously declined over the centuries due to unidentified natural events like climate cooling. Its family, the Threskiornithidae, dates back to fossil records from 60 million years ago, and it shares its genus, Geronticus, with only one other species.

 

Their decline has accelerated in recent decades due to pressures from human activities and the species now listed as Critically Endangered. A major population crash occurred in the 1950s with the introduction of pesticides, notably DDT. It disappeared from virtually all of its existing range apart from two sites in Morocco.

 

Conservation efforts were initiated in the 1970s and breeding individuals have since been located in Syria. One innovative conservation effort carried out by the Waldrapp team successfully hand-reared Northern Bald Ibises and released them into the wild by training them to follow a para-motor. This paved the way for a range of innovative release methodologies. Captive breeding programmes and recent satellite tracking has given greater insight into the biology and movements of the species, such that its survival looks positive. However, over 95% of truly wild birds are concentrated in one subpopulation in Morocco.

 

Source: Edge of Existence Program

In his wonderful Les liliacées (1804), Pierre-Joseph Redouté (1759-1840), one-time Botanist in the service of ill-fated Marie-Antoinette and himself survivor of the terrors of the French Revolution, uses his fine description of Tulipa clusiana, Lady Tulip, for something of a methodological statement.

He writes that Carolus Linnaeus, the great reformer of Botany, was extremely careful in his descriptions of plants. Linnaeus published only the names of plants which he had himself actually seen or whose names were not at all equivocal. But, says Redouté, that wise precaution led Linnaeus to disregard a large number of plants well described by precursors such as Gessner, Clusius, Tournefort and many others. Subsequently much of that knowledge was lost. And that pertains to this particular Tulip, too.

It was well-described by Carolus Clusius (1526-1609) - thus still Redouté - under the name Tulipa persica praecox (Spring Persian Tulip) and there are several other denominations. It was known by Caspar Bauhin (1560-1624) and Tournefort (1656-1708) but after the injunctions of Linnaeus 'neglected by Botanistes'. Joyfully, Redouté notes then that it has since two years (c. 1802) again been restored to 'gardens devoted to the advancement of science' (notably his own of the Parisian Museum of Natural History and that of a friend). And now he's giving this Tulip its due name: Tulipa clusiana, after its first descriptor.

In the Amsterdam Hortus there are two 'exhibitions' of this Tulip at opposite ends of the garden, curiously with slightly different names: Tulipa clusiana Redouté and Tulipa clusiana DC each with differently formulated provenances as well. 'Tsk! Tsk!' precise Linnaeus would have muttered...

Allow me to add that it's a difficult flower to photograph well. Three of its six petals are bicolored: red on the outside, white inside; its throat is purple; the stamens dark brown-mauve; and the style green-yellow. I've added an inset so you can see the way it looks - as Redouté says - before 9 AM and after about 3 PM.

 

The methodology of melt...

 

[More Detail Large]

There are few things more inspiring than a city skyline. Whether we’re on a far-flung vacation or admiring the scenery in our hometown, taking in a towering cityscape can make us feel on top of the world.

 

It’s no surprise, then, that upon seeing a breathtaking vista, many of us will reach for our cameras in the hopes of permanently capturing that awe-inspiring feeling. Amateurs and professional photographers alike have long captured interesting cityscapes – but what is the most inspiring skyline of all? Which cities make us the most ‘shutter happy’? What location has us all rushing to Instagram and hitting ‘new post’?

 

Table of contents:

What are the most Instagrammable cities in the world?

The most photographed skylines in the UK

The most photographed skylines in the USA

How to photograph a skyline

Using photos from Instagram

Methodology

Fair use statement

What are the most Instagrammable cities in the world?

To find out the most photographed skylines in the world, we compared Instagram hashtag data for more than a hundred cities across the globe, famous for their iconic horizons. By cross-referencing against annual visitor numbers and local populations, we were able to find out the most Instagrammable cityscapes; those stunning scenes that encourage both locals and tourists to pick up their cameras and click.

 

Some of the results come as no shock to us when we look at the total number of posts, but when we start breaking down the results by population or by annual tourist numbers, there are some hidden gems and underdogs that might take you by surprise.

 

Check out the rankings for the world’s most photographed skylines below and you just might find yourself your next holiday destination.

 

The most photographed city skylines – by total number of posts

New York City, New York, USA – 768,226 posts

Chicago, Illinois, USA – 313,502 posts

London, UK – 269,786 posts

Boston, Massachusetts, USA – 184,353 posts

Jakarta, Indonesia – 176,012 posts

Toronto, Canada – 143,440 posts

Dubai, United Arab Emirates – 134,035 posts

Frankfurt, Germany – 118,690 posts

Dallas, Texas, USA – 94,083 posts

Seattle, Washington, USA – 89,202 posts

Miami, Florida, USA – 77,892 posts

Philadelphia, Pennsylvania, USA – 66,533 posts

Los Angeles, California, USA – 58,610 posts

Singapore – 58,352 posts

Atlanta, Georgia, USA – 51,335 posts

Hong Kong – 45,189 posts

Sydney, Australia – 43,157 posts

Houston, Texas, USA – 38,891 posts

Melbourne, Australia – 36,729 posts

Nashville, Tennessee, USA – 31,958 posts

The World’s Most Photographed Skyline – New York City

 

Photo shows Manhattan in New York against a stormy sky. Photo by @365days_of_nyc_skyline Instagram

The New York City skyline looks incredible against this stormy backdrop, photographed by @365days_of_nyc_skyline, Instagram

 

The most Instagrammed skyline of all time is New York City, and we can’t say we’re surprised.

 

The Big Apple is renowned across the world for its towering skyscrapers, boasting iconic structures like the Empire State Building, the Chrysler Building, and the One World Trade Center which was completed in 2014.

 

The instantly recognizable skyline is rapidly changing with the development of countless new apartment blocks and commercial buildings, all vying for the title of tallest building in NYC. It’s fortunate, then, that this awe-inspiring city has moved so many people to photograph it over the years, leaving behind a permanent record of the beloved New York skyline in its most iconic form.

 

The New York City skyline is a classic when it comes to merchandise; it can be seen on t-shirts, mugs, and even in the form of wall art in the homes of people who have never been there. If you have taken an impressive NYC skyline shot, use an image checker such as our reverse image search tool to find out if your photograph has been used for product listings without your permission. If you’re planning to create a product featuring a famous skyline, or even use a photograph in a travel blog for instance, make sure to verify the source of the image and avoid breaking any image copyright laws that could lead to hefty fines.

 

The Other Most Photographed Skylines by Total Number of Posts

 

The United States has much to be proud of when it comes to its skylines, claiming a huge 50% of the total spots in the top 20.

 

Photo shows Chicago at dusk. Photo by @chichefken Instagram

At dusk, the lit-up buildings of Chicago’s skyline reflect across Lake Michigan. Photo by @chichefken, Instagram

 

Chicago comes in second place after New York City, with over 300,000 Instagram posts of its famous skyline. This should come as no shock to us considering that the first ever recorded skyscraper, the Home Insurance Building, was built in Chicago in 1885.

 

We then have London taking the number 3 spot, garnering almost 270,000 Instagram posts across relevant hashtags. From centuries-old listed buildings like St. Paul’s Cathedral to modern additions such as the Shard, the London skyline has provided the backdrop for endless movies and TV shows, and will be very familiar to most people without ever having traveled there.

 

Photo shows the London skyline, featuring the River Thames passing under the iconic Tower Bridge. Photo by @baptkno Instagram

Tower Bridge, seen here spanning across the River Thames, is an iconic feature in the London skyline. Photo by @baptkno, Instagram

 

While the winners of the first, second, and third spots were certainly predictable, the rest of the top 20 list leaves us with a few surprises.

 

Unexpectedly, the UK is only represented once in the top 20 most photographed skylines of all time, while the US state of Texas claims double the number of entries with Houston and Dallas.

 

Like the UK, mainland Europe only has one representation; Frankfurt, which ranks eighth and has over 118,000 posts. Known for its futuristic skyline, the German financial capital is home to the country’s tallest residential building, the Grand Tower, standing at a staggering 591 feet (or 180 meters).

 

Photo shows iconic buildings in Frankfurt's skyline. Photo by @007raybond on Instagram

Frankfurt in Germany. Photo by @007raybond, Instagram

 

A quarter of the top 20 are in Asia, with the beautiful Indonesian city of Jakarta coming in fifth place, and the glittering lights of Dubai taking the seventh spot.

 

The luxurious city-state of Singapore, known for its clean streets and lush public spaces, amassed more than 58,000 Instagram posts. With ultra-modern skyscrapers like the Marina Bay Sands Hotel mixed in with both Chinese and Colonial architecture, it’s easy to see why this visually diverse skyline has people so eager to capture it.

 

The Australian cities of Sydney and Melbourne were also represented in the 20 most Instagrammable skylines, coming in 17th and 19th respectively. It would be almost impossible to think of Australia without calling to mind an image of its most famous building, the Sydney Opera House. The performing arts venue, located in Sydney Harbour, is known the world over for its distinctive silhouette and is a central feature of many of the 43,000 Instagram posts of the city’s skyline.

 

Photo shows Sydney opera house with a sunset behind it. Taken by @reganmaryt Instagram

Sydney Opera House is a world-renowned part of the Australian city’s skyline. Photo by @reganmaryt, Instagram

 

Those are the city skylines that have been photographed most overall, but which cities are most likely to inspire tourists to take pictures?

 

Which cities are the most photographed by tourists?

By comparing the total number of posts to the average number of each city’s annual visitors, we can reveal which cities encourage a tourist to pick up their camera the most (figures have been rounded):

 

Jakarta, Indonesia – 0.073 posts per visitor

Frankfurt, Germany – 0.055 posts per visitor

Singapore – 0.031 posts per visitor

Rotterdam, The Netherlands – 0.020 posts per visitor

Philadelphia, Pennsylvania, USA – 0.015 posts per visitor

London, UK – 0.013 posts per visitor

New York City, New York, USA – 0.012 posts per visitor

Boston, Massachusetts, USA – 0.008 posts per visitor

Dubai, United Arab Emirates – 0.008 posts per visitor

San Francisco, California, USA – 0.008 posts per visitor

Manchester, UK – 0.007 posts per visitor

Chicago, Illinois, USA – 0.005 posts per visitor

Toronto, Canada – 0.005 posts per visitor

Mumbai, India – 0.004 posts per visitor

Dallas, Texas, USA – 0.003 posts per visitor

Jersey City, New Jersey, USA – 0.003 posts per visitor

Miami, Florida, USA – 0.003 posts per visitor

Glasgow, UK – 0.003 posts per visitor

Madrid, Spain – 0.003 posts per visitor

Sydney, Australia – 0.003 posts per visitor

There are some new cities being represented in the league table when we compare total posts against visitor numbers.

 

Photo shows large crane which dominated Glasgow's skyline. Photo by Colin M Drysdale/This Is My Glasgow, Instagram

Glasgow’s skyline. Photo by Colin M Drysdale/This Is My Glasgow, Instagram

 

The captivating cities of Manchester and Glasgow make an appearance alongside London, bolstering the UK’s presence in the rankings.

 

Mumbai, the heart of Bollywood, comes in at number 14; the first Indian city to be represented in the rankings so far.

 

Meanwhile, the Dutch city of Rotterdam takes the fourth spot in the rankings, inspiring an estimated 20 skyline photographs per every 1,000 visitors.

 

The Most Photographed Cities by Locals

Tourism is one thing, but what about those who want to shout about the cities they call home?

 

By checking the average number of posts against the population, we found out which skylines are the most inspiring to the people who live there, prompting the highest number of cityscape photographs per resident (figures have been rounded):

 

Boston, Massachusetts, USA – 0.066 posts per resident

Miami, Florida, USA – 0.055 posts per resident

Seattle, Washington, USA – 0.039 posts per resident

Frankfurt, Germany – 0.039 posts per resident

Atlanta, Georgia, USA – 0.025 posts per resident

Kansas City, Kansas, USA – 0.024 posts per resident

Chicago, Illinois, USA – 0.023 posts per resident

Dallas, Texas, USA – 0.023 posts per resident

Bath, UK – 0.018 posts per resident

New York City, New York, USA – 0.017 posts per resident

Nashville, Tennessee, USA – 0.016 posts per resident

Pittsburgh, Pennsylvania, USA – 0.014 posts per resident

Philadelphia, Pennsylvania, USA – 0.014 posts per resident

Toronto, Canada – 0.012 posts per resident

Cleveland, Ohio, USA – 0.012 posts per resident

Las Vegas, Nevada, USA – 0.011 posts per resident

Liverpool, UK – 0.011 posts per resident

Denver, Colorado, USA – 0.011 posts per resident

Detroit, Michigan, USA – 0.010 posts per resident

Dubai, United Arab Emirates – 0.010 posts per resident

We have some very interesting results when examining how the volume of Instagram photos of each city skyline stacks up against its local population.

 

The US once again takes up the lion’s share of the list, accounting for 75% of the most photographed cityscapes. Atlanta, commonly referred to as the Black Mecca of the USA, comes in fifth place, prompting an estimated 25 skyline photographs per every 1,000 residents.

 

The state of Pennsylvania gives us two separate consecutive entries with Pittsburgh and Philadelphia’s skylines, both inspiring around 14 images for every 1000 people who live there.

 

One very surprising entry is the number nine spot; the relatively small city of Bath in Somerset, England, which has less than 200,000 residents. Bath might not be as well known on the world stage as other UK cities like London and Liverpool, but that doesn’t stop it from inspiring photography from locals and tourists alike.

 

Known for the Roman baths which give the city its name, this picturesque location is chock full of stunning architecture, and it’s easy to see why the people here are so keen to photograph their surroundings.

 

Photo shows the southwestern city of Bath, UK, at sunset. Gothic spires and arches. Photo by @alexandra.searle Instagram

In the UK, the southwestern city of Bath boasts pretty details and gothic spires. Photographed at sunset by @alexandra.searle, Instagram

 

Having seen this unexpected UK entry, as well as the presence of a huge number of American cities in the results, we were keen to find out how the numbers stacked up when comparing cities in the UK and the USA.

 

The Most Photographed Skylines in the UK

Total posts:

London, England – 269786 posts

Liverpool, Merseyside, England – 10715 posts

Manchester, Greater Manchester, England – 10019 posts

Edinburgh, Scotland – 8268 posts

Bath, Somerset, England – 6992 posts

Birmingham, West Midlands, England – 3281 posts

Glasgow, Scotland – 2422 posts

Oxford, Oxfordshire, England – 1312 posts

Leeds, West Yorkshire, England – 1296 posts

Bristol, England – 1001 posts

Total posts per resident (figures have been rounded):

Bath, Somerset, England – 0.036 posts per resident

London, England – 0.030 posts per resident

Liverpool, Merseyside, England – 0.022 posts per resident

Manchester, Greater Manchester, England – 0.019 posts per resident

Edinburgh, Scotland – 0.016 posts per resident

Oxford, Oxfordshire, England – 0.008 posts per resident

Glasgow, Scotland – 0.004 posts per resident

York, North Yorkshire, England – 0.003 posts per resident

Belfast, Northern Ireland – 0.003 posts per resident

Brighton and Hove, East Sussex, England – 0.003 posts per resident

Total posts per visitor (figures have been rounded):

London, England – 0.128 posts per visitor

Manchester, Greater Manchester, England – 0.0070 posts per visitor

Glasgow, Scotland – 0.0031 posts per visitor

Bristol, Bristol, England – 0.0017 posts per visitor

Bath, Somerset, England – 0.0011 posts per visitor

Belfast, Northern Ireland – 0.0006 posts per visitor

Edinburgh, Scotland – 0.0003 posts per visitor

Oxford, Oxfordshire, England – 0.0002 posts per visitor

Liverpool, Merseyside, England – 0.0002 posts per visitor

Aberdeen, Scotland – 0.0002 posts per visitor

Once again we see Bath as the most photographed by locals, followed closely by London and Liverpool.

 

The Scottish city of Aberdeen makes its first appearance when we look at total posts per visitor, ranking in tenth place.

 

Birmingham, England’s second-largest city after London, also makes its debut in the top 10 by total posts. While the Birmingham skyline has long been defined by the Rotunda, a residential high rise standing at 265 feet, new developments will soon be shooting up and changing the face of Birmingham’s skyline permanently.

 

Belfast makes a surprisingly high appearance in skylines most photographed by tourists, beating out even the idyllic cities of Edinburgh and York. A mention of Belfast would be incomplete without a mention of Samson and Goliath, the yellow cranes which dominate the city’s skyline. Standing at over 300 feet, the cranes were added to the dock by shipbuilders Harland & Wolff, who were also known for having previously built the Titanic in 1912.

 

Belfast's H&W crane over a fun fair. Photo by @johnrwishart Instagram

The yellow H&W cranes, also known as Samson and Goliath, preside over Belfast’s skyline. Photo by @johnrwishart, Instagram

 

The Most Photographed Skylines in the USA

Total posts:

New York City, New York – 768226 posts

Chicago, Illinois – 313502 posts

Boston, Massachusetts – 184353 posts

Dallas, Texas – 94083 posts

Seattle, Washington – 89202 posts

Miami, Florida – 77892 posts

Philadelphia, Pennsylvania – 66533 posts

Los Angeles, California – 58610 posts

Atlanta, Georgia – 51335 posts

Houston, Texas – 38891 posts

Total posts per resident (figures have been rounded):

Boston, Massachusetts – 0.263 posts per resident

Miami, Florida – 0.163 posts per resident

Seattle, Washington – 0.118 posts per resident

Chicago, Illinois – 0.116 posts per resident

Atlanta, Georgia – 0.102 posts per resident

New York City, New York – 0.087 posts per resident

Kansas City, Kansas – 0.073 posts per resident

Dallas, Texas – 0.069 posts per resident

Nashville, Tennessee – 0.047 posts per resident

Pittsburgh, Pennsylvania – 0.042 posts per resident

Total posts per visitor (figures have been rounded):

Philadelphia, Pennsylvania – 0.015 posts per visitor

New York City, New York – 0.012 posts per visitor

Boston, Massachusetts – 0.008 posts per visitor

San Francisco, California – 0.008 posts per visitor

Chicago, Illinois – 0.005 posts per visitor

Dallas, Texas – 0.003 posts per visitor

Jersey City, New Jersey – 0.003 posts per visitor

Miami, Florida – 0.003 posts per visitor

Seattle, Washington – 0.002 posts per visitor

Nashville, Tennessee – 0.002 posts per visitor

While New York City took the number one position with the total number of posts overall, when we analyze the most photographed US cities by residents and tourists, some underdogs come up to knock the champ off the top spot!

 

Philadelphia’s skyline was photographed the most when comparing the total to annual visitor numbers, with around 15 skyline photographs being taken for every 1,000 tourists visiting the City of Brotherly Love. However, when we look at posts per resident, Philadelphia drops out of the top ten entirely, beaten to the tenth spot by its neighboring city of Pittsburgh.

 

When it comes to proud locals, Boston takes the lead with 26 cityscape shots for every 1,000 residents. The Massachusetts city, home of Fenway Park and the bar from beloved sitcom Cheers, has several notable skyscrapers, including the John Hancock Tower and the Prudential Tower, towering at 790 feet and 749 feet respectively.

 

There were some unanticipated contenders too – Jersey City beat Miami and Seattle as the cityscape that is Instagrammed the most when comparing against visitor numbers. Meanwhile, Detroit trumped the glitz and glamour of the Los Angeles skyline.

 

While the research showed us some firm favorites coming out on top of the rankings, we also found a few hidden gems when discovering the most Instagrammable skylines. The results go to show that every city has something to offer to photographers, whether it’s the blinding lights of NYC or the cobbled streets of Bath.

 

How to Photograph a Skyline

When photographing a cityscape or skyline, arguably the most important aspect to get right is your vantage point. You may need to head out of the city to find a suitable angle that’s wide enough to take in the entire view.

 

Take a look at the city map and check for any hills, parks, or even islands outside of the city limits and take the trip to see how the view looks. You may even find a new favorite spot that you would never have come across otherwise!

 

You should be aiming to take your skyline image during the “blue hour” – the time when the dusky blue sky hasn’t gone completely dark, but the city lights have already come on and created an attractive twinkle.

 

Make sure that your gear is suitable before you go. A wide-angle lens will be invaluable in taking the perfect skyline shot, and a tripod will be hugely useful in preventing any blur (and stopping your arms from getting tired!). Depending on the location and weather, you might want to consider waterproofing measures to protect your equipment. If you’re planning to head off the beaten path, make sure to invest in suitable photography insurance, so you’re protected if anything should happen to your camera.

 

Try to use a manual focus when taking a skyline shot to avoid inaccuracies in the automatic settings, which might set the focus on the wrong building or even zone in on something as small as an animal or a passing truck in the foreground and ruin your image.

 

A long exposure will allow you to capture plenty of light and could even create some pleasant light trails from cars which add to the atmosphere of your photography.

 

Most importantly is to experiment and try a number of different lenses and exposures until you find the perfect settings for your ideal skyline picture. When you do get that perfect shot, make sure to monitor it if you post it online; this will help you avoid your image being used elsewhere on the internet without your permission.

 

Using photos from Instagram

If you’re wanting to use images from social media, remember that the original photographer owns the copyright. With so many repostings of the same image across various Instagram accounts, locating the copyright owner can be a bit of a minefield. Using an image checker will help you find an image source and correctly attribute the image you want to use, but make sure to get familiar with image copyright laws first.

 

If you enjoyed this research, why not take a look at our study exploring the world’s most photographed national dishes?

 

Methodology

Pixsy researched cities across the world with famous skylines to draw up an initial list, before searching relevant hashtags in Instagram (such as #nycskyline and #chicagocityscape) and pulling the total number of posts with each hashtag assigned to it.

 

These figures were then compared against official population data recorded for each city, as well as average annual visitor estimates.

 

This data was gathered in September 2021, with the figures accurate at the time of research.

 

Fair use statement

Do you think your audience would like to hear about this research? If so, feel free to share the information on your website or social media accounts, and please credit with a link back to this page so they can easily access the original research in full.

 

Permission to use these images of skylines on the Pixsy site has been granted by the original photographers. If you would also like to use these photos on your website, you should contact the photographers directly to seek authorization to do so. Source: www.pixsy.com/the-worlds-most-photographed-city-skylines/

This image is part of an ongoing project I'm working on called "Puddle Reflections". This particular puddle is about two feet across, an inch deep and is located at the end of my driveway here in Virginia. Methodology is simple. Put the camera on the ground as close to the water as possible and click off a series of bracketed shots. Having done this a number of times I now instinctively look for a puddle at sunset wherever I am. :) When people see this print they always ask what river or lake this was taken at. Then I tell them it's a puddle which produces a shocked look.

These clouds are the tail end of a nasty storm that raged through the area causing a significant amount of damage.

What look like boulders along the shoreline are actually pieces of gravel.

 

Please do click on the image to see it on black. :)

I headed up to the Mount Hamilton Grandview Restaurant for a sunset shoot. From up there you get a beautiful view over the Silicon Valley. I love the blue hour after sunset, this one was worthwhile.

 

Afterwards I went to visit a professor friend of mine to brainstorm on collaboration practices. He is working on a methodology to define a vision into the future by picturing yourself in three years reflecting on you as you have been three years ago, e.g. now. He calls this "remember the future". I love it.

 

I processed a balanced and a paintery HDR photo from three RAW exposures, merged them selectively, and carefully adjusted the color balance and curves. I welcome and appreciate constructive feedback.

 

Thank you for visiting - ♡ with gratitude! Fave if you like it, add comments below, like the Facebook page, order beautiful HDR prints at qualityHDR.com.

 

-- ƒ/3.5, 28 mm, 1/350 sec, ISO 100, Sony A7 II, FE 28-70mm F3.5-5.6 OSS, HDR, 3 exposures, _DSC7501_2_3_hdr3bal1pai5g.jpg

-- CC BY-NC-SA 4.0, © Peter Thoeny, Quality HDR Photography

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.

Well, you have to admire Twosky's unique methodology!