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Chuppa, chuppa......are these display Chups in a shop in Mooloolaba, Queensland or do they have cameras in their eyes and are staring, watching passers by? If the eyes follow you, then you will know!
Getting close to pronghorn isn't always easy. The fastest land mammal in North America is also keenly cautious. They were built to outrun the North America's extinct cheetah like cats. Speed alone would not have been enough to keep them safe. Having arrived before the herd, I sat at the base of a sage and remained as quiet as possible, without overtly trying to hide. The pronghorn took notice but apparently didn't find me to be much of a threat as they continued to graze and browse across the open field, moving slowly in my direction. I truly think that they are some of the most elegant and underappreciated ungulates of the west and I relished the opportunity that they provided me for closer observation.
The Nioh are protectors who stand guard outside the gate at Japanese Buddhist temples, on either side of the entrance. Their fierce appearance is to ward off evil spirits and keep the temple
free of demons and thieves. They represent two aspects of a single deity
As I wandered around this bridge trying to find an appealing composition last Fall, a nearby resident came out of his house and struck up a conversation. He explained that locals call it the Wedding Bridge due to frequent visits by photographers and their matrimonial entourages - although the actual name is Arranvale Bridge. It wasn't overtly picturesque on the gloomy day we drove by but converting it to black and white gave it a bit more interest to my eye. The engineers in the crowd will recognize it as a rivet connected warren pony truss.
I had advanced several hundred yards into this scene before realizing I had crossed well beyond my comfort zone. It was a solo winter hike through the back woods. Dense thickets and woodland interspersed with open meadows. All buried under a thick layer of recent snow. This particular section of forest looked no different than the many others I had passed through this day. But it didn't feel the same. It felt uncomfortable being here. Not a necessarily a sense of fear. More one of apprehension; perhaps that inner voice popping into my head. My instant thought was that inertia had carried me well past the point where I might ordinarily have stopped. I've noticed that in driving as well as hiking. I'm convinced that's how many traffic accidents occur. Inner voice goes either unheard or unheeded and smash! Of course there's usually very little reaction time in driving. Hiking is another matter. And especially when out with the camera, I've learned to stop periodically both shooting and movement, and simply take in the environment. It's a matter of giving the inner voice an opportunity to be heard. When I finally pulled up here I realized that the inner voice had been speaking for a while and, preoccupied with snow and cold, I had simply plodded on into this place. Realizing the moment, I stopped dead in my tracks, not wanting to advance and leary about retreating. I looked all around. Again, nothing overtly ominous or threatening, but an overwhelming feeling that I should not take another step forward. I began walking backward, keeping my eyes on the scene as if afraid something would come looming out at me. I paused a few times, just watching. A odd feeling of conflict here, not wanting to be remain but unable to look away. I reached for my camera but instead grabbed the tablet that was slung over my shoulder on a long strap. I love the immediacy of shooting with tablets and smartphone. Of being able to see the results in real time on a large screen. I set it into camera mode and took this photo. It creeps me out now just as much as it did that day.
Lens....Sigma 10-20mm.............The estate of Knightshayes had long been owned by the Dickinson family, Tiverton merchants. John Walrond Dickinson sold the estate to the Amory family in 1867.[5] In the same year, the house was commissioned by Sir John Heathcoat-Amory and the foundation stone laid in 1869. By 1874, the building was complete, although not to Burges' original designs, and work had begun on the interior. However, unlike Burges' partnership with John Crichton-Stuart, 3rd Marquess of Bute, the relationship between architect and client was not successful, Sir John objecting to Burges' designs both on grounds of cost and of style. "Heathcoat-Amory (had) built a house he could not afford to decorate, by an architect whose speciality was interior design." [6] This disagreement led to Burges' sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example built of a medium-sized Burges country house, to the "standard" Victorian arrangement. Its virtues were recognised in its own time; "Knightshayes is eminently picturesque, executed with great vigour and thorough knowledge of detail.."[7] The plan with hall, drawing, morning and smoking rooms, library and billiard room is conventional and the exterior is, by Burges' usual standards, restrained. A massive tower, to have been constructed over the West end, would have given the house "a more overtly romantic silhouette"[8] but only the base was built.
This is for my friend Aloyssia Hema.... she sent me a message on FB over a week ago, asking me to please do a pic of the Crucifixion... I was hesitant at first... I usually skirt the edges of religion, rather than making overt references to it in what I create... I am, by nature, more spiritual than religious, if that makes sense... and I never want to offend anyone...in any case, here is my take on the Crucifixion story, and I hope you like it :D
Toyokawa Inari is a Buddhist temple of the Sōtō sect located in the city of Toyokawa in eastern Aichi Prefecture, Japan. Despite the torii gate at the entrance, and the popular identification of its main image of veneration (a Juichimen Kannon) with Inari Okami, the Shinto kami of fertility, rice, agriculture, industry and worldly success, the institution is a Buddhist temple and has no overt association with the Shinto religion.
The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis). This Arian church was originally dedicated in 504 AD to "Christ the Redeemer".
It was reconsecrated in 561 AD, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" ("Saint Martin in Golden Heaven"). Suppressing the Arian church, the church was dedicated to Saint Martin of Tours, a foe of Arianism. According to legend, Pope Gregory the Great ordered that the mosaics in the church be blackened, as their golden glory distracted worshipers from their prayers. The basilica was renamed again in 856 AD when relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of pirates from the Adriatic Sea.
Its apse and atrium underwent modernization at various times, beginning in the 6th century with the destruction of mosaics whose themes were too overtly Arian or which expressed the king's glory, but the mosaics of the lateral walls, twenty-four columns with simplified Corinthian capitals, and an Ambo are preserved. On some columns, images of arms and hands can be seen, which are parts of figures once representing praying Goths and Theodoric's court, deleted in Byzantine times.[2] Renovations (and alterations) were done to the mosaics in the mid-19th century by Felice Kibel. The present apse is a reconstruction after being damaged during World War I.
On the upper band of the left lateral wall are 13 small mosaics, depicting Jesus' miracles and parables; and on the right wall are 13 mosaics depicting the Passion and Resurrection. However, the flagellation and crucifixion are lacking. They describe the parts of the Bible that were read aloud in the church during Lent under the rule of Theodoric the Great. On the left, Jesus is always depicted as young, beardless man, dressed as a Roman Emperor. On the right, Jesus is depicted with a beard. For the Arians, this emphasized that Jesus grew older and became a "man of sorrows", as spoken of by the prophet Isaiah. These mosaics are separated by decorative mosaic panels depicting a shell-shaped niche with a tapestry, cross, and two doves. These mosaics were executed by at least two artists.
The next row of mosaics are a scheme of haloed saints, prophets and evangelists, sixteen on each side. The figures are executed in a Hellenistic-Roman tradition and show a certain individuality of expression as compared to the other figures in the basilica. Each individual depicted holds a book, in either scroll or codex format, and, like many of the other figures throughout the basilica, each of their robes has a mark or symbol in it. These mosaics alternate with windows. They were executed in the time of Theodoric.
The row below contains large mosaics in Byzantine style, lacking any individuality, having all identical expressions. These were executed about 50 years after the time of bishop Agnellus, when the church had already become an orthodox church. To the left is a procession of the 22 Virgins of the Byzantine period, led by the Three Magi, moving from the city of Classe towards the group of the Madonna and Child surrounded by four angels. (The Magi in this mosaic are named Balthasar, Melchior and Gaspar; this is thought to be the earliest example of these three names being assigned to the Magi in Christian art.) To the right is a similar procession of 26 Martyrs, led by Saint Martin and including Saint Apollinaris, moving from the Palace of Theodoric towards a group representing Christ enthroned amid four angels. This lower band, containing a schematic representation of the Palace of Theoderic on the right wall and the port of Classe with three ships on the left wall, gives us a certain idea of the architecture in Ravenna during the time of Theodoric. In another part of the church there is a rough mosaic containing the portrait of the Emperor Justinian.
The entrance of the church is preceded by a marble portico built in the 16th century. Next to the church, on the right side of the portico, stands a round bell tower dating from the 9th or 10th century.
When the UNESCO inscribed the church on the World Heritage List, its experts pointed out that "both the exterior and interior of the basilica graphically illustrate the fusion between the western and eastern styles characteristic of the late 5th to early 6th century. This is one of the most important buildings from the period of crucial cultural significance in European religious art".
Some art historians claim that one of the mosaics contains the first depiction of Satan in western art. In the mosaic, a blue angel appears to the left hand side of Jesus behind three goats (mentioned in St Matthew's account of Judgement Day).
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The view from the Schlossberg - or Castle Hill, looking overt the city of Graz, where I visited as a performer at the Ukulele Festival of Austria. Just one of the many activities that seems to prevent me making any sort of stab at keeping up with my old Flickr mates!
This is a three-shot stitched panorama, extremely bright under the direct sun - so not ideal for shooting - but makes a good memento all the same.
*** I was looking way back at some of my original "TumbleWorld/Pano-Sabotage" pieces from my first few months of using the technique and found 3 ( !!! ) images, this and the next two that never appeared in PANO-Vision because the group didn't appear for the better part of a year after this was shot and posted. Redressing that now ... *** ( Sept 5, 2018 ).
Further exploration of a particularly vivid and complex shop window, displaying an overtly "Holiday" scenario, but suggesting something quite subversively else. The lurid, Bacchanalian innuendo and over the top ornate visual got my immediate attention ... and out came the camera...
Music Link: "Clear Day", Ulrich Schnauss from his album "A Strangely Isolated Place". Schnauss's ostensibly 'pretty' music is full of rich disonances and alternate tunings which give his sound a sonic lushness and variation that rewards repeated listenings.
www.youtube.com/watch?v=9HOVwJq8b5A
View Large on Black.
© Richard S Warner ( Visionheart ) - 2014. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Ronda is a town in the Spanish province of Málaga. It is located about 105 km west of the city of Málaga, within the autonomous community of Andalusia. Its population is about 35,000. Ronda is known for its cliff-side location and a deep chasm that carries the Guadalevín River and divides the town.
It is now one of the towns and villages that is included in the Sierra de las Nieves Natural Park.
Around the city are remains of prehistoric settlements dating to the Neolithic Age, including the rock paintings of Cueva de la Pileta. Ronda was, however, first settled by the early Celts, who called it Arunda in the sixth century BC. Later Phoenician settlers established themselves nearby to found Acinipo (sometimes referred to as Ronda la Vieja, Old Ronda). The current Ronda is of Roman origins, having been founded as a fortified post in the Second Punic War, by Scipio Africanus. Ronda received the title of city at the time of Julius Caesar.
In the fifth century AD, Ronda was conquered by the Suebi, led by Rechila, being reconquered in the following century by the Eastern Roman Empire, under whose rule Acinipo was abandoned. Later, the Visigoth king Leovigild captured the city. Ronda was part of the Visigoth realm until 713, when it fell to the Umayyad troops, who named it Hisn Ar-Rundah ("Castle of Rundah") and made it the capital of the Takurunna province.
It was the hometown of the polymath Abbas Ibn Firnas (810–887), an inventor, engineer, alleged aviator, chemist, physician, Muslim poet, and Andalusian musician.
After the disintegration of the caliphate of Córdoba, Ronda became the capital of a small kingdom ruled by the Berber Banu Ifran, the taifa of Ronda. During this period, Ronda gained most of its Islamic architectural heritage. In 1065, Ronda was conquered by the taifa of Seville led by Abbad II al-Mu'tadid. Both the poet Salih ben Sharif al-Rundi (1204–1285) and the Sufi scholar Ibn Abbad al-Rundi (1333–1390) were born in Ronda.
The Islamic domination of Ronda ended in 1485, when it was conquered by the Marquis of Cádiz after a brief siege. Subsequently, most of the city's old edifices were renewed or adapted to Christian roles, while numerous others were built in newly created quarters such as Mercadillo and San Francisco. The Plaza de Toros de Ronda was founded in the town in 1572.
The Spanish Inquisition affected the Muslims living in Spain greatly. Shortly after 1492, when the last outpost of Muslim presence in the Iberian Peninsula, Granada, was conquered, the Spanish decreed that all Muslims must either vacate the peninsula without their belongings or convert. Many people overtly converted to keep their possessions while secretly practicing their religion. Muslims who converted were called Moriscos. They were required to wear upon their caps and turbans a blue crescent. Traveling without a permit meant a death sentence. This systematic suppression forced the Muslims to seek refuge in mountainous regions of southern Andalusia; Ronda was one such refuge.
On May 25, 1566, Philip II decreed the use of the Arabic language (written or spoken) illegal, required that doors to homes remain open on Fridays to verify that no Muslim Friday prayers were conducted, and levied heavy taxes on Morisco trades. This led to several rebellions, one of them in Ronda under the leadership of Al-Fihrey. Al-Fihrey's soldiers defeated the Spanish army sent to suppress them under the leadership of Alfonso de Aguilar. The massacre of the Spaniards prompted Phillip II to order the expulsion of all Moriscos in Ronda.
In the early 19th century, the Napoleonic invasion and the subsequent Peninsular War caused much suffering in Ronda, whose inhabitants were reduced from 15,600 to 5,000 in three years. Ronda's area became the base first of guerrilla warriors, then of numerous bandits, whose deeds inspired artists such as Washington Irving, Prosper Mérimée, and Gustave Doré. In the 19th century, the economy of Ronda was mainly based on agricultural activities. In 1918, the city was the seat of the Assembly of Ronda, in which the Andalusian flag, coat of arms, and anthem were designed.
Ronda's Romero family—from Francisco, born in 1698, to his son Juan, to his famous grandson Pedro, who died in 1839—played a principal role in the development of modern Spanish bullfighting. In a family responsible for such innovations as the use of the cape, or muleta, and a sword especially designed for the kill, Pedro in particular transformed bullfighting into "an art and a skill in its own right, and not simply ... a clownishly macho preamble to the bull's slaughter".
Ronda was heavily affected by the Spanish Civil War, which led to emigration and depopulation[citation needed]. The scene in chapter 10 of Hemingway's For Whom the Bell Tolls, describing the 1936 execution of Fascist sympathisers in a (fictional) village who are thrown off a cliff, is considered to be modeled on actual events of the time in Ronda.
Spotless Crake ( Porzana tabuensis )
This phantom of the wetlands, poses a special difficulty for conservation due in part to its secret nature, but that there are almost no wetland sanctuaries safe enough from predators to safeguards it survival.
Especially in the light of continual destruction of habitat, overt use of herbicides & pesticides and the Govt's attitude of ignoring "data deficient" species....
She lived in Youngstown, Ohio and was probably in her twenties in 1941 when she started keeping scrapbooks from news and magazine stories about World War II. She may actually have worked for the newpaper in Youngstown; some of her scrapbook covers are cut from the pulp mold into which lead is poured to get the plates that print a newspaper. She is believed to have had a brother or other close relative or perhaps a lover in the service and the scrapbooks were an overt way of keeping up with HIM and with the expectation of WHEN he might come home again.
Many years later she gave them to a friend, who then many more years later gave them to one of his friends. That friend is letting me scan and post them on the internet. Here is the url to that site:
www.flickr.com/photos/15760311@N03/
I think the lady visited me last night. I have felt very intensely about these scrapbooks, the information they contain, the apparent love or concentration with which they were put together. I was drawn dramatically to them the moment I saw them. I knew they HAD to be made public.
Last night I had made my decision, the scrapbook "Italy Two" would have to be taken apart to be scanned. I used a staple remover to remove the staples holding the scrapbook together at the top and bottom of the left margin. In the center, our scrapbook lady had used something like an ice pick (there were a lot of those still around in the early 1940s) to punch a hole in the center of the left margin, then she used a piece of a shoe lace to tied with a "hard knot" as we used to call them.
I'm good at knots, I can tie them AND untie them. I learned every knot in the Boy Scout handbook and learned a lot more during my two years of seagoing activity. My fingernails are good and I'm always the guy they called on to untie hard knots, but THIS knot was giving me trouble. Nothing I did would loosen in the slightest this very tenacious knot.
I felt the lady really wanted this scrapbook to stay together. I felt her presence there with me. I relaxed a moment and silently said, "more damage will be done if I don't take the scrapbook apart AND I think it is important that these scrapbooks be put on the internet for people to see." Almost immediately the knot surrendered and I was able to untie it. I still have that one inch of black shoelace in my wallet. It will remind me of the night the scrapbook lady visited with me for just a moment.
Now, I'm off on another mission. I'm going to find someone in the Youngstown, Ohio area to try and find out who the scrapbook lady is. Is she still alive? Did she work for the Youngstown newspaper? Who was the inspiration for all that time spent on her scrapbooks? Coincidences seem to happen to me and I think I'll get one here.
I've changed the image to include the piece of shoe string. It was so tightly tied, I suspected she had tied it and then saturated it with the paste she was using to paste up the news clippings. My memory of the piece of shoe string is that it was completely black, but now I see the color it has faded to. This is the substance of which dreams are made.
callous lack of empathypsychopath test pclr
please score yourself 0 1 2 3 on each of the 20 items and record your score as a comment on the total score image
The PCL-R is a clinical rating scale (rated by a psychologist or other professional) of 20 items. Each of the items in the PCL-R is scored on a three-point scale according to specific criteria through file information and a semi-structured interview. A value of 0 is assigned if the item does not apply, 1 if it applies somewhat, and 2 if it fully applies. In addition to lifestyle and criminal behavior the checklist assesses glib and superficial charm, grandiosity, need for stimulation, pathological lying, conning and manipulating, lack of remorse, callousness, poor behavioral controls, impulsivity, irresponsibility, failure to accept responsibility for one's own actions and so forth. The scores are used to predict risk for criminal re-offence and probability of rehabilitation.
The current edition of the PCL-R officially lists four factors (1.a, 1.b, 2.a, and 2.b), which summarize the 20 assessed areas via factor analysis. The previous edition of the PCL-R[5] listed two factors. Factor 1 is labelled "selfish, callous and remorseless use of others". Factor 2 is labelled as "chronically unstable, antisocial and socially deviant lifestyle". There is a high risk of recidivism and currently small likelihood of rehabilitation for those who are labelled as having "psychopathy" on the basis of the PCL-R ratings in the manual for the test, although treatment research is ongoing.
PCL-R Factors 1a and 1b are correlated with narcissistic personality disorder and histrionic personality disorder. They are associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning).
PCL-R Factors 2a and 2b are particularly strongly correlated to antisocial personality disorder and criminality and are associated with reactive anger, criminality, and impulsive violence. The target group for the PCL-R is convicted criminals. The quality of ratings may depend on how much background information is available and whether the person rated is honest and forthright.
[edit] The two factorsFactor 1: Personality "Aggressive narcissism"
Glibness/superficial charm
Grandiose sense of self-worth
Pathological lying
Cunning/manipulative
Lack of remorse or guilt
Shallow affect (genuine emotion is short-lived and egocentric)
Callousness; lack of empathy
Failure to accept responsibility for own actions
Factor 2: Case history "Socially deviant lifestyle".
Need for stimulation/proneness to boredom
Parasitic lifestyle
Poor behavioral control
Lack of realistic long-term goals
Impulsivity
Irresponsibility
Juvenile delinquency
Early behavior problems
Revocation of conditional release
Traits not correlated with either factor
Promiscuous sexual behavior
Many short-term marital relationships
Criminal versatility
Acquired behavioural sociopathy/sociological conditioning (Item 21: a newly identified trait i.e. a person relying on sociological strategies and tricks to deceive)
Early factor analysis of the PCL-R indicated it consisted of two factors. Factor 1 captures traits dealing with the interpersonal and affective deficits of psychopathy (e.g. shallow affect, superficial charm, manipulativeness, lack of empathy) whereas Factor 2 dealt with symptoms relating to antisocial behaviour (e.g. criminal versatility, impulsiveness, irresponsibility, poor behaviour controls, juvenile delinquency).
The two factors have been found by those following this theory to display different correlates. Factor 1 has been correlated with narcissistic personality disorder, low anxiety, low empathy, low stress reaction and low suicide risk but high scores on scales of achievement and well-being. In addition, the use of item response theory analysis of female offender PCL-R scores indicates factor 1 items are more important in measuring and generalizing the construct of psychopathy in women than factor 2 items.
In contrast, Factor 2 was found to be related to antisocial personality disorder, social deviance, sensation seeking, low socio-economic status[6] and high risk of suicide. The two factors are nonetheless highly correlated and there are strong indications they do result from a single underlying disorder. However, research has failed to replicate the two-factor model in female samples.
Recent statistical analysis using confirmatory factor analysis by Cooke and Michie indicated a three-factor structure, with those items from factor 2 strictly relating to antisocial behaviour (criminal versatility, juvenile delinquency, revocation of conditional release, early behavioural problems and poor behavioural controls) removed from the final model. The remaining items are divided into three factors: Arrogant and Deceitful Interpersonal Style, Deficient Affective Experience and Impulsive and Irresponsible Behavioural Style.
In the most recent edition of the PCL-R, Hare adds a fourth antisocial behaviour factor, consisting of those Factor 2 items excluded in the previous model. Again, these models are presumed to be hierarchical with a single unified psychopathy disorder underlying the distinct but correlated factors.
The Cooke & Michie hierarchical ‘three’-factor model has severe statistical problems—i.e., it actually contains ten factors and results in impossible parameters (negative variances)—as well as conceptual problems. Hare and colleagues have published detailed critiques of the Cooke & Michie model. New evidence, across a range of samples and diverse measures, now supports a four-factor model of the psychopathy construct,] which represents the Interpersonal, Affective, Lifestyle, and overt Antisocial features of the personality disorder.
Diagnostic criteria and PCL-R assessmentPsychopathy is most commonly assessed with the PCL-R, which is a clinical rating scale with 20 items. Each of the items in the PCL-R is scored on a three-point (0, 1, 2) scale according to two factors. PCL-R Factor 2 is associated with reactive anger, anxiety, increased risk of suicide, criminality, and impulsive violence.
PCL-R Factor 1, in contrast, is associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning). A psychopath will score high on both factors, whereas someone with APD will score high only on Factor 2.
Both case history and a semi-structured interview are used in the analysis.
The group's first album, Spirit, was released in 1968. "Mechanical World" was released as a single (it lists the playing time merely as "very long"). The album was a substantial underground hit, reaching #31 and staying on the charts for over eight months. The album displayed jazz influences, as well as using elaborate string arrangements (not found on their subsequent recordings) and is the most overtly psychedelic of their albums.
In lucid dreams I see you
We're both walking on sunshine
The world is topsy turvy
Rainbows crown us and gowns of light and stars warm our hearts
Your love sends me head over heels
The Queen of Diamonds has found the King of Hearts
You make me shout corny sentiments
Overt displays of public affection are hard to contain around you
We meet each other in our dreams
Yet where are you in real life?
My heart tells me you are near
To be patient
In dreams you tell me its not the right time
We have much to do until that moment of our first meeting
I wonder where we will meet
Will it be in Melbourne, New York, Tokyo or Istanbul?
We will fall into each other arms soon
Fall "head over"
Our love will be the stuff made of fairy tales
We will find our happy ending
Every step I take draws us closer and closer together
In the mean time we live our own lives in happiness, adventure and joy
**I thought it would be an interesting concept to write a poem about the man of your dreams you haven't met yet... like Bjork's line "I love you, but I haven't met you yet"**
Almost three years ago, an eternity in digital photography terms, Steve posted an "under the Bay Bridge" shot ( www.flickr.com/photos/maxxwellsmart/3094791821/ ). At the time there were just a handful of shots from there on Flickr, but now it's quite common.
The dry, cold "summer" had ended and pre-storm clouds in the sky hinted at rain arriving in a couple of days. A random impulse struck to give this spot a try.
I'd heard there was only room for a few photographers, and in fact there was another person occupying what seemed like the best spot, furthest from the bridge and lowest on the hill. The view is great, but overtly tresspassing on Navy property, right in front of passing boats, while somebody is waiting for you to finish, as you crouch on a crumbly hillside ... it's not relaxing.
On this particular shot I wanted to give the bridge and skyline equal billing. The bridge is dark and hulking in parts, especially with temporary scaffolding at center, and not lit evenly to start with. I wanted the bridge's light to be warm and less sterile. I kept the moon and sky more normal looking at near daylight temperatures. The skyline is cooler to let some color and variation show, and for whatever reason keeping the water cool also looked better.
24-70 @ 34mm, f/6.3, 30 to 1/8s, ISO 100 (and 400).
This shot may not be overtly artistic, but I says a lot about what made me. I lived on North Capitol Street when I was young, and my grandparents continued to live there until I was about 20 years old. This street was the most consistent place in my life when I was young.
The neighborhood has changed dramatically since I was a child but now, I think about how amazing it was to live somewhere where you walked out of your house and see that building every day.
Melville T. Wire
American, 1877–1966
Oil on canvas
Gift of Brooks and Dorothy Cofield, 2015.176.2
Biography of the artist
Melville T. Wire was an American painter active in the first half of the twentieth century whose career bridged late American Impressionism and regional modern landscape painting. Born in 1877, Wire received his artistic training during a period when Impressionist principles had become well established in American art schools and studios, emphasizing direct observation, broken brushwork, and an interest in light and atmosphere over strict topographical description.
Wire was an ordained Methodist minister, and because Methodist pastors were reassigned regularly, he traveled widely through Oregon for parish work and used that travel to paint the landscapes he encountered.
He spent much of his career working in the western United States, where he focused on rural and semi arid landscapes rather than urban or industrial subjects. He was particularly drawn to open terrain, subtle shifts in elevation, and sparsely populated environments that allowed for an emphasis on spatial rhythm and light rather than narrative incident. By the 1920s, when Meeks, Oregon was painted, Wire had developed a mature style characterized by confident handling of impasto, restrained but luminous color, and an economy of means.
Although not widely known on a national level, Wire was part of a broad cohort of American painters who adapted Impressionist methods to distinctly local settings. His work reflects a regional sensibility that values observation and immediacy while resisting academic finish or dramatic spectacle. He continued to paint into his later years and died in 1966, leaving behind a body of work that documents a quieter, less monumental vision of the American landscape.
Discussion of Meeks, Oregon
Meeks, Oregon presents a landscape reduced to its essential components: low vegetation, open ground, distant hills, and a broad, light filled sky. The composition is horizontal and expansive, emphasizing lateral movement across the surface rather than recession into deep space. This creates a sense of environmental continuity rather than a single focal event.
Wire employs a heavily worked surface, using short, directional strokes of thick paint that remain visibly distinct. The impasto catches light unevenly, causing the surface to shimmer and shift as the viewer moves. This tactile quality reinforces the painting’s emphasis on sensation over description. The land is not outlined or diagrammed but assembled through overlapping strokes of color.
The palette is muted but complex. Pale yellows, soft greens, and cool blues are interwoven with touches of warmer earth tones. Rather than presenting dramatic contrasts, Wire allows color relationships to accumulate gradually, producing a quiet luminosity. The distant hills dissolve into the sky through softened edges, reinforcing the sense of atmosphere and distance.
Vegetation appears as clustered forms rather than individually described plants. Small trees and shrubs punctuate the open ground, establishing rhythm and scale without introducing narrative. Their repetition across the middle ground anchors the composition while maintaining openness. Human presence is absent, and there are no signs of development, reinforcing the sense of an unasserted landscape.
Historically, the painting belongs to a period when American artists were increasingly interested in regional identity without resorting to overt symbolism or national mythmaking. Unlike earlier landscape traditions that framed nature as heroic or morally charged, this work presents land as observed and inhabited visually rather than ideologically. The painting aligns with a broader early twentieth century movement toward understated modernity, where the subject is familiar and local, but the treatment reflects contemporary concerns with perception and surface.
Meeks, Oregon stands as an example of how Impressionist-derived techniques continued to evolve in American regional painting well into the interwar period. Wire’s work does not seek to innovate radically, but it refines a visual language suited to open spaces and subtle environmental variation. The result is a painting that sustains attention through its surface, balance, and restraint, offering a contemplative rather than declarative vision of place.
This text is a collaboration with ChatGPT
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Although the Common Raven in this image is vocalizing and the Red-tailed Hawk is in close proximity, in this instance at least there was no overtly aggressive interaction between the two species of different families. This seemed more like a “checking out” of the raptor by the corvid, with perhaps an element of playfulness (for which corvids are well known). These birds were seen in Writing-on-Stone Provincial Park in southern Alberta, Canada.
Happy 76th anniversary, Everglades National Park!
There are no other Everglades in the world, as Marjory Stoneman Douglas said. They are wholly unique and no other National Park that I have visited can really compare to the sublimity of Florida’s River of Grass. I find myself to be so lucky to live so close to one of the most powerful and peaceful places I’ve ever been. I am especially thankful and in awe of its healing powers when my visits to the wilderness are a balm for weariness and stress, and the healing refrains of nature give me a reason to look to the future. Happy anniversary.
There should be an untouched example of the Everglades of Florida established as a national park." - Stephen T. Mather
On December 6, 1947, President Harry S Truman, dedicated Everglades National Park, saying;
"Here is land, tranquil in its quiet beauty, serving not as the source of water, but as the last receiver of it. To its natural abundance we owe the spectacular plant and animal life that distinguishes this place from all others in our country."
- In The Everglades, you are on Seminole and Miccosukee land. #FindYourPark
- shot on a #sonya7riv, @sonyalpha #bealpha. Edited in #Lightroom. @lightroom
National Park anniversaries always amuse me. In layman's terms, these places are ageless; they are literally the very landscape we observe and are crafted by the massive and natural forces of earth. Their creation was not sudden or overtly observable. But here we are, ascribing a date to celebrate when *we* decided to preserve that landscape. That’s the real special part about today: it honors our commitment to this fantastic place so that it may last through the ages. May it always be so.
This behavior is out of the ordinary for Millie's personality. She is usually indifferent to the camera. She takes her position as Princess Royal very seriously. :-) Overtly cute behavior like this is not part of her normal personality. Taken by Edgar.
I have long been a bit envious of painters and often find myself wishing I had skill at it. What I admire about painting is that painters have the choice of creating work that readily confines itself to documenting reality, or as is often the case, venturing off into territory wholly in the painter's mind or heart. In short, painters paint the world as they see it. Ever since the invention of photography, the art has struggled with the question of what is photography's intent? Is it to document, to collect "truth" and "reality"? Is it art or is it science? It is this deep, central question that leads to the mindset that many photographers or viewers of photography struggle with. Whenever I hear comments about "cheating" or manipulation or truth in photography I think of this. I don't spend a lot of time in the world of painting but I wonder, do painters have to deal with questions of manipulation? Or do they abashedly admit that the painted they created involved a bit of cheating? Does anybody stand in front of a painting and elbow the person next to them and whisper, "this isn't real you know"?
And I am curious as to why we do this with photography. Why do we have this expectation? I guess it is because we convince ourselves that somehow photography is capable of seeing the world "as it is". But is that even true? Or is that a mistaken assumption on our part that has given birth to over a century of at least partially incorrect expectations? After all, which part of photography is truly objective? I think you'd struggle to point to any of it as being objective. And yet we allow ourselves to be shocked every time we realize that the hand of the photographer once again manifested itself in the creation of an image.
I don't want to go far down this rabbit hole, and yes I realize that their is a large part of this discussion/argument that deals with intent, context and presentation. And their are several important points to be made in those areas.
Really though I meant to write a bit more about me and how I operate within the realm of these swirling questions. Because even though I don't possess any skill with paint and brush, I seem to have found a way to, on occasion, photograph like a painter both in deed and in thought. I readily admit that I am less interested in photographing what was objectively there in the world as opposed to what I subjectively thought, felt or experienced. Sometimes that requires sharp images, sometimes that requires soft, sometimes that involves fractions of a second, and sometimes it is a matter of minutes or hours. I try not to shackle myself with unnecessary expectations of what my photography should be and instead focus on what I want it to be for myself. I think a lot about perception and how its nature is unique to each of us. That fascinates me. Three of us stand on this grass knoll at sunset and experience the end of the day and three of us will have a unique experience of the moment, either overtly or subtly.
I am in no position to say how photography should be for anyone else. For some, objective reality might be a primary goal and to them I wish luck. For me, I enjoy being a bit of a painter... albeit with silver halide and glass instead of acrylic and bristles.
Hasselblad Flexbody
Kodak Ektar 100
Found myself exploring the local cemetery the other morning. A blanket of thick fog had descended over the village before dawn and created an ethereal look to the surroundings. I wandered about completely alone in the burial ground which is exactly the way I like it. Very conducive to my habit of letting intuition guide my photographic exploration. I meander about and just follow the gentle mental tugs I feel to walk here or there. One of these tugs brought me to this shocking tableau at the grave of a young boy. Shocking in the sense that death is never celebrated in a place like this, not overtly anyway. I find flowers, angels and all sorts of tributes, but nothing like this. Outwardly it was just an inexpensive Halloween decoration, no doubt set here as a way of paying homage to the boy's love of the holiday. And I'm sure in a few weeks it will be replaced by another seasonal decoration. But in this moment it served as a graphic metaphor for an untimely death. I was struck with the pose of the skeleton, arms outstretched, the bony fingers, the face upturned toward heaven in seeming grief and despair, perhaps even disbelief. I felt very conflicted taking this photo. Part of me (a big part) lives for things like this. But that enthusiasm was tempered with the thought of standing over the grave of a little kid. I try to rationalize it by being empathetic to the situation. But I know I was guided here specifically to get this shot and tell the story.
Hello guys, I'm just finding tune with my HDR skills. Still very unrealistic, I wanna go for the natural HDR appeal but I guess the overtly details enhancer is so tempting. This was taken as test shots when I first got my S5 IS, hence the annoying handshakes hehe. I think architecture ain't my niche but heck, I'll give it a shot.
PS: I need a crash course on strobing
Explored | June 1, 2009 #268
© Copyright Iskandar 2009| All rights reserved.
Do not use, copy or edit any of my materials without my written permission.
Would appreciate not having large/animated multi invite codes
A commando (ethymological derives from latin commendare, to recommend) is a soldier or operative of an elite light infantry or special operations force often specializing in amphibious landings, parachuting or abseiling.
Originally "a commando" was a type of combat unit, as opposed to an individual in that unit. In other languages, commando and kommando denote a "command", including the sense of a military or an elite special operations unit.
In the militaries and governments of most countries, commandos are distinctive in that they specialize in assault on unconventional high-value targets. However, the term commando is sometimes used in relation to units carrying out the latter tasks (including some civilian police units). Commandos differ from other types of special forces in that they primarily operate in overt combat, front-line reconnaissance, and raiding, rather than long range reconnaissance and unconventional warfare.
In English, occasionally, to distinguish between an individual commando and a commando unit, the unit is capitalized.
The Commando Memorial is a Category A listed monument in Lochaber, Scotland, dedicated to the men of the original British Commando Forces raised during World War II. Situated around a mile from Spean Bridge, it overlooks the training areas of the Commando Training Depot established in 1942 at Achnacarry Castle. Unveiled in 1952 by the Queen Mother, it is one of Scotland’s best-known monuments, both as a war memorial and as a tourist attraction offering views of Ben Nevis and Aonach Mòr.
After switching out Ash Grove Cement near 21st and Maury, this classic, ex-SOU high-hood GP38-2 shoves its train back across the ex-Rock Island Spine Line in Des Moines. I love working old signs like this into shots, and while I was a bit dismayed to find that neither of them had "N&W" markings on them, I'm certain that they date from the pre-NS era, whether they overtly state it.
Over the past decade plus, so many of these high-hoods that defined NS in their early years have been retired or rebuilt, that it's an absolute treat to catch one working in any situation, let alone one like this where it's solo.
Airmen from the 23rd Special Tactics Squadron at Hurlburt Field, Fla., jump out of an MH-47 Chinook helicopter April 9 at Wynnehaven Beach, Fla. The helicopter conducts overt and covert infiltration, exfiltration, air assault, resupply and sling-load operations in a wide range of environmental conditions. (U.S. Air Force photo by Airman 1st Class Christopher Callaway)
“I’m just a humanist. I just photograph the human condition as I find it. It can be serious. It can also be ironic or humorous. I’m political, but not in an overt way.” – Bruce Davidson
The Bohdan Khmelnytsky Monument (Ukrainian: Пам'ятник Богданові Хмельницькому) is a monument in Kyiv, built in 1888, dedicated to the Hetman of Zaporizhian Host Bohdan Khmelnytsky built in 1888. It is located almost at the centre of Sophia Square, which was originally the city’s main square, and remains and important fulcrum of Kyiv City Centre. It sits on the axis that unites the belltowers of St Sophia’s Cathedral and St Michael’s Golden-Domed Monastery at the other end of Volodymyrs’kyi Passage.
This is where residents of Kiev met Khmelnytsky leading his Cossacks regiments through the Golden Gate into city on 23 December 1648 after his victory over Polish Army at the battle of Pyliavtsi. It was designed by Mikhail Mikeshin although it is both less elaborate than Mikeshin’s original plans, and is shorn of their overtly anti-Polish and anti-Semitic aspects. The statue was cast in 1879 in St Petersburg but not displayed in Kyiv until 1888.
St Sophia Cathedral is one of Kyiv’s most significant landmarks, dating back to the days of Kievan Rus’. Originally built in the first half of the 11th Century, it has had downs as well as ups since being sacked in 1169 and 1240, but still retains mosaics and frescos from the 11th Century. It was significantly expanded in the late 17th and 18th Centuries. The 76 metre high bell tower was built in this period.
After the October Revolution, Soviet authorities proposed demolishing the cathedral complex and turning it into a memorial park for combatants who died in the Civil War, and was only saved through the efforts of scientists and historians. It was nonetheless secularised and turned into a museum in 1934. By the 1980s, however Soviet authorities had promised to return the cathedral to the Orthodox Church, and this promise was maintained by governments of independent Ukraine, but internal divisions within Orthodoxy in the country have prevented this as of 2020. The cathedral remains a secular museum of Christianity.
This description incorporates text from the English Wikipedia.
Excerpt from burlingtonpac.ca:
American Women’s Club of Southern Ontario
Since we are the American Women’s Club, our tree is decorated in red, white, and blue! We’ve got a variety of ornaments, flowers, and ribbons; nothing overtly American. Under our tree is a Tea Time gift basket, overflowing with everything you need to cosy up at home and have a variety of warm teas during the cold winter.
Somehow I just had the impression this guy might not like me taking his photo so directly. I don't know what his 'look' was but the face and body language was not overtly friendly. I would have liked another try, to get the shot sharp, but I chickened out and swung round pretending to focus on something else. But at a traction engine rally you see so much variety, not just in the machinery but particularly in the people, most of them scoffing burgers and ice-cream. Somehow you see a different type of human being to those in Tescos and Asda. But this guy had a junk stall with some interesting and colourful junk on the fringes of the field, but for anyone looking for a cheap day out with plenty to see and photograph I've got to recommend a traction engine rally on a sunny day.
Visitors gawp at the overt magnificence of the Monument to Victor Emmanuel II, the heart of Rome, Italy.
Built in the early 1900s, to commemorate the first king of a unified Italy, the monument is constructed in neoclassical style, inspired by the colonnades of ancient Greek and Roman architecture, and mimicking the pomp of Berlin's Brandenburg gate or London's Admiralty Arch. The monument houses numerous artefacts from Italy's history, including the tomb of the unknown soldier. The latter stages of completion were under Mussolini's regime, and after the second world war numerous fascist symbols were removed from the structure.
Shot with a Nikon D7000 and a Nikkor AFS DX 18-200mm F/3.5-5.6G lens, and processed in GIMP and Photoscape.
This is another action series from earlier this summer at Huntley Meadows Park near Alexandria, VA.
As pool levels in the marsh got lower in August, greater numbers of Great Blue Herons and Great Egrets appeared. I saw more than a dozen of each on multiple visits. Though it seemed like there was plenty of space for everyone to me, there was more than a little bit of squabbling as the dominant ones wanted their favorite places for themselves. On the morning documented in this series, one particular Great Blue Heron seemed to want to fight everyone else at the marsh. I was surprised by the overt aggressiveness, but even more so by the fierce fighting that took place.
The action in this series took place in a mere 30 seconds, but it must have seemed like an eternity to the one that barely escaped with its life. I'm convinced the aggressor was doing its best to kill the other one, not just get it to move along. Very early in the skirmish the aggressor speared the other (I'll refer to it as the victim) through its mouth, fully penetrating it so I could see it on the other side of the victim's beak. Once it had the victim under its control it tried (and finally succeeded) to force the victim's head under the water ..... and hold it there (Pic 4).
I guess it was pure desperation that allowed the victim to finally lift its head from the water and then break free.
Zoom in on the shots to get a better idea of the intensity of the fight and particularly on the last one where you can see the hole in the victim's jaw where the other one had speared it.
The thing about photography is that the viewer is always receiving a bit of the photographer in the photo. Sometimes covertly. Other times overtly. For example, I'm completely absorbed in the exhibit of artist Ellsworth Kelly at the St. Louis Art Museum–in his panoramic frame, delineated panels, and merging colors that starts with yellow and ends in yellow–but then there is my reflection in the very thing I'm absorbed in.
I'm appreciating and photographing the artwork of:
Artist: Ellsworth Kelly (American, 1923-2015)
Title: Spectrum II (1966-1967)
Material: Oil on canvas
Venue: St. Louis Art Museum
(3 image HDR).. The sun sinking overt the peaks of 'Dartmoor'.. as seen just a couple of hours ago.. Best viewed..
TGIF..!! thanks for all your visits.. comments.. etc over the last week..
George Enescu - Impressions d'enfance Op. 28
Impressions d'enfance [Childhood Impressions], for violin & piano in D major, Op. 28, written in 1940.
00:00 - 01. Ménétrier [Minstrel]
03:01 - 02. Vieux mendiant [Old beggar]
06:04 - 03. Ruisselet au fond du jardin [Stream at the bottom of the garden]
08:32 - 04. L'Oiseau en cage et le coucou au mur [The bird in the cage and the cuckoo on the wall]
10:24 - 05. Chanson pour bercer [Lullaby]
12:23 - 06. Grillon [Cricket]
12:51 - 07. Lune à travers les vitres [Moonlight through the windows]
15:10 - 08. Vent dans la cheminée [Wind in the chimney]
15:32 - 09. Tempête au dehors, dans la nuit [Storm outside, at night]
17:26 - 10. Lever de soleil [Sunrise]
The first major work to fall from Enescu's pen during the war years, Impressions d'enfance is a partly autobiographical suite of ten evocative miniatures stemming from the composer's earliest memories. As such it is among the more obviously programmatic of his works and in this respect bears broad similarities to the Third Orchestral Suite. It is a Romantic and sweeping piece reminiscent in places of the works of Eugène Ysaÿe and of Karol Szymanowski's Mythes. Enormously expressive in a reflective sort of way, it is not as overtly Romanian as some of the works written at the same period but nonetheless has unmistakably national roots.
This is a technically demanding piece, since the structure and the flow of the music build over time to a sophisticated view of the world, albeit through the wide eyed innocence of youth. Huge demands are placed on the violinist since Enescu requires mimicry and imitative playing of the highest order, ranging from wind and storm noises through birdsong and cuckoo clock sounds!
The piece is but little known today, which is a shame, since we have thus lost what should be a popular, musically inspired showcase for violin virtuosi.
The piece is dedicated "à la mémoire d'Edouard Caudella", a Romanian composer and violin virtuoso.
.
photo:
11th Primary School
architect Ion Mincu
11th Primary School
www.monumenteromania.ro/index.php/monumente/detalii/en/11...
Category: Schools/kindergartens
Period: 1900
Importance: B
LMI code: B-II-m-B-18987
Address: Şos. Kiseleff Pavel Dimitrievici 5 sector 1
Location: municipiul BUCUREŞTI
District: Bucuresti
Region: Muntenia
Şcoala Generală nr. 11
www.monumenteromania.ro/index.php/monumente/detalii/ro/Sc...
Categorie: Gimnazii/şcoli/grădiniţe
Perioada: 1900
Importanta: B
Cod LMI: B-II-m-B-18987
Adresa: Şos. Kiseleff Pavel Dimitrievici 5 sector 1
Localitate: municipiul BUCUREŞTI
Judet: Bucuresti
Regiune: Muntenia
Oliver and I did a series of pics with our Jedi and Sith characters battling. He had some cool poses and backdrops and we just went to town!
When I designed the Sith character, I based her costume on the idea that the Sith and the Jedi are opposites more than one being "evil" and the other "good". The Jedi are reserved, logical, and suppress their emotions whereas the Sith celebrate powerful emotions and feelings like lust and hatred. Making the costume overtly sexual is all about reveling in the power and beauty of her sexuality and flies in the face of the stoic Jedi and their approach to the Force.
Villa La Cassinella is understood to have been built sometime from the 1880's to 1926 and originally was not a villa at all. The name Cassinella comes from the casine, a word in Como dialect to mean barns or stables where animals live. You can see many dotting the lower reaches of Como's mountain slopes, simple isolated buildings surrounded by farmland even today. The original casine of the name is now an elegant curving porticoed living room and dining room from which you can enjoy a southeast view over the villa and its gardens to the lake.
Research at the local town hall has not turned up much by way of detail on the Villa's history except that the important owners were Comasco industrialists who, in the 1960's had the brilliance to create around the property the exceptional gardens that remain today. This stunning 3 hectares of trimmed and tapered cypress trees, clipped boxwood hedges, vines of wisteria and jasmine, flowering dogwoods, azaleas, plus tree peonies and roses is a perfect match for the dynamic interest provided by the four structures, numerous terraces and multiple footpaths of Villa La Cassinella.
Absolutely private, the only means of arriving to Villa La Cassinella is by boat, to a landing stage of stone steps leading through a formal garden with fountain pool, and up the short flight of stairs into the villa. The central courtyard, the upper terrace, the teak-decked pool lined in glass tiles, the tennis court are all designed for the enjoyment of the property and its enviable lake views, without being overtly visible to passing motorboats. Overland access is limited to a walkable old road over a hill to the local village. This is a suitable option for the energetic wanting independence and an afternoon ice cream, or simply a chance to disappear into the winding streets of a simple everyday village with an unusual charm (vaanyc.com).
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
Villa La Cassinella is understood to have been built sometime from the 1880's to 1926 and originally was not a villa at all. The name Cassinella comes from the casine, a word in Como dialect to mean barns or stables where animals live. You can see many dotting the lower reaches of Como's mountain slopes, simple isolated buildings surrounded by farmland even today. The original casine of the name is now an elegant curving porticoed living room and dining room from which you can enjoy a southeast view over the villa and its gardens to the lake.
Research at the local town hall has not turned up much by way of detail on the Villa's history except that the important owners were Comasco industrialists who, in the 1960's had the brilliance to create around the property the exceptional gardens that remain today. This stunning 3 hectares of trimmed and tapered cypress trees, clipped boxwood hedges, vines of wisteria and jasmine, flowering dogwoods, azaleas, plus tree peonies and roses is a perfect match for the dynamic interest provided by the four structures, numerous terraces and multiple footpaths of Villa La Cassinella.
Absolutely private, the only means of arriving to Villa La Cassinella is by boat, to a landing stage of stone steps leading through a formal garden with fountain pool, and up the short flight of stairs into the villa. The central courtyard, the upper terrace, the teak-decked pool lined in glass tiles, the tennis court are all designed for the enjoyment of the property and its enviable lake views, without being overtly visible to passing motorboats. Overland access is limited to a walkable old road over a hill to the local village. This is a suitable option for the energetic wanting independence and an afternoon ice cream, or simply a chance to disappear into the winding streets of a simple everyday village with an unusual charm (vaanyc.com).
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.