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The Alabama Theatre was constructed between April and December, 1927 on 3rd Avenue North in Birmingham, Alabama for Paramount's Publix Theater division. The first feature, shown the day after the Christmas 1927 grand opening, was "The Spotlight" starring Esther Rawlson and Neil Hamilton.
This view from 18th Street at the alley between 2nd and 3rd avenues, shows the steel frame being erected in late spring or summer. It was made by commercial photographer A. C. Keily, whose studio was located at 404 1-2 N. 20th St. a few blocks away.
Signs visible in the lower left of this view include the marquee of the Lyric Theatre, a construction sign reading "Steel Erection by Jas. H. Elkins Const. Co, Birmingham, Ala." Another construction sign for "H. W. Peerson Drilling Co. ("Wells drilled. Any size, Any Depth, Any Where"), and a sign on the 2-story building for the Baltimore Medical Institute, above a storefront for "... Silverfield & Son".
This print is mounted on linen with Keily's label affixed to the leading edge.
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (5 of 5): The cliff lookout /
CITA EN EL CINE (5 de 5): El Mirador
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
PHOTOSTORY: In English / En Español
Dom: Hahaha, is that okay? Are you happy now? (well, it worth to spend an embarrassing moment if she gets happy)
/
Dom: Jajaja, ya? Ya estás contenta? (bueno, merece la pena pasar vergüenza si es para que ella esté contenta)
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
Hi everybody!
I am home from my adventure with my friends in California... I had a fabulous time...!
And here is one of the scenery's I have seen during this awesome trip...
Sedona's gorgeous Red Rocks..! So beautiful...!
I need to recover from the time difference now, and what a nice excuse that is to hang out on the sofa with my dear husband and doggies! More pictures soon...!
--x--
Sas
*Sedona is a city and community that straddles the county line between Coconino and Yavapai counties in the northern Verde Valley region of the U.S. state of Arizona..
And its main attraction is its stunning array of red sandstone formations, the Red Rocks..
Wikipedia
Eine interaktive Version des Bildes befindet sich hier. Dort kann man mit gedrückter linker Maustaste in alle Richtungen schauen.
Hier gibt es einen Blog-Beitrag über den Markt Falkenberg.
An interactive version of this pic you can find here. By holding the left mouse button you're able to look in every direction.
If you like my photo feel free to visit my Homepage with interactive 360 degree panoramic and 3d photos or follow me on Twitter or Facebook, thanks.
★ ☆
-->> That's what it was all about, Man .. growin' up in the '90s, Man - - it was alla'bout "BREAKIN' ALL THE RULES" randomly, Man. Not conformin' to society's standards, Man .. and provin' to the world you were a real stinker, Man .. and you enjoyed every single fuggin' minute of it, Man !!
Dive' bomin' a RANDOM ..steamin' hot slice'a pizza,Man - WITH YOUR EYES CLOSED. Vibrant Neon ball-caps tilted to the side let society KNOW ..YOU WERE A NON-CONFORMIST,MAN .. YOU WEREN'T PLAYIN' BY THEM B8TCHES RULES !!
"No, Siree BOB'AROO-SKIE" .. as we used ta say in the '90s, Man. We rode our skateboards down random, obscure suburban streets - causing all sortsa of'a rukus and shenanigans just like out hero Bart Simpson, Man.
Yeah, Man .. we wore our sneakers with the laces untied IN SPITE OF THE LAW, MAN !! !! !! And about a 1/4 of us usually fell off the skateboards, tripped over the laces & slammed our skulls on the pavement rippin' up our fancy Turtle fleeces, and gettin' our blocks knocked off ( as well as our neon ball-caps ) by the big bully that usually had less than flattering things to say about out freakish '90s decorum. Yeh, there's pizza on ya face, Kid !!
Awe' - these fuggin' ol' ad clippings are pretty awesome, Man.
Oi !!
~ t
The monastery, dedicated to Saints James and Benedict, was founded in around 739/740 as a Benedictine abbey by members of the Huosi, a Bavarian noble clan, who also provided the three brothers who served one after the other as the first three abbots, traditionally named as Lanfrid, Waldram (or Wulfram), and Eliland, for nearly a century. It seems certain that Saint Boniface had an involvement in the foundation. There was here a school of writing, whose work survives in the form of numerous codices of the 8th and 9th centuries.
In 955 however the monastery was destroyed by the Hungarians [1]. It was restored in 969 by Wolfold, a priest, as a house of canons.
Under the influence of Emperor Henry III it was rebuilt by Saint Ulrich, Bishop of Augsburg, and in 1031 returned to the Benedictine rule and re-settled by monks from Tegernsee Abbey under the first abbot of the new foundation, Ellinger. Under the second abbot, Gothelm (1032–1062), and the monks Gotschalk and Adalbert the school and scriptorium were re-established. Gotschalk, later third abbot, was responsible for the translation of the relics of Saint Anastasia here in 1053, which by making the abbey a place of pilgrimage added substantially to its fame and prosperity; he was also its first historian [2].
Benediktbeuern suffered four serious fires, in 1248, 1377, 1378, and 1490, but was prosperous enough to re-build each time.
The abbey enjoyed for centuries an extremely high reputation as a place of learning and research. Botanical research and the establishment of a medicinal herb garden in about 1200 are also evidenced. In about 1250 the library [3] covered the whole range of higher education as it then existed. The abbey also excelled at theological, philosophical and scientific studies. In the 1530s Dom Antonius Funda made considerable advances in the systematic writing of monastic history.
During the secularisation of Bavaria in 1803 the abbey, then comprising thirty-four monks, was dissolved. Some of the former monks took posts as university professors: for example, Ägidius Jais went to Salzburg as a pastoral theologian; Sebastian Mall to Landshut as an orientalist; and Florian Meilinger to Munich as a mathematician.
In the course of the disposal of the library and archives, there came to light the manuscript of the Carmina Burana, a 13th century collection of songs by wandering scholars. The manuscript, also known as the Codex Buranus, is also now in the Bayerische Staatsbibliothek.
The abbey premises were acquired by Josef von Utzschneider, who in 1805 set up an experimental glassworks here, known as the Optical Institute. He was joined by Joseph von Fraunhofer, who was able here among other things to develop flawless or "waveless" flint glass and discover the Fraunhofer lines which have become of importance in the development of spectroscopic analysis.
Since 1930 the buildings have been used by the Salesians, of whom about 45 now live and work here.
The abbey church was declared a "basilica minor" in 1972.
Eine Information zur Kirche in Deutsch findet sich hier:
This link is just in Dutch unfortunately. Here is a brief translation I just cooked up:
In early times only the Steenweg ‘Rock road’, could be found here. An old road paved with cobblestones which connected the ‘Grootbrug’, or ‘Large Bridge’ and the present day Steenweg, part of an important route from Bavay in the North of present day France to Utrecht in the Netherlands. A canal was dug in the 13th century along the Steenweg which connected the river Dijle and the Koolvliet. On the Eastern bank of this canal a Vismarkt (fishmarket) was built.
In 1532 this canal was put underground and the Vismarkt moved to where it nowadays. The last part of the canal on the Ijzeren Leen was filled up in 1675.
The name Ijzeren Leen dates from the 17th century, and stems from the iron railings (ijzeren leuningen), which were put along the canal in the century before. They were probably manufactured between 1531 and 1534 and restored between 1783 and 1927.
(source: Bouwen door de eeuwen heen in Vlaanderen)
Nowadays the Ijzeren Leen called the Champs Elysees of Mechelen. It contains the ‘Schepenhuis’, which is the former town hall. This houses a small museum with 16th and 17th century art.
Castello di San Michele.
Il Castello di San Michele sorge su uno dei colli più alti di Cagliari (120 s.l.m.). Il primo impianto, presumibilmente ad una sola torre, risale al periodo bizantino o primo giudicale ( X secolo ) ed aveva la funzione di difendere Santa Igia, la capitale del Giudicato di Cagliari. Nel 1327, poco dopo la conquista catalana di Cagliari, il castello fu concesso a Berengario Carroz.
Successivamente alla caduta del Giudicato d’Arborea, la funzione difensiva diventò secondaria. Fu allora – nel periodo in cui era feudatario il conte Giacomo Carroz – che il castello diventò una delle più lussuose residenze della Sardegna. L’ultima esponente della famiglia Carroz, che visse come castellana a San Michele, fu la sfortunata contessa Violante, la quale morì nel 1511 e il castello fu quindi incamerato tra i beni della Corona spagnola.
Nel 1652 fu utilizzato come lazzaretto durante l’epidemia di peste. Nel corso del 1700, prima con gli austriaci e poi con i Savoia, il castello iniziò una nuova fase di decadenza. Dal 1820 al 1848 diventò caserma degli invalidi; nel 1895 fu acquistato da un privato, Roberto di San Tommaso, che lo fece restaurare dall’architetto Dionigi Scano ed impiantò sul colle la pineta tuttora esistente. Nel 1930 il colle ed il castello diventarono di pertinenza militare.
Nel 1966 iniziarono i lavori di scavo del castello diretti dall’architetto Renato Salinas, che tra l’altro portarono alla luce marmi e fregi provenienti dalla Basilica di San Saturno di Cagliari, utilizzati dai Carroz per ripristinare le murature. Nel 1990 si avviarono nuovi lavori di restauro del castello e di riassetto del colle. Oggi, a lavori ultimati, l’interno del castello offre uno spazio per mostre, conferenze ed altre iniziative culturali.
Chiedo scusa se vi starò annoiando con le foto della mia città, ma la mia è una sfacciata propaganda in vista del Raduno Nazionale Flickr che si terrà a Cagliari il 14/15/16 maggio 2010.
In allegato il link in cui potrete attingere tutte le informazioni in merito.
From: www.oldtimersmine.com/index.php?option=com_content&vi...
The Old Timers Mine and Museum opens a window on the fascinating history of opal mining in Coober Pedy, revealing not only the hard physical grind and the occasional bonanza that was mining in the early days, but also an intriguing mystery at the heart of the mine.
oldtimerThe original mine dates back to 1916, but the old miners, whoever they were, concealed its existence by back-filling the shafts. The mystery is why they never returned to dig out the opal that remained. Perhaps they went to the First World War and never came home again. It was not until 1968 that the hidden mine was discovered by Ron Gough when he was digging an extension to his underground home and broke through, exposing three large seams of good quality opal, as well as opalised seashells. These have been retained and can be seen by visitors today.
The museum shows how miners, usually working alone, would dig the shafts and blast holes and winch the dug soil up to the surface, all by hand, with only candles and carbine lamps for illumination. Ron Gough was one of these miners, and it was he who realized the potential for opening the mine as a tourist attraction, his dugout (his family’s underground home) was added, being set up as a display home to show what life was like living underground from the 1920s to the 1990s.
There were many setbacks, including, in the 70s, another miner pegging a claim and blasting away, reaching the bedroom before he was stopped by court order. However, delays were eventually windlass2overcome and, with the fortuitous discovery of opal worth $50,000 just when finances were desperate, the Old Timers Mine and Museum began operating on 7th July 1987. Since then it has never looked back. Now it is one of the premier tourist attractions in Coober Pedy, having won many tourist awards for its ingenious self-guided mine tours through this historical mine (with guides written in many languages), the demonstrations of opal mining machinery and the chance for visitors to find their own piece of opal by noodling through the left over mullock heaps. Polished opal and rock specimens and opal jewellery and souvenirs are, of course, on show in the gift shop. What makes this visit to the Old Timers Mine and Museum unique for many people is seeing how miners and their families lived and worked underground.
costruito tra il 114 e il 117 d.C. è un arco trionfale dedicato all'imperatore Traiano in occasione dell'apertura della via Traiana, una variante della via Appia che accorciava il cammino tra Benevento e Brindisi.
Si tratta di un arco a un solo fornice, alto 15,60 m e largo 8,60 m. Su ogni facciata quattro semicolonne, disposte agli angoli dei piloni, sorreggono una trabeazione, che sporge al di sopra del fornice. Oltre le architravi si trova un attico, anch'esso più sporgente nella parte centrale, sopra il fornice, che presenta all'interno un vano coperto da una volta a botte.
È costruito in blocchi di pietra calcarea, rivestiti da opera quadrata in blocchi di marmo pario.
L'arco presenta una ricca decorazione scultorea sulle due facciate principali, con scene che si riferiscono alla pace e alle provvidenze verso i cittadini sul lato interno, rivolto verso la città, e alla guerra e alle provvidenze dell'imperatore verso le province sul lato esterno.
I lati interni del fornice presentano altri due ampi pannelli scolpiti, raffiguranti scene delle attività di Traiano nella città di Benevento.
Sono visibili rapporti abbastanza evidenti tra questi ultimi e il fregio traianeo dell'Arco di Costantino, per cui è stata avanzata l'ipotesi di un'attribuzione, almeno per questi due pannelli, all'officina romana del "Maestro delle Imprese di Traiano", autore della Colonna Traiana.
Entre otras cosas porque o te llenas de cardos, o te llenas de barro o te hace la visita típica la Guardia Civil....
Nuevas galerías en www.mariorubio.com y www.fotografonocturno.com
Canal TV en YOUTUBE NightPhotography
Nuevos dominios en www.lightpainting.es y en www.cursosdefotografianocturna.com
Hay ocasiones en que el sujeto en el visor de la cámara es tan fascinante que olvido apretar el disparador. Ken Padley.
Cita extraída de El lenguaje del arte de José B. Ruiz
Exif:
Camera Nikon D700
Exposure 300.7
Aperture f/8.0
Focal Length 19 mm
ISO Speed 200
WB 3300
Blue gelled flash and warm light torch
Lumbier, Navarra (Spain).
ENGLISH
The Foz de Lumbier is carved out of the limestone rock by the river Irati at the western end of the Leyre range of mountains, at the foot of the Navarrese Pyrenees. It is one of the most spectacular gorges in Navarre, a landscape created over millions of years by the waters of the river Irati, which have left their mark on this sanctuary of nature day by day. The gorge was declared a Nature Reserve in 1987.
Lumbier is a narrow and small gorge, just 1,300 metres long, but of spectacular beauty. Its vertical walls reach a maximum height of 150 metres and large birds of prey live in the cracks and ledges, with species such as griffon vultures whose flights will accompany you in your visit to the gorge. It is also a refuge for foxes, boar, badgers and owls, and is strewn with gall and kermes oaks and bushes such as thyme, lavender and gorse that hang from the cracks, vegetation that is transformed into woods of poplars, willows and ash trees at the entry and exit of the gorge.
In contrast to many other canyons, you can walk through Lumbier along an easy track that runs along the bottom of the cliffs for 2.6 kilometres. The route was created for the old Irati train (the first electric train in Spain) that linked Pamplona with Sangüesa between 1911 and 1955.
The signposted path runs along the river and crosses the rock through two tunnels (206 and 160 metres long) that do not have artificial light. Towards the end of the path the route goes around the rock and reaches the remains of the Puente del Diablo (Devil's Bridge), which was built in the 16th century with a raised arch 15 metres above the river. It was destroyed by the French in 1812 during the War of Independence, and owes its name to a legend that says that its builder asked the devil for help to finish it.
More info: www.visitnavarra.es/eng/organice-viaje/recurso/relacionad...
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CASTELLANO
La foz de Lumbier es un desfiladero excavado por el río Irati sobre la roca caliza en el extremo occidental de la sierra de Leire, al pie del Pirineo navarro. Es una de las gargantas más espectaculares de Navarra, un paisaje labrado a lo largo de millones de años por la acción del río Irati que, día a día, sigue marcando su huella en este santuario de la naturaleza, reserva natural desde 1987.
La de Lumbier es una hoz estrecha y pequeña, de 1.300 metros de longitud, y de una belleza espectacular. Sus paredes verticales alcanzan en su cota máxima 150 metros de altura, y en sus grietas, roturas y repisas viven grandes rapaces, entre los que abundan los buitres leonados, cuyo vuelo le acompañará en su visita al desfiladero. La foz, que también sirve de refugio para zorros, jabalíes, tejones y alimoches, está poblada de quejigos y coscojas, además de arbustos como tomillo, espliego y ollaga que se cuelan por las grietas, vegetación que se transforma en bosques de álamos, sauces y fresnos a la entrada y salida de la foz.
A diferencia de otras gargantas, la de Lumbier puede ser recorrida a través de un sencillo camino que discurre al pie de los acantilados, a lo largo de 2,6 kilómetros. El trazado fue realizado para el tren Irati, el primer tren eléctrico de España, que comunicó Pamplona con Sangüesa entre 1911 y 1955.
El camino está señalizado, discurre junto al río y atraviesa la roca a través de dos túneles, de 206 y 160 metros de longitud, que no poseen luz artificial. En la parte final del sendero, el camino bordea la roca y llega hasta los restos del Puente del Diablo, construido en el siglo XVI, con un arco elevado 15 metros sobre el río. Destruido por los franceses en 1812, durante la Guerra de la Independencia, debe su nombre a una leyenda según la cual su constructor pidió ayuda al diablo para levantar el puente.
Más info: www.visitnavarra.es/esp/organice-viaje/recurso.aspx?o=303...
At night, the big red "Domino Sugars" sign, literally the size of a basketball court, glows from the refinery rooftop. You can see it from I-95, from the aquarium, from the old 1900 Power Plant they've tarted up with a Hard Rock Cafe and an ESPN Zone. Like the Orioles, crab cakes and John Waters, the Domino sign screams Baltimore. It costs $100,000 a year to power and to keep the 1950s-vintage neon tubes in good repair. In this town, rich in the physical remnants of its working past, that's money well spent: a blazing reminder that people and machines still make things, that the world hasn't gone entirely virtual, no matter how much the Chamber of Commerce hypes the "Digital Harbor" and the dot-com future it hopes to house in the city's old factories and loft spaces.
photographer : s. Nhung
<3
Pic: Ảnh gốc toàn bộ [The entire original image]
www.facebook.com/confirmemail.php?next=http%3A%2F%2Fwww.f...
chỉ được nhìn cấm tải (Hình) xuống [ just look prohibit downloading (Figure) ]
Thank You :)
ngày đầu vê` VN là làm tóc diễn đồ chạy lên Bar 38
SN pÀ Nhug di bar 38 SG choi
Bây vê` lai rôi mizz VN woa´
photographer : NHUNG BABE
<3
Pic: Ảnh gốc toàn bộ [The entire original image]
www.facebook.com/confirmemail.php?next=http%3A%2F%2Fwww.f...
Cô nàng đang rực cháy, rực cháy trên sàn nhẩy
Ai gọi 133 đi
Let’s Go
Hey, hey, hey
Cô nàng thật là phi thường
Nóng bỏng còn hơn cả mặt trời ở miền Nam Tây Ban Nha
Nhanh chóng có được tôi khi tôi bước qua cánh cửa này
Cái túi bắt đầu "bồn chồn" rồi đấy
Cái cách cô ta buông mình từ từ
Làm cho tôi muốn dành tất cả tiền cho cô nàng
Cô nàng có tiền để làm mọi thứ
Làm chiếc bánh sinh nhật
Cắm nến lên nào, cùng thổi bay ngọn lửa nóng bỏng kia
Giờ thì hãy nhận lấy mọi thứ quý giá từ tôi
Trông cô ta thật tuyệt
Cô nàng mát mẻ khiến tôi rực cháy
Cơ thể cô nàng quả là một kiệt tác
Đứng đầu trong hàng trăm nay qua
Đúng thế chẳng thể nào nghi ngờ tôi đang về nhà cùng với suy nghĩ đó
Cô nàng đang thay đổi trò chơi
Cô nàng sẽ nổi tiếng toàn thế giới cho xem
isharebook.com/forums/showthread.php/8802-L%E1%BB%9Di-D%E...
Lời Dịch - Fire Burning On The Dancefloor - Sean Kingston
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I shot it at the festival of CHHATH.
Chhath Puja is a very joyous and colorful festival. Chhath Puja is the holiest Hindu festival of people in northern India. Mostly the Chhath Puja is being observed in Bihar and Jharkhand(INDIA) and the festival comprises rituals for four days. The Chhath Puja begins a week after Diwali. The word Chat denotes the number six in Hindi. The Chhath Puja begins on the sixth day of the Kartik, a holy month as per Hindu calendar. Some people spell Chath Puja as Chat Puja, Chatt Puja, Chhath festival, etc
Chhath Puja is dedicated to worship the Sun God. The Chhath Puja is known as ‘SuryaShashti’. People observe Chhath Puja to thank the Sun for bestowing the bounties of life on earth, as also for fulfilling particular wishes. People believe that by observing the Chhath Puja they can fulfill their desires. The Chhath Puja has been observed since long time in India. On Chhath Puja day, all the people dress up in their best and new clothes are a must. Folk songs are sung both at home and on the riverbank. Millions of people take dip in the holy water of river Ganges, and other rivers.
For more photos like this one.click MY SITE subirbasak.orgfree.com.....
P.S."Copyright © – Subir Basak.
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Cunit, Tarragona (Spain).
ENGLISH
The Aleppo Pine (Pinus halepensis) is a pine native to the Mediterranean region. The range extends from Morocco and Spain north to southern France, Italy and Croatia, and east to Greece and northern Libya, with an outlying population (from which it was first described) in Syria (including Aleppo), Jordan and Israel. It is generally found at low altitudes, mostly from sea level to 200 m, but can grow at an altitude of up to 1000 m in southern Spain, and up to 1700 m in the south, in Morocco and Algeria.
A cone (in formal botanical usage: strobilus, plural strobili) is an organ on plants in the division Pinophyta (conifers) that contains the reproductive structures. The familiar woody cone is the female cone, which produces seeds. The male cones, which produce pollen, are usually herbaceous and much less conspicuous even at full maturity. The name "cone" derives from the fact that the shape in some species resembles a geometric cone. The individual plates of a cone are known as scales.
The male cone (microstrobilus or pollen cone) is structurally similar across all conifers, differing only in small ways (mostly in scale arrangement) from species to species. Extending out from a central axis are microsporophylls (modified leaves). Under each microsporophyll is one or several microsporangia (pollen sacs). The photo (right) shows mature male pine cones shortly after pollen release.
The female cone (megastrobilus, seed cone, or ovulate cone) contains ovules within which, when fertilized by pollen, become seeds. The female cone structure varies more markedly between the different conifer families, and is often crucial for the identification of many species of conifers, in as much as seeing the foliage alone may be insufficient to differentiate between closely related species.
More info: en.wikipedia.org/wiki/Aleppo_Pine, en.wikipedia.org/wiki/Conifer_cone
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CASTELLANO
El pino carrasco o pincarrasco (Pinus halepensis) es un árbol de la familia Pinaceae, género Pinus, también conocido como pino de Alepo o pino blanco, de hoja perenne en forma de aguja. Puede alcanzar los 20 m de altura. Tronco macizo y tortuoso, de corteza gris rojizo y copa irregular. Estróbilos rojizos de forma oval de unos 10 cm de longitud. Muy resistente a la aridez.
Está presente en bosques secos, de tipo mediterráneo, de Europa y Asia occidental y África del norte. Ha sido llevado también para utilizar su madera a África y otros continentes, donde ha entrado en competencia con la vegetación local. También se le utiliza en la producción de resina.
Crece, por lo general, a bajas cotas entre el nivel del mar y los 200 m, aunque en el sur de España puede alcanzar los 1000 m.
En Botánica un cono o estróbilo es una estructura basada en un eje terminal, alrededor del cual se despliegan hojas reproductivas con una disposición generalmente helicoidal. En este sentido más amplio cono es sinónimo de estróbilo, término que suele preferirse en las publicaciones científicas.
Cono (conus) es el nombre que en latín se empleaba para designar lo que en español se llama piña. Muchos prefieren restringir el uso del término a este significado original o, al menos, al grupo biológico de las coníferas (división Pinophyta), aunque sea incluyendo también a las estructuras masculinas.
Los conos femeninos están formados por un eje alrededor del cual se ordenan de forma helicoidal escamas gruesas e inicialmente apretadas, llamadas brácteas tectrices (portadoras), sobre cada una de las cuales se encuentran una o varias brácteas seminíferas. Éstas se interpretan como megasporofilos (hojas portadoras de megasporas) y sobre ellas aparecen los primordios seminales, que después de la polinización y la subsecuente fecundación, deben transformarse en semillas.
Más info: es.wikipedia.org/wiki/Pinus_halepensis, es.wikipedia.org/wiki/Estr%c3%b3bilo
Hilo de la Fotohistoria en Pullip .es: MUSE CONCERT AT BARCELONA: PALAU SANT JORDI (5 of 9): Lenn's Market /
CONCIERTO DE MUSE EN BARCELONA: PALAU SANT JORDI (5 de 9): El mercadillo de Lenn
(Read in order, this is: SHOT/FOTO 49 of 115) PAG: Entrada, 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115.
FOTOSTORY: In English / En Español
Lenn: (They are here...) COOOOME ON PRETTY WOMEEEN I GOT ALL OF IT FOR NOTHING!!! THEY ARE PULLING ALL OF IT OUT OF MY HAAAAANDS!! OOOOVER HERE GORGEOUS! LOOK HOW WONDERFUL ARE THIS MUSE SWEETERS! LEEEET'S GOOO!
Velvet: (Oooff.. he shouts it out so loud... XD)
Natsuki: -whispering – I want one for me but this guy scares me... talk with him...
Velvet: XDD Okay... Hello! ^_^u
/
Lenn: (Ya están aquí...) VAAAAAMOS GUAPAS QUE LO TENGO REGALAAAO!!! ME LO QUITAN NIÑA, ME LO QUITAN DE LAS MAAAAANOS OYEEES!! MIRA QUE GUAAAAAPA! MIRA NENA QUE SUDADERAS DE LOS MUSE! VENGA VAAAMONOS!
Velvet: (juer...cómo grita... XD)
Natsuki: - susurrando – Yo quiero una pero a mi este tío me da un poco de miedo... habla tu con él...
Velvet: XDD Vale... Hola! ^_^u
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
COLLAVORATIONS:
wow, this looks awful small. okay, you must view large. seriously. it's plain embarrassing small.
also, i'm terribly sorry that i haven't had time to look through everyone's new uploads in a couple days :( i promise i will catch up on that this weekend, if not before.
this is old, super old, sorry you are probably tired of all these canal pictures.
anyway, i uploaded it since i had no new photos and i was tagged by audrey hutchinson (: so here goes, ten things about me...
1. i go through phases of music...i will pick two or three songs and literally ONLY listen to them for the next month. right now...it's two songs from the coraline soundtrack. don't make fun of me :'( haha.
2. i LOVE root beer dumdums (as in the lollipops)
3. i was obsessed with neopets for like 5 years...and i still go on every once in awhile. heh
4. i have a cat named ember, who is actually a vampire and i have ten million scars on my arms to prove it.
5. i haven't worn a pair of flaired jeans in practically a year, i live for skinny jeans. especially colored skinny jeans, i have a ridiculous amount of them.
6. i studied college-level ancient Greek for three weeks this summer (yessir, i'm a nerd. i went to CTY camp) and the best thing i learned from it was the ability to write secret notes to myself in transliterated greek (SO HELPFUL).
7. i loveeee snow and the sound it makes when it falls.
8. once i ate nothing but eggo waffles for two days straight.
9. i have three brothers, whom i frequently want to toss out the window.
10. i love band geeks.
www.youtube.com/watch?v=yoh_j5kTlDU
Best Days by Matt White
Every time I look at you
You always look so beautiful
Driving on the road again
The chevys packed up
and its dusk
And I would take some photographs
So I can dream of you
Can't say I've felt such a twisting in my heart this
way
We pitch a tent and i wont sleep i just stay awake .
Fires burning , softly singing songs .
So close to you .
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life.
Can't take away those times
We stayed up and we talked all night
Chain smoking cigarettes and
Three bottles of red wine
Falling asleep together
Holding your body close to mine .
Oh and in the morning
Your eyes opened so innocent
The sun is blazing , we are sweaty
You look lovely
Nothing else matters anymore 'cause you're
In my arms again
Do you believe
In love at first sight
I think you do .
We're lying naked under the covers
Those are the best days of my
Those are the best days of my
Those are the best days of my life
Oh Ill never want to be without you
So just stay with me
I will love you endlessly .
Oh darling, darling
Those are the best days of my
Those are the best days of my .. life
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life
Those are the best days of my
Those are the best days of my
Those are the best days of my life
xeno-canto.org/asia/species.php?species_nr2=9480.00
A male bird of paradise
The Raggiana Bird of Paradise, Paradisaea raggiana also known as Count Raggi's Bird of Paradise is a large bird in the bird of paradise family Paradisaeidae.
It is distributed widely in southern and north eastern New Guinea, where its name is kumul.
It is 34cm-long, maroon-brown with greyish-blue bill, yellow iris and greyish-brown feet. The male has a yellow crown, dark emerald-green throat and yellow collar between the throat and its blackish upper breast feathers. It is adorned with a pair of long black tail wires and large flank plumes. The female is a comparatively drab maroonish-brown-colored bird. The ornamental flank plumes vary from red to orange in color, depending on subspecies. The nominate subspecies, P. r. raggiana has the deepest red plumes, while subspecies P. r. augustavictoriae also known as the Empress of Germany's Bird of Paradise of northeast New Guinea has apricot-orange plumes.
en.wikipedia.org/wiki/Raggiana_Bird_of_Paradise
De paradijsvogel heeft vele kunstenaars geïnspireerd. Het is een zeer bijzondere vogel door zijn opvallend kleurrijk verenkleed. Hier lees je veel interessante feiten over deze prachtige verschijning in het oerwoud van Nieuw Guinea.
De paradijsvogel behoort zonder meer tot de mooiste vogels ter wereld. Van de 43 soorten komen er 38 voor in Nieuw Guinea. De paradijsvogel is de nationale vogel van Papua Nieuw-Guinea(PNG). Paradijsvogels hebben een uitzonderlijk lange staart. Ook groeien er lange gekleurde draden uit hun verenkleed. Sommige paradijsvogels hebben een eigenaardige verenkroon op hun hoofd.
uit:
dier-en-natuur.infonu.nl/vogels/5776-paradijsvogel-de-moo...
174.129.90.252/groups/paradisaeidae/pool/interesting/
belasaves.3vd.com.br/index.php/component/content/article/...
Photo © 2009, 2010 Angela A. Stanton, All rights reserved. Contact: angela@stantonphotostudios.com for further information.
The other day, after an all-night rain, I found my flowering maple (not flowering now) with rain drops on the leaves underside. That is kind of unusual but then maple leaves turn in all directions... everything is possible. =) I found it pretty. This image is untouched--it is as it came out of the camera. I used Lightroom 3 to convert from raw to tiff, I added my logos and watermark in CS5. Otherwise not a thing done.
Photo details: custom white balance, Canon 5D Mark II, Canon EF 100mm f/28.8 IS macro, 1/100 sec at f.5.0 with ISO 100. I used a +1/3 EV to get more light and move the image more toward the right side--much green and in the RGB curve the colors come live if on the right of the histogram's middle.
Definitely Much Better Viewed Large On Black
Remember the couple below? Well, this is their family. Such a beautiful family!
They are one of my first... hmmm... I guess you can call them my "clients" as they paid me to do the photoshoot...
I really enjoyed the photoshoot... and learned how I can do it much better next time...
I really hope this is a start of something great... :)
Have a great week ahead everyone!
Gay & Lesbian Pride March 2010
It’s back in 2010, the event that stops traffic… On Sunday February 7th, the 15th annual Pride March takes over Fitzroy St, St Kilda in a blaze of colour, noise and movement!
Pride March 2010 is an open air celebration culminating in a Pride March down Fitzroy Street St Kilda and finishing with performances on the foreshore. Pride March is to express courage, solidarity, pride, diversity and a strong sense of community.
Gay & Lesbian Pride March
Down Fitzroy Street to Catani Gardens
Sunday 7 February 2010
Fitzroy St, St Kilda Victoria 3182 Australia.
Telephone: 03 9513 3054
Turning 30 in 2010, St Kilda Festival is one of Australia’s best known and Melbourne’s most loved events. It utilises St Kilda’s stunning foreshore and celebrates the cream of Australia’s musical talents.
Saturday 6 February is Yalukit Wilam Ngargee: People, Place Gathering, an outdoor Indigenous festival featuring music, dance, children’s activities and more that welcomes people to St Kilda for the week ahead, O’Donnell Gardens.
From 7-13 February experience Live N Local: St Kilda venues throw open their doors to host a variety of local bands, musicians, performers, artists and comedians in a series of one off and special events - everything you love about St Kilda and more.
Reddish pigment blotching of body extends subepidermally into mesial face of cerata (1), often reaching half way up or further on large specimens. Upper surface of foot translucent white with no reddish pigment (2).
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Doto coronata Gmelin, 1791
Current taxonomy; World Register of Marine Species
www.marinespecies.org/aphia.php?p=taxdetails&id=139631
Synonyms
D. coronata was formerly an aggregate of species, many of which have now been segregated; seven are listed in 'Similar Species' below. It may still have other undescribed species within it.
GLOSSARY BELOW
Body description
Usually up to 12 mm long, exceptionally to 15 mm. Translucent whitish with dorsal blotches and streaks of red surface pigment extending between cerata onto flanks, but not around immediate base of each ceras (fig.1 flic.kr/p/SCsNxg ) and not onto upper surface of foot (fig. 2 flic.kr/p/Sr7NE2 ). Intensity of markings varies; if not too intense, yellowish spheroids of the ovotestis may be seen through the translucent dorsum within the body of mature individuals (fig. 3 flic.kr/p/SCsNii ). Pigment reduced or absent on juveniles (fig. 4 flic.kr/p/SCsZh2 ). There are a dorsolateral anal papilla between the first and second ceras on the right (fig. 5 flic.kr/p/SCsMX8), and a hermaphrodite genital papilla below the first ceras, sometimes with the penis partly extruded (fig. 6 flic.kr/p/Sr7N4T ).
The head has a crescentic oral veil, which extends into lateral flaps when spread (fig. 7 flic.kr/p/SCsMPx ), but no oral tentacles. A slight head crest runs from in front of each rhinophore to the base of the oral veil (fig. 5 flic.kr/p/SCsMX8 ); but they are often inconspicuous (fig. 8 flic.kr/p/Sr7MVX ); Thompson and Brown (1984) did not detect them, but they were described by Shipman & Gosliner (2015).
Reddish pigment on the dorsal surface of the head extends back between the rhinophores and forwards onto the central part of oral veil, but pigment is usually slight or absent laterally on the head and veil flaps (fig. 8 flic.kr/p/Sr7MVX ). The finger-like, smooth, translucent, white rhinophores have variable amounts of opaque white freckling (fig. 7 flic.kr/p/SCsMPx & fig. 9 flic.kr/p/Sr7Mtz ), mainly in the distal half. Each arises, tilting forwards, from a translucent white basal sheath with a smooth rim which is dilated, particularly at the front. The sheath usually has a few white pigment spots and, sometimes, some reddish pigment (fig. 9 flic.kr/p/Sr7Mtz ).
There is a longitudinal row of single cerata on each side of the body. The number of cerata in each row increases with growth to seven or eight
(fig. 4 flic.kr/p/SCsZh2 ); the most recent addition, at the posterior, is often small and easily overlooked (fig. 10 flic.kr/p/Sr7MeM ). The size of cerata varies; when they are plump and held over the body, little of the dorsum is exposed (fig. 9 flic.kr/p/Sr7Mtz). Cerata are translucent whitish, revealing the red, orange, white (fig. 4 flic.kr/p/SCsZh2 ) or pink (fig. 10 flic.kr/p/Sr7MeM ) internal digestive gland which extends almost to the apex as there are no cnidosacs. The colour of the digestive gland is influenced by diet; juveniles may feed on hydroid species different from those eaten by adults. The red pigment blotching of the body extends subepidermally into the mesial face of cerata, often reaching half way up or further (fig. 2 flic.kr/p/Sr7NE2 ) on large specimens, but less extensively on small adults (fig. 11 flic.kr/p/Sr7LVk ), and often absent on juveniles (fig. 12 flic.kr/p/Sr7LHB ). Each ceras usually has up to four (fig. 10 flic.kr/p/Sr7MeM ) rings of rounded b>tubercles, often with an indistinct partially formed fifth ring at the base, and a protruding apical tubercle. Internally, each tubercle usually has an apical reddish spheroid of varying shade and saturation (fig. 13 flic.kr/p/Sr7LDP ) and several sub-apical, white, granular bodies (fig. 10 flic.kr/p/Sr7MeM ). Small juveniles lack well developed tubercles and reddish spheroids (fig. 4 flic.kr/p/SCsZh2 & fig. 12 flic.kr/p/Sr7LHB ), and some adults have them weakly developed or missing (fig. 14 flic.kr/p/SCsLuD ). The mesial faces of cerata sometimes have indistinct pseudobranchs.
The foot has a translucent white sole (fig. 15 flic.kr/p/RoqWK2 ), which reveals the yellowish spheroids of the ovotestis in mature individuals.
There are no propodial tentacles but, from above, the flaps of the oral veil might be mistaken for tentacles. The upper surface of the foot is translucent white with no reddish pigment. (fig. 2 flic.kr/p/Sr7NE2 ). The foot can spread wide to crawl on flat surfaces, or curl into a deep gutter to grip round the stem of hydroid prey (fig. 15 flic.kr/p/RoqWK2 ).
Key identification features
1: oligophage, reported to feed on a range of hydroid species, including Dynamena pumila (fig. 16 flic.kr/p/Sr7KUT ), Obelia dichotoma (fig. 17 flic.kr/p/2ms4kU2 ), Obelia geniculata (fig. 18 flic.kr/p/2ms4kS8 ) and Sertularia cupressina (fig. 19 flic.kr/p/2mrVEoW ).
2: red pigment extends half way up mesial face of cerata on large adults (fig. 2 flic.kr/p/Sr7NE2 ); “the most distinguishable characteristic of D. coronata” (Shipman & Gosliner, 2015) but pigment is less or absent on juveniles (fig. 12 flic.kr/p/Sr7LHB ) and see D. hydrallmaniae in ‘similar species’, below. Unless a juvenile is on an appropriate food hydroid, its identification is usually unreliable.
3: usually each ceras has up to four concentric rings of rounded tubercles, often with an indistinct partially formed fifth ring at base, (fig. 10 flic.kr/p/Sr7MeM ); tubercles may be absent on juveniles.
4: each tubercle has a red spheroid and several white granular bodies on adults (fig. 10 flic.kr/p/Sr7MeM ).
5: pseudobranchs indistinct or absent.
Similar species
Specimens identified in the past as D. coronata are in a complex of species that have since been segregated with molecular methods. Some unrecognised species in the complex probably remain to be discovered.
“Morrow et al. discovered D. hydrallmaniae and D. sarsiae with the use of morphology, early molecular methods, and hydroid prey. -- - The relationships of D. eireana, D. sarsiae, and D.hydrallmaniae to the true D. coronata also require further investigation since D. eireana’s relationship within the complex clade is unresolved and D. sarsiae and D. hydrallmaniae were not incorporated [in the Shipman & Gosliner study] owing to the absence of appropriately preserved material.” (Shipman & Gosliner, 2015).
Few recorders feel able to confidently identify D. eireana, D. sarsiae, D. hydrallmaniae and some other segregates by morphology alone, so identifications usually rely on the species of hydroid they are found on. This can lead to misidentification unless feeding, rather than mere presence, is observed. Seaslugs are often most easily noticed when displaced from their usual prey on which they are well camouflaged. Some consumed hydroids are small, unobtrusive species which live epizoically on larger hydroids, leading the latter to be mistakenly assumed to be the prey. Knowledge of which slug species feed on which hydroid species is incomplete. Assumed monophages may subsequently be found to be oligophages like D. coronata, which feeds on some hydroid species used by monophages. Collaborating identification evidence, such as morphology, should be used in addition to species of prey.
With the exception of some D. hydrallmaniae, none of the following segregates have reddish pigment on the mesial faces of their cerata resembling that on D. coronata. Links in the list are to on-line images and information in Picton, B.E. & Morrow, C.C., 2016. Encyclopedia of Marine Life of Britain and Ireland.
D. hydrallmaniae Morrow, Thorpe & Picton, 1992.
www.habitas.org.uk/marinelife/species.asp?item=W12795
1: monophage, feeds exclusively on Hydrallmania falcata (fig. 20 flic.kr/p/Sr7Ksk , fig. 21 flic.kr/p/2ms4mjF and
www.habitas.org.uk/marinelife/species.asp?item=D6530 ).
2: subepidermal, dark brown-red pigment on lower part of mesial face of cerata (fig. 22 flic.kr/p/Sr7M3K ) on many, but not all (fig. 21 flic.kr/p/2ms4mjF ) adults (so red mesial face pigment is not unique to D. coronata).
3: typically 5 or 6 rings of tubercles on the larger cerata, with up to 9 tubercles in the third ring from the top. (fig. 23 flic.kr/p/SyLuvJ ).
4: dark red spheroid and several white granular bodies in each tubercle on adults (fig. 22 flic.kr/p/Sr7M3K & fig. 21 flic.kr/p/2ms4mjF ).
5: tips of the large pseudobranchs reach the third ring of tubercles from the top of the ceras and have a dark red spheroid like that of the tubercles (fig. 24 flic.kr/p/Sr7LcM ).
6: oral veil rectangular with broad lateral flaps (fig.25 flic.kr/p/Sr7JRv ).
Red pigment extending up to half way up the mesial face of cerata [on adults] is “the most distinguishable characteristic of D. coronata” (Shipman & Gosliner, 2015). D. hydrallmaniae is an exception to this is with “dark red marks on the inner faces of the cerata” (Morrow et al., 1992) on most specimens, though not the one in fig. 21.
D. sarsiae Morrow, Thorpe & Picton, 1992. www.habitas.org.uk/marinelife/species.asp?item=W12885
Feeds on Coryne eximia (fig. 26 flic.kr/p/2mrVET3 and
www.habitas.org.uk/marinelife/species.asp?item=D1700 ).
Specimens which might be D. sarsiae were found on Garveia nutans (fig. 27 flic.kr/p/SyLrSN and www.habitas.org.uk/marinelife/species.asp?item=D3180 ), but they did not exactly fit the description of D. sarsiae as, apart from their prey differing, their cerata had high apical tubercles, many or all of which contained no reddish spheroid.
D. dunnei Lemche, 1976.
www.habitas.org.uk/marinelife/species.asp?item=W12770 Genetically very close to D. millbayana, might be conspecific (Shipman & Gosliner, 2015).
Feeds on Kirchenpaueria pinnata (fig. 28 flic.kr/p/2ms4mgQ and www.habitas.org.uk/marinelife/species.asp?item=D5850 ).
D. eireana Lemche, 1976. www.habitas.org.uk/marinelife/species.asp?item=W12780
Feeds on Amphisbetia operculata (fig. 29 flic.kr/p/2ms1QmN and www.habitas.org.uk/marinelife/species.asp?item=D6320 ).
D. koenneckeri Lemche, 1976. www.habitas.org.uk/marinelife/species.asp?item=W12810
Feeds on Aglaophenia pluma (fig. 30 flic.kr/p/2ms1Qdm and
www.habitas.org.uk/marinelife/species.asp?item=D5540 ).
D. maculata (Montagu, 1804).
www.habitas.org.uk/marinelife/species.asp?item=W12830
Feeds on Halopteris catharina (fig. 31 flic.kr/p/2ms4m1E and
www.habitas.org.uk/marinelife/species.asp?item=D5780 ).
D. millbayana Lemche, 1976.
www.habitas.org.uk/marinelife/species.asp?item=W12840 Genetically very close to D. dunnei, might be conspecific (Shipman & Gosliner, 2015).
Feeds on Plumularia setacea which often grows on larger hydroids. (fig. 32 flic.kr/p/2mrZGSp and
www.habitas.org.uk/marinelife/species.asp?item=D6050 ).
Habits and ecology
D. coronata lives on the lower shore and sublittoral on hard substrate with hydroids. It is a generalist feeder (Shipman & Gosliner, 2015) and has been reported from a wide range of hydroids, but some records were of species now segregated from D. coronata. Specimens with D.N.A. conforming to that of the neotype established by Shipman & Gosliner (2015) were obtained by them from Obelia dichotoma (fig. 17 flic.kr/p/2ms4kU2 and www.habitas.org.uk/marinelife/species.asp?item=D7300 ), Obelia geniculata (fig. 18 flic.kr/p/2ms4kS8 and www.habitas.org.uk/marinelife/species.asp?item=D7310 ),
and Sertularia cupressina (fig. 19 flic.kr/p/2mrVEoW ). Intertidally, I have found numerous specimens on Dynamena pumila (fig. 16 flic.kr/p/Sr7KUT ) that morphologically match the redescription of D. coronata by Shipman & Gosliner (2015) (fig. 33 flic.kr/p/SCsKxZ ). Lemche (1985, in Picton & Morrow 2016) opined that D. onusta Hesse, 1872 specializes on Dynamena pumila, but none of the Doto specimens that I found on it had the black markings described by Hesse or illustrated tentatively at www.habitas.org.uk/marinelife/species.asp?item=W12860 . Dotidae differ from Aeolidiidae in avoiding the polyps of hydroids containing the stinging nematocysts by puncturing the stalks and sucking out the contents. Consequently, they have no need for cnidosacs to store ingested nematocysts.
D. coronata is a simultaneous hermaphrodite. It matures sexually at a small size; spawn masses vary with the size of the animal. The spawn is a white or pinkish-white band crimped into a regular Greek key pattern; a thin, adhesive line of mucus appears to hold the crimps in position (fig. 34 flic.kr/p/S3AXnd ). It breeds in most months, with up to four generations per year. Shelled veligers live in the plankton before transforming into adults.
Distribution and status
D. coronata is found from Iceland and Spitzbergen to the Mediterranean, and in New England, USA. Records from South Africa are another species (Shipman & Gosliner, 2015), GBIF map www.gbif.org/species/5190041 . It is widespread and often common in Britain and Ireland, but many records are of species now segregated from D. coronata sensu lato or are species yet to be recognised. UK map species.nbnatlas.org/species/NBNSYS0000175014
Acknowledgement
I thank Justin Evans of www.justinevans.co.uk for use of his image of Doto hydrallmaniae.
References & links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society.
www.biodiversitylibrary.org/bibliography/65015#/summary
Index, old nomenclature; most listed in genus Eolis or Doris, at www.biodiversitylibrary.org/page/41958183#page/551/mode/1up .
Hesse, H. 1872. Diagnoses de nudibranches nouveaux des côtes de Bretagne. Journal de Conchyliologie. 20: 345-348.
www.biodiversitylibrary.org/page/15684555#page/352/mode/1up .
Hincks, T. 1868. A history of the British hydroid zoophytes vol. 1 & 2. London, Van Voorst.
www.biodiversitylibrary.org/item/16848#page/7/mode/1up .
Morrow, C.C., Thorpe, J.P. & Picton, B.E. 1992. Genetic divergence and cryptic speciation in two morphs of the common subtidal nudibranch Doto coronata (Opisthobranchia: Dendronota: Dotoidae) from the northern Irish Sea. Mar. Ecol. Prog. Ser. 84: 53 to 61. www.int-res.com/articles/meps/84/m084p053.pdf? .
Picton, B.E. & Morrow, C.C. 2016. Encyclopedia of Marine Life of Britain and Ireland www.habitas.org.uk/marinelife/species.asp?item=W12740
Shipman, C. & Gosliner, T. 2015. Molecular and morphological systematics of Doto Oken,1851 (Gastropoda: Heterobranchia), with descriptions of five new species and a new genus. Zootaxa 3973 (1): 057 to101.
www.researchgate.net/publication/278374256_Molecular_and_...
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Current taxonomy; World Register of Marine Species
www.marinespecies.org/aphia.php?p=taxdetails&id=139631
GLOSSARY
anal papilla = small nipplelike protruberance bearing anus.
cerata = (sing. ceras) lobes on dorsum of Aeolidiidae and some other seaslugs, including Dotidae.
cnidaria = hydroids, jellyfish, sea anemones etc.
cnidosac = storage capsule at tips of cerata of Aeolidiidae, but not Dotidae, for ingested unexploded nematocysts.
dorsolateral = at or near junction/merging of dorsal and lateral surfaces.
epizoic = living on the exterior of another living animal.
gastrozooid = feeding polyp of a hydroid.
genital papilla = nipplelike protruberance bearing genital opening.
gonotheca = chitinous receptacle in which gonozooids are produced on a hydroid.
gonozooid = reproductive polyp of a hydroid.
head crest (on Doto) = raised rib from front of rhinophore to anterior edge of head.
hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner(s).
hydroid = cnidarian with a stem and, often, branches bearing a colony of gastrozooids (feeding polyps) and gonozooids (reproductive polyps).
hydrotheca = chitinous receptacle containing a gastrozooid on a hydroid. monophage = an animal which feeds exclusively on a single prey species.
mesial = on or facing towards the midline of the body.
nematocysts = explosive stinging cells of hydroids, jellyfish, sea anemones etc.
oligophage = an animal which feeds on a restricted number of species.
oral tentacles = pair of tentacles on or near anterior edge of head near mouth.
oral veil = flat anterior extension of head.
ovotestis = hermaphrodite organ serving as both ovary and testis.
plankton = animals and plants that drift in pelagic zone (main body of water).
pseudobranch = (on Doto)feature located at base of mesial faces of cerata; definition and function uncertain. May be rudimentary and indistinct , irregularly shaped, bifurcating, finger-like or fan-shaped, and sometimes tipped with a red spot.
rhinophore = chemo-receptor tentacle; nudibranch sea slugs have a pair on top of head.
sensu lato = (abbreviation s.l.) in the wide sense, possibly an aggregate of more than one species.
sensu stricto = (abbreviation s.s.) in the strict sense, excluding species that have been aggregated or confused with it.
subepidermal = below surface of skin.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.
Cuando me enteré que Ouka Leele exponía en Zamora no me lo podía creer, siempre la había admirado y seguido su obra. Asi que me fuí a ver la exposición. Os la recomiendo,me pareció fantástica. No se podían hacer fotos, pero...ahí está una pequeña muestra de su obra y mi pequeño homenaje.
Ouka Leele expone en Zamora 64 fotografías en mediano y gran formato .En un recorrido cinematográfico, la exposición "Ouka Leele inédita" descubre las imágenes más íntimas nunca publicadas de una de las artistas más importantes del panorama artístico nacional e internacional.
Feel the rain; View this large and on black!!!
Weather is a passion of mine. Snow...thunderstorms...rain...hurricanes...extreme temperatures...I love it all. I'm utterly amazed at the raw power of mother nature. To see man's best engineering feats...which probably took countless man hours to construct...wiped from the face of the earth in a matter of minutes by something we often times take for granted is absolutely awe inspiring. (Not to mention sobering, knowing that someone's life is being forever changed in that moment.)
Still, the rumble of thunder, the roar of the wind, the colors in the sky, the smell of rain, etc, etc, is one of the most relaxing, yet invigorating things in the world to me.
It likely stems back to my childhood growing up in South Carolina, where I used to sit and watch the storms with my dad. While it's no tornado alley, we get our fair share of thunderstorms back there. Some of my most fond memories are of the times I spent sitting on the porch with dad, watching the wonderful shows that these these magnificent "creatures" would put on. It was a sensory overload for me, and I enjoyed every minute of it.
This love of weather continued into my adult life, affording me one of the best experiences I've had in my life. When I graduated from college in May 2005, myself and three of my buddies gave ourselves a graduation present....we went storm chasing for a week out in the plains! I won't bother writing a "chase account" of this particular day...especially not when a well known storm chaser, and EXCELLENT storm photographer happened to also be on this particular storm. Instead, I'll just link you to the account that Mike Hollingshead wrote on his website about this day/storm. As a side note, while you're on his page you should definitely look around. Fantastic photographs!
Anyway, this image is symbolic to me for a couple of reasons.
- The first is that I bought my Canon Rebel T2 (my first camera ever) specifically to go on this storm chasing trip back in 2005....thus beginning this photography adventure I'm currently on!
- Second, for the first time in 4yrs I'm going storm chasing again! WHOO HOO! This month marks the beginning of my short-term savings goal to fund my storm chasing trip in May.
Hope I didn't bore you with the ramblings...but, after spending several hours over the past few days working on this image, I felt the need to blabber. I learned how to use masks and blend two images in my efforts to process this image. I really tried to pull out the golden colors behind this line of storms...specifically to get the rain shafts to come out. I think it came out good! It's pretty darn true to what I saw with my eyes...only the open sky on the right wasn't quite so blown out, and the blues on the left were a little more pronounced. Otherwise, this is darn close!
Taken with a Canon Rebel T2 and the 28-90mm stock lens...likely @ 28mm.
Have no clue what the other settings were.
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The 16th Avenue Tiled Steps project has been a neighborhood effort to create a beautiful mosaic running up the risers of the 163 steps located at 16th and Moraga in San Francisco.
Artists Aileen Barr and Colette Crutcher led the creation of the 163 mosaic panels that were applied to the step risers, over 300 neighbors joined us in making them, and over 220 neighbors sponsored handmade animal, bird and fish name tiles imbedded within the mosaic. The City permitting process was completed on August 18, 2004. KZ Tile, a major San Francisco tile setting company, generously agreed to set the mosaic panels into the risers and tile the step treads with rough, nonslip tile.
MERRY CHRISTMAS EVERYONE! :D
i hope you guys are having a fun and safe holiday, and that its filled with joy! and i hope you guys got what you wanted from santa;D
guesswhatigotanewcamera!:D
a canon powershot sx130 IS!
soooo,
it most definately needs a name.
i was thinking maybe terence:3
anyone have any suggestions? :D
sorry this isnt very photography-ish, i wanted to show you guys TERENCE:D
ive been experimenting with it for the past couple hours, and i gotta say im in loooove. <3
andddd, im starting to use a watermark now since im getting paranoid about people stealing my photos :\
please excuse that i was wearing my pajamas when i took this x)
have an amazing rest of the day! merry christmas everyone!!! <3
EXPLORED. uhmm kinda weird, but THANK YOU:D <3 heehe im flattered :')
[dropped]
-
if you join ill love you forever:D
Happiness.Is.You. / © All rights reserved
Large / fond noir | View On Black (if you have time)
Bonne journée à tous. merci pour vos visites et commentaires.
Saint-Paulien source Wikipedia
-> Antiquité
IIe siècle av. J.-C. : le peuple des Vellaves s'installe dans l'actuel Velay. Les Vellaves (Vellavi en latin), dont le nom signifierait « Montagnards » ou « Ceux qui dominent » et que Jules César qualifie de batailleurs, font partie de la Confédération des Arvernes (Velauni qui sub imperio Arvernorum esse consueverant écrit César). Ils construisent leur oppidum sur le plateau qui domine le château de La Rochelambert et surplombe les rivières Borne et Gazeille. Ils nomment ce lieu Ruessio (ou Revessione) de RO-ESSION signifiant « bien située » ou « très froide » selon les sources
-> Lieux et monuments
* Église paroissiale Saint-Georges (époque romane)
* Musée gallo-romain
* Vestiges gallo-romains, donnés au musée du Puy : une tête de Jupiter-Seropis, avec le modum, en albâtre oriental, des vases lacrymatoires, des lampes et une amphore.
* Château de la Rochelambert
Según la temperatura ambiental, la cúspide de la Torre Eiffel puede acercarse o alejarse del suelo unos ocho centímetros, debido a la dilatación térmica del metal que la compone. De acuerdo al sitio oficial del monumento, para alcanzar la cima, si no se sube en ascensor, hay 1665 escalones (y no 1792, número que algunos toman por cierto en alusión al año de la instauración de la Primera República Francesa).
El mantenimiento de la torre incluye la aplicación de cincuenta toneladas de pintura, cada cinco años, a efectos de protegerla de la corrosión. En ocasiones, se cambia el color de la pintura (en 2005 la torre mostraba una tonalidad parda). En el primer piso, hay consolas que permiten votar la elección del futuro color de la estructura. El color original de la torre fue el amarillo, aunque hoy en día no quede nada de él.
es.wikipedia.org/wiki/Torre_Eiffel
Contestée par certains à l'origine, la tour Eiffel fut d'abord, à l'occasion de l'exposition universelle de 1889, la vitrine du savoir-faire technologique français. Plébiscitée par le public dès sa présentation à l'exposition, elle a accueilli plus de 236 millions de visiteurs depuis son inauguration. Sa taille exceptionnelle et sa silhouette immédiatement reconnaissable en ont fait un emblème de Paris.
Imaginée par Maurice Koechlin et Émile Nouguier, respectivement chef du bureau des études et chef du bureau des méthodes d'Eiffel & Cie, la tour Eiffel est conçue pour être le « clou de l'Exposition de 1889 se tenant à Paris. ». Elle salue également le centenaire de la Révolution française. Le premier plan est réalisé en juin 1884 et amélioré par Stephen Sauvestre, l’architecte en chef des projets de l'entreprise, qui lui apporte plus d'esthétique.
fr.wikipedia.org/wiki/Tour_Eiffel
Quan va ser construïda era el monument més alt del món, amb 300 metres d'altura (si se suma l'antena de ràdio que es troba a la part superior, la seva alçada és de 324 metres). Quan la van construir, la torre pesava al voltant de 7.300 tones, si bé avui dia es calcula el seu pes en més de 10.000 (a causa del museu, restaurants, magatzems i botigues que alberga). Estava previst que la torre arribés a els 350 metres, però els veïns es van alarmar per l'amenaça que un edifici tan alt pogués caure, i es van manifestar provocant un canvi de plans.
:::: BIGGER ....... is a MUST for your eyes and soul!
:::: Click here for a slideshow of my latest!
:::: Click here to view my Most Interesting according to Flickr!
:::: Have a coffee.... click here ....... and relax!
:::: Light Enlightment!!, Rosemère, Québec, Canada. Copyright © 2010 Gaëtan Bourque. All rights reserved. Use without permission is illegal.
With all the great parts on the PaB walls right now I was planning another Small PaB Cup challenge ala Mantiskings's Single Set Challenge like the one I did last January, but after scoping out the wall, making a plan and buying the cupful of parts, I haven't had much time and I lost motivation.
A few days ago I sat down with the cup and started fiddling and this happened. I don't think I'm going to finish the challenge, but at least I got something from the cup. Once finished, it struck me how much it looked like a Poke Ball. HA!
Úbeda, Jaén (Spain).
ENGLISH
The main parish church of Santa María de los Reales Alcázares displays the most significant mixture of architectural styles, to be found in the city. The buildings historic and artistic patronage is complex and its solid external appearance is of a defensive fortification.
Built on an archaeological site where remains of bronze and Roman civilisations have been found, the Church rests of the foundations of the main mosque of Muslim Úbeda. According to tradition the Romans built a temple here dedicated to Diane. After the conquest of the town by Ferdinand II the Saint, in 1223, the Mosque was consecrated in the Catholic faith with the title High Parish Church of the Royal Alcazares and of Our Lady of the Ascension. In 1259 it achieved the rank of High Collegiate Church. In 1852 the Church's collegiate rank was withdrawn, reversing to the rank of High Parish Church. Being the principal temple of the city, it has preserved important archives and a multitude of treasures. The latter being donations and numerous priviledges bestowed by Popes, Kings and bishops.
Its external appearance blends Medieval and Classicist styles. Being built on to the ols walls of the fortress, Santa María church has been the main witness to the great changes and strife of Úbeda. Today it still offers a special attraction to the town which is due to its great historical character and the population's identification with its heritage.
Source: www.ubedainteresa.com/portal/
---------------------------
CASTELLANO
Asentada sobre un subsuelo arqueológico de la Edad del Bronce, y con mínimas diferencias ocupando el emplazamiento dé la antigua mezquita mayor de la ciudad, la tradición dice que en el mismo sitio los romanos tuvieron un templo dedicado a Diana.
Tras la conquista de la ciudad en 1233 por el rey cristiano Fernando III el Santo, la entonces mezquita fue transformada al culto católico bajo la advocación de Iglesia Mayor Parroquial de los Reales Alcázares y de Nuestra Señora de la Asunción. Desde 1259 fue titulada Iglesia Mayor Colegial y desde 1852 ostenta el título de Iglesia Mayor Parroquial.
Iglesia principal de la ciudad, durante siglos ha conservado un importante archivo y multitud de obras de arte y joyas, fruto de donaciones y de numerosos privilegios concedidos por reyes, papas y obispos.
Con una imagen exterior entre medieval y clasicista, adosada al primitivo muro del alcázar, Santa María ha sido la iglesia que históricamente más movimiento y ajetreo ha tenido de toda la ciudad, y aún hoy sigue ofreciendo para el ciudadano de Úbeda una atracción especial que le viene dada por su fuerte carácter histórico y el grado de identificación conseguido con la ciudad y sus habitantes, al albergar desde los meses de mayo a septiembre a la Stma. Virgen de Guadalupe, patrona de la ciudad.
Fuente: www.ubedainteresa.com/portal/
Esta foto es muy parecida a una que subí anteriormente, y que os la recordaré en el primer comentario, en dicha foto, es más que nada para usarla como fondo de escritorio, y esta que os pongo es un encuadre similar pero esta vez en vertical, y cada vez que hago más fotos verticales sobre el mar, las rocas. Etc., mejor es el resultado, muchas veces le pregunto a mis amigos, que porqué no hacen fotos verticales, y la respuesta es porque no se ve bien en el ordenador, con el tiempo me he dado cuenta que las fotos verticales para sacarlas en papel también quedad muy bien, después de esta reflexión os explicaré el procesado:
Nota: El procesado como siempre, un doble revelado a partir de un mismo RAW, una foto para el cielo y otra para el reflejo, siempre estoy hablando con objetos inteligentes, cuando más o menos he tenido el resultado a mi gusto, he seleccionado la parte del cielo, le he creado una, máscara de capa, he desenfocado las máscara con un desenfoque gaussiano con unos parámetros a gusto del consumidor para unir las dos fotos.
Una vez terminado con el cielo, me he ido al reflejo, aplicando unos ajustes muy similares a los del cielo para que parezca aún más real, después procesado por zonas en la parte del reflejo para obtener más textura aún si cabe, y aplicando sus respectivos desenfoques, cuando más o menos he tenido la foto a mi gusto, he acoplado todo en una foto, luego he duplicado otra vez, le he aplicado un desenfoque gaussiano con un valor de 8 pixeles, y me he ido a capas y le he cambiado el modo de fusión a luz suave, y le he bajado la opacidad a un 20% más o menos, para eliminar un poco la mini aparición de ruido por la parte más oscura.
Cámara: D40
Modo De Exposición: Manual + Trípode
ISO: 200
Velocidad: 0.3
Focal: 19.0 mm
F/ 22.0
Filtro: PL
Objetivo: 18.0-55.0 mm F/ 3.5 -5.6
Procesado: Light room 2
Camera Raw 4.3
Photoshop Cs 3
Come from my buddy Tom. I'm not a "Christmas" guy and his work always brightens up an otherwise annoying time for me.
Tom does not use photo shop. He has a great eye and stumbles upon "scenes" like this Hasidic statuette in front of a Lawrence Welk boxset at flea markets, thrift shops etc. He's been sending me gems like this every year for the last ten or so. What a guy!
Check out his website for his "serious" work:
[explored #281]
DANG!!! This looks SOOO dark and bad on an old, uncalibrated, crt monitor!!!
if you are still using an old IBM, gateway, etc crt monitor, please upgrade and calibrate! haha
As mentioned before, the 17-40L arrived a few days ago. I had my first promo shoot with it tonight, and decided to throw up one of the images after an unanticipated hour long edit...
I am a little bummed though....the 17-40 is not impressing me so far...It's not as tack sharp as everyone says...it is soft at best. I'm not sure if I should send it in for calibration or try another copy.... I know its not camera shake, and I've done aperture tests, so most user error is ruled out....if you have any ideas or have this lens and it is sharper than mine is, please let me know! I'd really appreciate it!
PLEASE let me know what you think about this. I know the lens has been giving me issues, but I am somewhat proud of how this came out. Any feedback is appreciated
5d w/ 17-40L
strobist:
-vivitar 285hv 1/2 power through white brollie high cam right.
-vivitar 285hv 1/4 power bare low cam left
-sun as rim
*fired by cactus v2s
Wat is straô?
Straô is een jaarlijks terugkerend evenement op een aantal zaterdagen in het voorjaar, waarbij de voeten van de paarden in de zee worden 'gewassen'. De dorpen aan de westkant van Schouwen-Duiveland hebben allemaal hun eigen straô-viering.
Straô-rieen is een historisch feest en gaat ver terug in de tijd. In vroegere tijden stonden de werkpaarden de gehele winter op stal. Zodra de winter tegen het einde liep, ging men met de paarden de zee in om de voeten te wassen. Hoewel de werkpaarden van vandaag nog uitsluitend als hobby worden gehouden en zeker niet meer een hele winter op stal staan, wordt de gewoonte nog steeds in stand gehouden.
what is Straô
Straô is an annual event on a number of Saturdays in the spring, where the feet of the horses in the sea 'washed'. The villages on the west side of Schouwen-Duiveland have their own straô celebration.
Straô is a historic celebration and goes far back in time. In ancient times were the workhorses throughout the winter in the barn. Once the winter by the end went, they went with the horses to the sea in order to wash there feet. Although the workhorses of today be held solely as a hobby and certainly not a whole winter on stable, the habit still maintained.
Thanks for your visit and comments, I appreciate that very much!
Don't use this image without my explicit permission. © all rights reserved.
Regards, Bram (BraCom)
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Arriba: Puente grúa sobre las columnas del pórtico lindero a la futura estación Echeverría correspondiente a la prolongación de la línea B, una de las tantas obras de subte desfinanciada por el macrismo. Al frente del mismo (a la der), el viejo teatro 25 de Mayo remodelado y reinaugurado.
LAS PROMESAS DE MACRI Y LAS OBRAS
Dos megaobras mantienen este año un ritmo sostenido: Arroyo Maldonado y Teatro Colón. Pero la ampliación del subte camina a paso de hombre y son varios los proyectos que quedaron en compás de espera. El Gobierno porteño asegura que no se paralizó ninguna obra, aunque reconoce la existencia de demoras y dificultades. Hasta qué punto Macri cumplió sus promesas. Opinan los candidatos.
Foto: Propia (cualquier copia o reproducción requiere del previo permiso y/o consulta al autor).
Si querés la foto, primero consultame por correo a nicofoxfiles@hotmail.com
Texto: Por Enrique Colombano y Laura Di Marco para Noticias Urbanas.
Mauricio Macri ganó las elecciones porteñas prometiendo una avalancha de inversiones públicas, eficiencia y velocidad a una ciudad harta de la ineficiencia, la lentitud y la desinversión crónica. Se vendió a sí mismo, más que como un político, como un empresario eficaz, un ingeniero carente de las viejas mañas de la corporación política. Se vendió como alguien que venía de "afuera". Lo nuevo frente a lo viejo; los hechos frente a las palabras, sobre todo frente a las palabras de los "progres", que lo habían precedido en la gestión.
En pleno frenesí de su campaña llegó a prometer que construiría 10 kilómetros de subte por año, en una ciudad tan colapsada por el tránsito que cualquier paro de subtes la convierte en un tsunami en cuestión de minutos. Sin embargo, a un año y medio de gestión PRO, ¿cuántas de todas aquellas promesas esperanzadoras pudo concretar? ¿Cuál es realmente la obra pública de Macri y la inversión en infraestructura que está llevando adelante? ¿Cuánta plata dijo que iba a destinar a su gesta urbana, y cuánta destinó realmente? En una palabra, ¿cuánto de aquella eficiencia prometida ante las cámaras pudo llevar verdaderamente a la práctica? Como es lógico en estos casos, las percepciones varían, y sólo los números suelen darnos pistas más certeras.
Mientras el oficialismo jura que los 3.300 millones de pesos previstos para la obra pública de 2009 es el mayor porcentaje invertido en el rubro de los últimos años, y que PRO ha hecho más en un año y medio de gestión que los "progres" en muchas administraciones, la oposición responde, lapidaria, que Macri no ha hecho, directamente, obra pública, si por ella se entiende una inversión destinada a infraestructura de alto impacto. Por ejemplo, más subtes. Los legisladores del arco opositor le achacan al macrismo concentrarse en hacer cosas visibles –tales como el bacheo o la refacción de veredas–, pero no las que son más necesarias a largo plazo. Sospechan de transferencias de fondos estatales a las constructoras privadas y de conexiones non sanctas entre el oficialismo y las empresas vinculadas al grupo Macri. Le facturan que sólo inauguraron una escuela, en la Villa 21, y que, encima, es un predio que había sido previamente recuperado por los vecinos de la zona. Lanzan que del hospital prometido en Villa Lugano sólo hay una salita de primeros auxilios. Le cuestionan que este año los chicos porteños volverán a pasar frío en las escuelas por una impericia de gestión. Desde el Acuerdo Cívico y Social, el segundo candidato a legislador de Lilita, Juan pablo Arenaza, lo explica: "La Legislatura votó el año pasado una norma que le permitía a Macri destinar dinero a la mejora de la infraestructura en las escuelas, y de ese porcentaje sólo ejecutó un 40 por ciento; no queremos subtes, pero al menos que ponga gas en los colegios".
Finalmente, lanzan, de los 10 kilómetros de subte prometidos no pudo hacer ni uno solo. Macri –es sabido– acusa al Gobierno nacional y, de paso, a la escasa colaboración de Daniel Scioli en el fracaso de llevar adelante políticas con mirada metropolitana. Más aún, Gabriela Michetti, que lidera las encuestas porteñas, justificó su renuncia a la vicejefatura para pasar a la "pelea nacional" con el único objetivo de cambiar esas "injustas" reglas del juego, según los macristas.
Cristian Ritondo (PRO), presidente de la Comisión de Obras Públicas de la Legislatura, explica la situación con números en mano: "Nosotros esperábamos contar con 2.500 millones de dólares de financiamiento: 1.500 millones los iba a aportar el Banco Interamericano de Desarrollo (BID), 500 millones la Ciudad y 500 millones la Nación, porque se había hablado con el ex jefe de Gabinete, Alberto Fernández, sobre la posibilidad de trabajar juntos para el Bicentenario". La historia que sigue es conocida: el Gobierno nacional jamás consideró avalar el pedido de toma de deuda, la economía mundial entró en crisis y, por último, Fernández se fue mal del Gobierno. La realidad es que hoy las obras del subte "sobreviven" a paso de hormiga con el presupuesto asignado (116 millones de pesos), además de un 5 por ciento de lo que recauda Autopistas Urbanas S.A. (AUSA), que se destina a Subterráneos de Buenos Aires (Sbase) y que son apenas 12 millones de pesos más. Esto alcanza para mantener en funcionamiento las obras civiles, pero no para tender la red.
Este mes se debería haber inaugurado la estación de Corrientes y Pueyrredón de la línea H. No ocurrió. El Gobierno porteño sólo alcanzó a poner en funcionamiento las estaciones Puán y Carabobo de la línea A, que, encima, ya estaban terminadas desde fines de 2007.
Desde la oposición, el segundo candidato de Diálogo por la Ciudad, el ibarrista Mario Gygli, sale a cruzar a PRO: "Yo puedo demostrar, con números, que Macri miente cuando se victimiza. Él puede avanzar perfectamente con las obras de los subtes con presupuesto propio, sin pedirle plata a nadie, como lo hicimos nosotros en plena crisis de 2001, cuando construimos 11 kilómetros".
Desde el Frente para la Victoria, Francisco Tito Nenna va en la línea de Gygli cuando destaca que Buenos Aires tiene uno de los presupuestos más vigorosos del país. Y avanza: "Lo que hay es una transferencia de los recursos del Estado a empresas de construcción privadas, amigas del macrismo, que son las que se dedican a arreglar veredas y baches".
Para las obras de ampliación de la red de subtes, el macrismo había asignado inicialmente 447,5 millones de pesos, pero más adelante tuvo que recortar a 116 millones. Ya sea porque los demás fueron peores, porque lo actual no es tan malo como dice la oposición o porque la estrategia de la "acupuntura urbana" –y visible– da resultado, lo cierto es que, según las encuestas, los porteños, aunque no están del todo conformes, no le soltaron la mano a Macri. Más aún, los politólogos suelen decir que la estrategia de victimización "paga" en el caso de Macri: la gente, en general, le cree cuando culpa al Gobierno nacional. Una cosa es verdad: además del aval para el financiamiento de subtes, la Nación "cajoneó" el Fondo de Infraestructura Social (Foiso), una toma de deuda por 1.600 millones que Macri pensaba destinar a la obra social, como refacción de escuelas y hospitales.
REALIDADES Y PROMESAS
De todas las megaobras prometidas, lo cierto es que sólo dos marchan a ritmo este año: las refacciones del Teatro Colón, que terminarían en 2010 según promete el Gobierno porteño, y la del canal aliviador del Arroyo Maldonado, que permitirá evitar inundaciones en vastas zonas de la Ciudad.
Después, sí, se incluyeron obras de envergadura intermedia. Veamos: intervenciones en la Red Pluvial II –son 25 y el Gobierno porteño promete terminar la mitad este año– o las obras de la 9 de Julio Sur, a cargo de AUSA. Y finalmente, tenemos bacheo, lo más visible, la ampliación de calles, construcción de placitas, adoquinados, desadoquinados, peatonalización, muchos obreros vestidos de amarillo con la leyenda "Haciendo Buenos Aires", más bacheo, antenimiento. La famosa "acupuntura urbana". La megaobra del Teatro Colón es un tema aparte; le destinarán 106,5 millones, pero desde el Frente para la Victoria sugieren que en las demoras hay algo turbio. Nenna dirá concretamente: "Hay que estar atento porque pueden llevarnos a un proceso de privatización".
Cuando en noviembre del año pasado el ministro de Desarrollo Urbano, Daniel Chaín, fue a la Legislatura, a las reuniones previas a la aprobación del Presupuesto 2009, reconoció que este año el Gobierno porteño iba a tener que suspender obras previstas por 472 millones de pesos.
Desde el macrismo, el vocero del Ministerio de Desarrollo Urbano, Sergio Levit, es enfático cuando niega que se hayan parado obras y, en cambio, destaca los avances en la obra del Maldonado: "Es la obra más importante que se hace en Latinoamérica y la que tiene la más mayor tecnología". En verdad, lo que la administración PRO tiene para decir es que hacen lo que pueden con el dinero que tienen. Y hay muchas obras que se dejaron de lado, entre ellas la anunciada construcción de nuevos neuropsiquiátricos, el aliviador de la Cuenca Medrano-White y la megalicitación Oasis Urbanos, una construcción de espacios verdes en lugares estratégicos de la Ciudad, que fue reemplazada por un programa de licitaciones progresivas.
Desde la oposición dicen, en cambio, que Macri tiene serios problemas para encarar licitaciones de largo aliento. "No tiene cuadros capaces de llevar adelante y concluir un proceso licitatorio", dicen, palabras más o menos, desde Proyecto Sur, el FPV, el socialismo, el ibarrismo y el lilismo porteño. Precisamente, desde Proyecto Sur, el médico del hospital Argerich, Jorge Selzer, segundo candidato a legislador porteño detrás de Fabio Basteiro, lanza un último dardo al ingeniero PRO: "Debería planificarse el crecimiento
urbano y poner topes en la Ciudad, de lo contrario la polución y el consumo de energía van a ser insostenibles". El año pasado la Legislatura sancionó, luego de varios años de demora, el Plan Urbano Ambiental (PUA). La norma, ordenada
por la Constitución de la Ciudad, es la ley marco que garantiza los derechos urbanos de los porteños. De allí se desprende cómo se debe planear la Ciudad a partir de ejes como el transporte, los espacios públicos, la vivienda, la producción o el empleo. El PUA sugiere la discusión de una política interconectada y, también, la reformulación urgente del Código Urbanístico, que dice qué se puede construir y en dónde. Hoy el Código que se usa es del 77 y no responde al modelo de ciudad que propone el nuevo plan urbano. También redactar nuevos códigos de Habilitaciones y Espacio Púbico. Finalmente, ampliar la mirada a escala metropolitana, en lugar de centrarse sólo en la Ciudad, es otro de los desafíos.
A estas alturas, Macri ya debe haberse dado cuenta de que para achicar la distancia que media entre la campaña y el poder real deberá apelar sí o sí a la política. Porque con la ingeniería sola no le va alcanzar.
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It was Kim's turn to pick the theme this week. She loves bokeh so I was unsurprised when she said "you've got to be out of focus in the background somewhere." I really wondered what to do.
I had two trips to London on business last week. The head office is just next to St. Paul's Cathedral and I love the short walk out to the Millennium Bridge. On the train on the way down I thought of this shot and at an appropriate moment, snuck out of the office and quick took some shots. As I've so often found, it's not until I get the images onto my computer screen that I can really see what is going on and spend a little time reviewing the process and my thoughts. I took some good shots but none that were great. Fortunately I knew I had another opportunity for a reshoot.
On the train on the way down the second time I was worried, the weather was dull, grey and overcast and whilst the forecast predicted it would clear, one of the things I loved about the first shoot were the wonderful fluffy clouds and deep blue skies. When I did manage to get out of the office, the skies had cleared somewhat. What I did achieve though, were much better compositions. In the end it was an easy decision which way to go.
Just for fun, I've included below two situational shots from the first shoot and an outtake from the second shoot.
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Next week, Kim and I are doing our thing. However, I'm really loving the themes and I think we might come back to it again but we need some ideas. Anyone got any?
My self-portrait project involves taking a picture each week that I post the following week on a Thursday. Feel free to critique - I welcome it. Thanks
Inside the old, abandoned High School in Toyah, Texas.
Story continued from this image...
Alright, so having discovered the existence of another opening on the other side of the building, I quickly folded up my tripod and made for the basement exit. I hustled around to the east end of the old school building, and whadya know...there's a big steel door standing wide open, it's 4 x 8 plywood having been removed and lying down on the concrete steps down to this basement entrance. I made my way down the step and shined my streamlight inside...nothing very impressive here either; just a hallway with a couple doorways off either side. I stepped in, and examined to room to my right.
This room was completely empty except for a non-professionally made wooden table, about 3x6 feet, of about the size and height someone might lay down on. The rest of the room was basically fairly clean of debris...it began to look as though this building had remained sealed for several decades, and had only been breached very recently. There was no tagging to be seen anywhere, which was quite refreshing compared to most places like this that I visit. Whoever forced their way in at least had respect for the place...perhaps an urban explorer type, rather than drunk teenagers looking for a place to party.
One other thing I forgot to mention about this side...the ceiling here is normal height, not 5 feet like on the other half. Not sure how they worked that, but it was a relief to not have to walk around all bent over.
The second door on the right side of this hallway was actually just a second exit door for the room with the table, which was the largest room I'd seen here yet. So I wandered across the hallway to the lone door on that side, which was right next to the outside door through which I entered.
This room turned out to be the bath & shower room you see in the photo above. The blue paint was both rich and in surprisingly good condition, other than a few minor peels here and there. I looked at that shower head arrangement and thought about how cramped together 3 young men would be trying to simultaneously shower there. I didn't like that mental image so I switched it to three young women...there, that's better...
Anyway, I decided to snap this photo of it, and as I stepped back into the hallway to fire off the red strobe, I managed to get my $500 Marchon Airlock glasses hooked on my stretch knit cap, and because they were so cold, the arms snapped right off. Flyin' blind now!
OK, so the other thing in this hallway, at the very end on the left, is the stairway up to...what? I didn't know yet, but it was time to find out. I was as giddy as a schoolgirl in a 3-head shower as I made my way up the creaky, unstable wooden steps, covered with dust and rubble from years of deterioration, all highlighted quite coldly in the flat, bluish light from my LED flashlight.
Hmm...what's that sound coming from above?
To be continued...
Bucci
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BUCCI - 50mm Quantaray Macro Tech 10 MX AF + Sistema de Flash D.I.Y FLASH DIFFUSER
54/365 - Carolina Drama - The Raconteurs
Today was another really tough day of hard work.
It started badly with the viewing of our work on the "Tea or Coffee" weekly theme with our studio teacher, and the work we did was not what he was thinking about.
We were too late at noon to grab the equipment we needed for the work of the afternoon so we had to eat something as quickly as possible and get back to the studio to finally take away a Mamiya RB67, a studio flash and a 120 Superia 400 ISO film.
We had less then 3 hours to go to town and shoot the film in order to make portraits on location of people working.
I was with Loic, Hugo and Florent with only 1 medium format camera for all of us... 4 different places to go to, including time to meet the guys, set up, find the good light, the good settings, to shoot, and to pack all things again... And be on time at school for the economic course, the "finish to kill" last course of the day until 7.15PM...
Luckily we met Simon who's already done his job and he lend to Loic and I his own RB67.
Loic had a appointment at Corezone shop but first we went to Hurley shop to shoot my film.
I've been there several times to take some testing portrait for shool, and the guys over there are really too nice and cool ! A huge thanks to them !
So this was a testing shot we did with the 7D to test the light before shooting with the Mamiya. Can't wait to see the analog results, this was a test for our studio course and my teacher will judge me on this work.
Also Loic did some cool shot with the Corezone shop's crew who are awesome !
Today I've chosen to quote lyrics from a Jack White's band The Raconteurs because it's a huge song and it's also on the original soundtrack of an awesome surf movie with Rob Machado.
I'm a huge fan of The Raconteurs and Jack White's music in fact.
Rob Machado is the guy on the picture behind Loic, it's an awesome surfer sponsored by Hurley that you should watch surfing !
Link to the trailer of the movie "The Drifter" with Carolina Drama - The Raconteurs music on the OST.
Light :
- 1 flash Elinchrom D-Lite4 with Portalite softbox at min power on the left of the sofa, fired with PC synch cable
Canon EOS 7D - Sigma 24-70mm f/2.8 DG macro EX
Sébastien Huruguen
I recently returned from a trip to the state of Oregon, where I was treated to some of the most breathtaking landscapes you can imagine. We were very fortunate to have two experienced guides to take us into some of the most remote areas of the state. I brought home some of my best images to date, most of which would not have been possible without Jason and Maria to lead the way. I am indebted to them. On this particular outing they indulged my desire to capture the light of the setting sun on the west face of the mountain to the point that we arrived back at the car in near total darkness.
This was a hard earned image taken from near the top of Castle Dome in Castle Crags State Park, looking back into Oregon from just over the border in California. To get to this vantage point requires a 5-1/2 mile round trip hike with an elevation gain of 2,200 ft. to a total elevation of approx. 5,500 ft. This really tested my endurance, but it was worth every step.