Meet the Falcon that keeps trying to get at my birds ><....I know he's just hungry and doing what he needs to do....Just wish he didnt need to do it with my birds. Luckily he has not succeeded yet due to my awesome Crows and Jays :D

which colour.......

I hope you will see these things, my girl. ):)

No es un problema para mi...Es un problema para ti

algÚN problem? O no problem?

Parque de los estudiantes

cali

c-c

This is the female from my back yard nesting pair of Tree Swallows. There has been a huge flock of them fighting over the boxes and I've really only put up boxes for two pairs - one in front, the other in back.

The problem with having too many is that they work as a team, which makes it hard for the Bluebirds. The front yard pair may go without many photos since I don't have a blind in front, although that pair is more tolerant of my presence.

I talked my neighbor into putting up some more nest boxes in his yard. I went over to check them today and he has a pair of Bluebirds in one box with 5 eggs. I suspect that my other neighbor has a pair as well. I'll have to take them some dried mealworms as housewarming present.

www.SteveByland.com

© Steve Byland 2015 all rights reserved

Unauthorized use or reproduction for any reason is prohibited. Please do not link to or blog this without contacting me first.

Been working on a spring swing coat for Skipper. There were many problems to fix including this shoulder seam problem. Once side matched up perfectly the first time. I had to do the second sleeve over twice to get it to line up.

more pics to follow of Skipper's new coat

With new wheels come new problems!

For the redesign of my Ivatt Atlantic I have to test the chassis another time. Again I use blind drivers in the middle which worked for my earlier version so I have no doubts it will work here as well.

New problems:

- the running-surface of the 3D-printed XXL wheels is thinner than that of the BBB XL wheels (just like Lego's blind drivers are thinner to make room for the flanges of the other wheels) which means the mechanism will have to be more precise to keep the wheels on the tracks in curves

- with the drivers being bigger the distance between the drivers' axles is bigger too. To keep the distance to a minimum though it's uneven and instead of 6 stud's it's 6 1/2 studs. With some tricks here and there this shouldn't be too much of a problem though.

The redesign made it necessary to have all wheels (tender and engine) 3D printed. So this engine (if it will be done some day) will only be possible thanks to this technology :)

You have to wonder if smartphones are going to be causing neck problems in the future.

Madrid, España

Please give attribution to 'ccPixs.com' (and point the link to www.ccPixs.com). Thanks!

Social Media: www.seywut.com/Chris

Nadie nace sabiendo.

La vanidad, debería ser un decreto ley, a veces. El problema es cuando se convierte en virtud.

No debemos olvidarnos de quienes nos acompañan, y mucho menos de quienes nos acompañaron, en nuestra escalada.

Yo te enseñé a enderezar el horizonte, y tú ... me has enseñado a vivir ....

Nikon D3

Nikon 50mm 1.4 AiS

Any of the images published in this Flickr are registered. Use without consent on my part of it, will report the complaint to the registration of intellectual property.

Sometimes the only way to high art is through deep pockets.

Perhaps this occurred to Andy Warhol when BMW asked him to paint its M1 Group 4 race car in 1977. Warhol, already a superstar, was constantly fascinated with the melding of the commercial and the artistic. BMW was happily molding America as its largest export market.

In the past 40 years, there have been just 17 BMW Art Cars, on average one every three years. Out of all of its Art Cars, this M1 -- already nearly priceless as an automobile, let alone one breathed upon by the most recognizable name in modern art -- is BMW's most expensive and valuable. Recently, it was shown for just two days at Paris Photo LA at Paramount Studios, the prestigious art festival's first foray outside France.

It was there that we spoke with Thomas Girst, whose official title is "Head of Cultural Engagement" for BMW Group. He earned a PhD in Art History from Hamburg University and studied at NYU, where he focused on the conceptual artist Marcel Duchamp. At BMW, he acts as the curator of its collection of Art Cars. Girst readily admitted that the reason BMW's cultural department exists -- the reason he is able to stay employed -- is purely to further the aims of BMW: "It would be negligent to say that we're doing this for philanthropic or altruistic reasons, it's really about the image, the reputation, the visibility of the brand, as well as, really, being a good corporate citizen.

"Because the way companies are being looked at from the outside now doesn't really have to do with the core business, but what do they give back to society? So, culture is one of these things."

There's an air of validity in such honesty. Girst never was a car guy, but he slowly became one: After watching the engineers and designers in Munich collaborate on BMWs, he came to understand why artists in the early 1900s fell in love with the automobile. A great, tremendous statue, "our sculpture of the 20th century," according to the Futurist Manifesto of 1909, a statement extolling a new artistic philosophy. It was the world's splendor "enriched by a new beauty: the beauty of speed --" one of the first public love letters to the automobile. Certainly the famed BMW designer Chris Bangle thought so, drawing his inspiration from the Manifesto and citing automobiles as "mobile works of art." One can only help but wonder the discussions Bangle and Girst might have had in the BMW staff-room cafeteria.

Warhol also dabbled in automotive experimentation. His fascination with Pop Art and seemingly innocuous objects expressed itself in Campbell's Soup and Elvis Presley, but he also touched upon cars; much like his work Eight Elvises, he created images of Pontiacs, Cadillacs, Buicks. All of these were created in the early 1960s, just when he was starting to lay the groundwork of his legendary Factory. "The reason I'm painting this way," he said in 1963, "is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do … everybody should be a machine."

It's ironic that Warhol himself laid paint on the M1, explained Girst, as his Factory was partially about detaching the artist from the work. The traditional artist was dead, he theorized; painting by hand was a relic, and art could be made on an assembly line.

But then this was a car, a product reproduced perfectly on an actual assembly line. Warhol, painting it by hand and by himself, stood in stark contrast to his work at the Factory. Nick Perry writes in Hyperreality and Global Culture, "confronted with so consummate a work of mechanical reproduction, both Warhol's artistic practice and his verbal response were tantamount to confirming the irrelevance of the traditionally modern conception of the artist … Warhol observed that 'I adore the car, it's much better than a work of art.' "

Prior artists had painted a scale model of the car, then had their artwork laboriously transferred to the full-size model. But Warhol insisted on painting the car himself, dipping his fingers into the paint, daubing it on with a foam brush, smelling its intoxicating fumes, feeling the bodywork with his own hands. His signature is on the car, signed with his finger right by the exhaust.

Warhol needed just 24 minutes to paint the car, in a shop outside of Munich. By the time the television crews had rolled in, he was finished. "Should I paint another car?" he asked, pointing at a brand-new BMW, one that was belonged to the man who owned the paint shop.

"Over my dead body," the owner replied.

"He hates me when I tell that story," said Girst, "because he's still very embarrassed about that -- that he didn't let Andy Warhol paint his car, and turn it into an artwork."

Warhol's paint gleams in the spotlights, its hues contrasting sharply like a cartographer's first draft; streaks of different hues the width of a finger scatter across the solid patches like creased and crumpled paper. "I tried to portray a sense of speed," said Warhol. "When a car is going really fast all the lines and colors become a blur."

Warhol painted some additional body panels in those 24 minutes -- spare bumpers and side moldings, not as souvenirs but for a very specific purpose. Two years later, in 1979, the car entered the 24 Hours of Le Mans with Manfred Winkelhock, Marcel Mignot and Hervé Poulain driving.

We have Hervé Poulain to thank for this intersection of avant-garde -- sometimes as bizarre as encasing the corporate product in a trellis of ice -- and corporate governance. Poulain loved contemporary art as much as he loved racing; he was already a successful art collector an auctioneer. In 1975, he had approached BMW motorsports manager and father of the M1 Jochen Neerpasch with an unusual proposition: What if they raced a BMW that was painted by a great artist? Neerpasch, it turned out, was just as crazy on the idea as Poulain. In 1975, the sculptor Alexander Calder painted the first BMW Art Car -- the 3.0 CSL, known affectionately as the "Batmobile." Calder was already a sculptor, the man who invented the mobile, in fact -- and what was the BMW if not a kinetic sculpture of another kind?

Poulain personally drove Calder's Batmobile in Le Mans that year, along with Jean Guichet and Sam Posey, the latter a legend in himself. The car suffered driveshaft issues and was retired early, and was never raced again. Calder died a year later, in 1976; the BMW was his last work.

Warhol's M1 was more successful. With Poulain, Winkelhock and Mignot behind the wheel, the car successfully completed 288 laps at Sarthe -- coming in 6th overall, and 2nd in its class. During the course of the race it made contact numerous times, which is when Warhol's spare bumpers came in handy. (Primered bodywork on the M1 itself would be as a mole on the Mona Lisa.) Next to Roy Lichenstein's Group 5 320i. It finished first in its class, also driven by Poulain -- this was the most successful Art Car to date.

There was something special about the first four Art Cars: They were based exclusively on race cars raced at the grueling endurance level, and always after they were painted. Priceless works on parade in the quickest way possible, they captured the public's imagination before the public would bicker loudly about what truly constituted art. They fueled a discussion kicked off by Girst's beloved Duchamp.

Poulain continued to be a successful art auctioneer and race-car driver, penning five books on the intersection of the two. Neerpasch went on to manage Sauber-Mercedes during its Le Mans conquests, where he discovered a young, obscure upstart by the name of Michael Schumacher.

That brings us neatly to today. When the Warhol M1 was brought to Hockenheim in 2009 to celebrate Thirty Years of the BMW M1, artist and Art Car alumnus Frank Stella drove the M1 in an homage race. Girst was aghast. "I said, 'look, we shouldn't drive that car because it's worth so much and it's such a great artwork. I'm going to tie myself to the car like how Greenpeace ties itself to trees.' "

But the cars belong on a racetrack, after all, something that Girst eventually acknowledged. Still, what's the value of Warhol's M1? We asked Girst. "Well," he laughed, "we would ask you to estimate that."

The car still runs, its mighty 470-hp M88 inline-six intact, but there are ignition problems and the car hasn't been fired up since that 2009 outing. Not to say that it's not busy: Inquiries for Art Cars come worldwide. It is shipped from museum to museum depending on which curator organizes an artist's retrospective -- no dealership displays here, Girst stressed.

Maybe that ignition remains broken for a reason. "Can you imagine someone driving off with it?" Girst smiled. "It would be the greatest art heist of the century."

[Text from Autoweek]

autoweek.com/article/car-life/close-andy-warhols-bmw-m1-a...

This Lego miniland-scale BMW M1 Procar Racer - Art Car #4 (1979 - And Warhol), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -

to the subtheme - "Art Car 2015!". The 90th build challenge presenting 13 different subthemes to choose to build to.

© All rights reserved

Info:

Model: Anita

Make-up artist: Dóra Vízhányó

Assistent: Ágnes Vincze

No logos or pool graphics in the comments please. Thanks.

I uploaded the new IOS 16 to my iPhone today. I took some photos but when I tried to load them to my Mac, I could see them on the screen but could not import them. I've had a nice text chat with Barbara in Mississippi who works for Apple and she has scheduled a phone call for me tomorrow morning. Let's hope it can be sorted out.

Troubleshooting the FakMatic 35mm to 126 adapter. One of the pitfalls (or perks if you like) is overlapping frames. In this case I did what I advise against...testing a camera at a family function.

Thanksgiving 2017

Kodak X-15F Instamatic Camera

Svema Color film

FakMatic 35mm to 126 Adapter

Home processed / Epson v700 scan

SONY DSC

˗ˏˋ ★ ˎˊ˗ PROBLEM INK ˗ˏˋ ★ ˎˊ˗

Problem Ink - Waifu Jacket

- Optional Letters with Fatpack

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- 12 COLORS + HUD CUSTOMIZABLE WITH FATPACK

- CUSTOMIZABLE BY PARTS

- BODYS: LEGACY, REBORN & WAIFY, LARAX

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💅🎀 NAILS PASION 💅🎀

💅 Nails Passion - Vega - addMe

- Nails Almond Short with pbr effect

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- Compatible with Legacy - Reborn -Lara & LaraX - Kupra & Kups - Erika bodies.

marketplace.secondlife.com/p/60-90-Marketplace-by-HW-Nail...

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Acabo de publicar ésto:

Door problems

This is what I picture in mind when I'm in problems with my girl.

Canon 6D + Canon EF 17-40mm F/4

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"Apollo and Daphne" by Gian Lorenzo Bernini within the Freedom Mausoleum at Forest Lawn Glendale, California

"What's your pleasure Doc? asks Joe the landlord.

"No time for that" interrupted the Doctor, "Have you seen Mr. Redbox anywhere?"

"No Doc, sorry. He hasn't been in for a while."

© Copyright 2016, Christine Regusa

HellCat Photo, All Rights Reserved

Look Guys...You all look like that you have a problem to share......And goodness me......Don't for one moment think I don't know that we have no windows or doors in our new house....Never mind a carpet on the floor......But look on the bright side........ We do have a roof over heads with some fitted benches for seating and a beautiful view to our back yard......And let's not forget that with this size property there will be a lot less housework for you to do......Leaving you much more time for you all to enjoy my guitar playing and singing....What do you mean.....That is the problem!!!!!!!!!!!!!!!!!! .

.

PS On a serious note....Halo would like you to know that if you could see just a bit further to the next field.....You not only see sheep ready for lambing ......But the field after is Silverstone....The home of British motorsport......

.

Wasp hiding in the vent of an old Volkswagen

Downtown Drug Problems

Piazza San Marco

Venezia

I have already told Ingrid that next weekend it will be cold but she answered me that she's ready to enjoy it with SquishTish's new outfit. It seems that for her cold is no problem! ️❄️😬

While exploring the basement of a warehouse I thought finding the belly of the beast would be cool. Didn't expect to find 3 ft of water. Other than myself, the water was the only other thing moving in the whole joint.

"Whoga, ma arrrggh!" asked Chewie,

"Oh, I see Chewie, well I am sorry but the little bird helicopter wasn't designed with Wookie's in mind as pilots" answered Jake.

==================================================================

You May License This Image Here Getty Images

To see all my photos available for Licensing on Getty Images, click on this link All Getty Images by HBMike2000

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Its that moment right after figuring something out even though it was staring you right in the face the whole time.

View on black. I still have a pattern of bricks to throw at you.

Our Daily Topic: tranquility

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It's really difficult to do selfies when you don't like to crop. Niether of these two shots are cropped at all

Well maybe one should try to zip up that old leather jacket in size small? OR NOT.

Thankfully has since been fixed.

Olean, NY. March 2022.

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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com

The problem with photography is you have just got to take photographs or you get all twitchy

Street/Travel Photo in Prague 布拉格 捷克

1 of 10

Fundraiser for Burien arts programing in November.

Angel of Death

We summoned this meeting to help solve problems. Right now, it's only creating more. Two grown adults fight like children in front of me. Batman And Jerrick yell at each other about occurrences of the past, ones which are too late to change now. Their argument is pointless and redundant. Every time they meet, this is what happens. Others in the circle saw fit to make best of the situation by engaging in side conversations. After about ten minutes of useful minutes wasted arguing I finally interrupted. "Would you two put your childs' games behind?! For God's sake! This concerns all of us, Batman. We didn't conjure this meeting to be yelled at." Their fighting stopped. "These are the people who killed my family. I will not let more people end up the way I am. We're putting an end to this."

Central coast, Peru.

Museum Fünf Kontinente, Munich.

There's a chronological problem with the dating of this figurine. It revolves around the beads.

Before addressing the problem, it's necessary to examine the exhibit. It consists of a clay figurine of a woman, a beaded ear decoration and one or more strings of beads around the figurine's neck and over her shoulders.

The beads in ear decoration are quite likely made from the shells of Spondylus, or thorny oyster. While Spondylus beads can be white and pink, they're frequently the reddish-orange shade seen here.

"Spondylus is a bivalve mollusk found in warmer waters in Ecuador and along the most northern coast of Peru . . . However, Spondylus shell beads found on the Central Coast of Peru must have arrived there through exchange networks since the shells were only sourced further north. They were traded before the arrival of the Spanish." *

The necklace is the focus of this discussion. The overwhelming percentage of the beads are light brown. It's likely they're made from marine shell, possibly even Spondylus.

However, there are five blue beads interspersed among the light brown beads. They are chevron beads made in Europe.

"Chevron beads are complex multi colored beads with a pattern of blue, white and red. Chevron beads were found throughout Peru but were not endogenous to the region. These beads were manufactured in Venice and can be dated by the distinct colors and number of layers." *

The reason the museum label gives the year 1450 as the latest date when the figurine could have been manufactured is because the Inca are reported to have conquered the Chancay polity in that year.

Let's assume the beads in the necklace were around the figurine's neck when it was discovered and that the objects were undisturbed. If that's correct, the figurine could not have been made before the third decade of the sixteenth century.

Francisco Pizarro captured the Inca emperor in 1532. An influx of Spaniards entered the territory of today's Peru shortly thereafter. They brought with them objects of European material culture, including chevron beads.

If the figurine was made after 1532, it suggests that traditional cultural practices persisted in some form after the arrival of the Spaniards in the early sixteenth century. Either the people who made the figurine managed to evade the Spaniards' campaign against "idolatries," or the campaign had not yet reached the former Chancay culture area when these objects were assembled.

========================================================

*Source of quoted material about beads:

"Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest."

Kristi May Feinzig

A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies

Harvard University

March 2017

been having a problem with sharpness on my photos lately ,so did a micro adjust last night .seems to have worked as i now have the "bite " back in the files .it appears to have been front focussing previously not enough to show up after p/p but this has definitely improved things with a +8 setting

The problem with living in an old Florida cracker house is that it's not exactly built to keep in heat. My house has no insulation in the walls. The landlord says there is some in the roof. All I know is I need two space heaters, rugs and lots of warm clothing to get through the winter. Spring, please come soon! North Florida winters are still cold, even if there's no snow!

p.s. Ok, ok... so I might be exaggerating just a little bit in this photo! (but not much!)