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No lie, by 3.9 degrees to be precise...
Known as the Campanile, or free-standing bell tower, The Leaning Tower of Pisa is one of 4 important structures in the Piazza dei Miracoli (Square of Miracles). Formally known as Piazza del Duomo, the square is a walled area located in Tuscany, Italy. Pre-dating the tower is the Pisa Cathedral (left background) with its associated Baptistry. The 4th building is the Camposanto Monumentale (Monumental Cemetery). The entire square is a UNESCO World Heritage Site.
The tower is 57 meters (183 feet) from the ground on the low side. The famous tilting began right off the bat during its construction in the 12th century, and was due to an inadequate foundation on ground too soft on one side to properly support the weight. The tilt increased in the decades before the structure was completed in the 14th century.
Prior to restoration work performed between 1990 and 2001, the tower leaned at an angle of 5.5 degrees but after correction it now leans at about 4 degrees. This means the top of the tower is displaced horizontally 4 meters (12 ft 10 in) from the center, and you really feel that tilt under your feet.
Climbing the tower is well worth the effort, but the view is a bit vertigo-inducing if you are uncomfortable with heights. It has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase as it is closer to the actual ground level by approximately 2 feet.
An interesting bit of history is that Galileo Galilei is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass.
If you are fortunate enough to ever visit Pisa, make sure you reserve the time to explore the entire lovely Piazza del Duomo, and not just its famous tower of dubious foundation…
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There is no precise geographical definition for ‘Cornwall’s Forgotten Corner’, but it is taken to mean, by local residents, all of the Rame Peninsula, as well as all of the English Channel coast area to the east of (but not including) Looe. The northern boundary of the corner is defined by the A38 road.
It is reputed to be "forgotten" because the area is effectively by-passed by Cornwall visitors, and is geographically remote from the administrative headquarters of Cornwall at Truro. It is over 50 miles away from the Cornish capital.
It is isolated due to its geography, as it is bounded by the English Channel, Plymouth Sound, the River Tamar and the River Lynher. Visitors have to double back on themselves after taking the main A38 road from Plymouth at Trerulefoot and onto the A374. There are no main railway stations within the area; the nearest is at St Germans, which has a limited train service. However, there is a frequent vehicular ferry to Torpoint from Plymouth, and a passenger ferry to Cremyll from Stonehouse, Plymouth. There is also a passenger ferry from Plymouth to Cawsand in the summer.
The area effectively became more remote when the then new Saltash Road Bridge on the A38 road was opened in 1961. Before the opening of this bridge, and the improvements to the A30 road from Exeter to Penzance, most road traffic entered Cornwall using the Torpoint Ferry, taking visitors directly into this area. After the bridge opened, and continued dual carriageway improvements were made on the A30 road, traffic travelling through this part of Cornwall reduced greatly.
The Rame Peninsula part of the Forgotten Corner is included in the Cornwall Area of Outstanding Natural Beauty. It is also steeped in history, with many military forts, and archaeological points of interest. The area is essentially rural, with the main industry being agriculture. It is also a residential commuting area for Plymouth. The area also has some of the wealthiest areas within Cornwall, as well as some of the poorest.
(Wikipedia)
Taken from Churchtown Farm Nature Reserve, overlooking the river Lynher, taking in the village of Antony, 3 miles west of Torpoint. Whitsand Bay lies on the other side of the hills on the horizon. The building to the left of the trees on the right hand side of the image is Tregantle fort, which overlooks Tregantle Beach.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
Il a un immense pouvoir de passer inaperçu,
arrive en vol piqué sans aucun bruit,
se pose sur une branche bien précise,
afin de se fondre dans l'environnement choisi.
Derrière la fenêtre, je l'ai vu arrivé par hasard, j'ai ainsi vu où il s'était posé,
heureusement j'avais l' appareil photo pas loin, discrètement derrière le rideau,
j'ai cherché à le voir, j'ai mis bien 10 secondes à le trouver (il a légèrement bougé dans ce fouillis de branches et m'avait surement déjà vu) après un rapide réglage, me suis décalé afin de l'apercevoir, le focus a eu du mal lui aussi à faire une mise au point relative, (trop de teintes similaires l'entouraient), un 1° clique, un 2°, n'ai pas eu le temps d'en faire un 3° qu'il s'envolait, m'ayant déjà repéré dés que je me suis décalé...!
cette oiseau une vue perçante incroyable..
cela fait que la 2° fois que je vois cet oiseau sur mon terrain
mais qu'il est beau et majestueux
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He has immense power to go unnoticed,
arrives in dive flight without any noise,
arises on a specific branch,
in order to blend into the chosen environment.
Behind the window, I saw him arrive by chance, so I saw where he had landed,
Fortunately I had the camera not far away, discreetly behind the curtain,
I tried to see it, I took 10 seconds to find it (it moved slightly in this jumble of branches and had probably already seen me) after a quick adjustment, shifted to see it, the focus also had trouble making a relative focus, (too many similar shades surrounded it), A 1° click, a 2°, did not have time to make a 3° that it flew away, having already spotted me as soon as I shifted ...!
This bird an incredible piercing view.
This makes that the 2nd time I see this bird on my land
but that it is beautiful and majestic,
It's
the European sparrowhawk,
(Accipiter nisus - Eurasian Sparrowhawk)...
Height: 38 cm and +
Wingspan: 60 to 75 cm.
Weight: 185 to 350 g
Longevity: 16 years
Thank you for your visits, compliments and stars..!
Merci à vous pour vos visites, compliments et étoiles..
São Paulo SP, 2025
Passos precisos, por caminhos imprecisos
Precise strides, along imprecise paths
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passosprecisos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #brstreet #fotoderuabr #saopaulo #saopaulocity #sampalovers #spstreets #supersaopaulo #saopaulo_originals #spstreets
Les Dioscures, ce sont les jumeaux Castor et Pollux. Tous deux étaient enfants jumeaux de Léda, ou plus précisément faux-jumeaux. En effet, Castor était le fils de Tindare et frère de Clytemnestre. Pollux était le fils de Zeus et frère d’ Hélène. Oui, c’est un peu compliqué, Castor et Pollux étaient donc de faux-jumeaux, nés de pères différents.
Retenez surtout que les grecs autant que les romains vénéraient les Dioscures. Ils symbolisaient l’aide apportée par les jeunes gens en âge de porter les armes. Et comme ils avaient souvent aidé les romains dans leurs combats, ils étaient particulièrement vénérés des romains. À l'ouest de l'Olympiéion s'étend jusqu'à la Porte V un quartier de la ville, avec des vestiges de maisons d'habitation. Du nord de ce temple part une voie processionnelle qui longe les habitations pour rejoindre la Porte V et le « temple des Dioscures ». Ce nom lui a été attribué arbitrairement : des sources antiques nous disent, certes, que Castor et Pollux étaient honorés à Acragas, mais les dernières recherches tendent plutôt à rattacher les jumeaux à celui qu'on appelle traditionnellement « temple de la Concorde ».
Le « temple des Dioscures » est un temple dorique périptère du milieu du Ve siècle av. J.-C., de plan semblable à celui « de la Concorde ». Le coin sud-est a été remonté au en 1836 par le sculpteur Valerio Villa Reale et l'architecte Saverio Cavallari. Le couronnement pourrait provenir du temple L. Cette reconstruction est certes très pittoresque, et elle est même devenue un symbole et l'un des sujets les plus photographiés des vestiges d'Agrigente, mais elle est refusée du monde professionnel, qui y voit un mélange d'éléments de différents styles et de différentes époques. De nombreux restes de tambours des colonnes cannelées qui formaient autrefois le péristyle sont disséminés sur toute la surface du temple. On peut aussi distinguer des restes de l'autel, du côté est.
The Dioscuri are the twins Castor and Pollux. Both were Léda's twin children, or more precisely false twins. Indeed, Castor was the son of Tindare and brother of Clytemnestre. Pollux was the son of Zeus and brother of Helen. Yes, it's a bit complicated, so Castor and Pollux were twins, born to different fathers.
Above all, remember that the Greeks as much as the Romans revered the Dioscuri. They symbolized the help given by young people of military age. And as they had often helped the Romans in their battles, they were particularly revered by the Romans. West of the Olympieion, up to Porte V, is a district of the city, with the remains of residential houses. From the north of this temple leaves a processional path that runs along the dwellings to reach Porte V and the "temple of Dioscuri". This name was arbitrarily assigned to it: ancient sources tell us, of course, that Castor and Pollux were honored at Acragas, but the latest research tends rather to link the twins to the one traditionally called "temple of Concord".
The "temple of Dioscuri" is a Doric temple periphers from the middle of the 5th century BC. J. - C., of plan similar to that of "Concorde". The southeast corner was reassembled in 1836 by sculptor Valerio Villa Reale and architect Saverio Cavallari. The crowning could come from temple L. This reconstruction is certainly very picturesque, and it has even become a symbol and one of the most photographed subjects in the remains of Agrigento, but it is refused from the professional world, which sees it as a mixture elements of different styles and different eras. Many remains of drums from the fluted columns that once formed the peristyle are scattered over the entire surface of the temple. We can also make out the remains of the altar on the east side.
That is what photography is doing according to Henri Cartier-Bresson, fixing a precise moment in time. Of course, he said other things as well about photography, but let us take this quote. Reflecting upon this, and using the image above, one question pops up immediately: whose time are we talking about? Camera and sculpture are inanimate objects. Do the notions of 'life' and 'moment' apply? If they do, then it would matter that the camera is now 16 years old (the lens is almost 70 years) and the replica face of the Olympian Hermes would reflect about 2500 years. However, I cannot see that the quote makes sense in relation to these two objects. It would not matter to them whether the photo was taken yesterday, today, or a year ago. But it does make a lot of sense when I apply it to myself. This image fixes a moment in my time when dealing with these two objects. A moment in the life of the photographer when thinking, for example, about photography as an act of hunting, of getting my prey inside the box. Fuji X-E3, a 2x teleconverter and Helios 44M-7 at F8.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
Passos precisos, por caminhos imprecisos
Sevilla, ES, 2023
[ENGLISH] Precise strides, along imprecise paths
#yb_passos #yb_street_2023 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando #tripyurieclelma2023 #yb_walkers #josetorowalkers #tv_strideby #stridebypoetry #sevilla #seville #sevilha #sevillagram #callesdesevilla #sevillasecreta #sevillatieneuncolorespecial #espana #callesdeespaña
Well, 4 breeches to be precise. To jolt you out of your enjoyment of the beauty and tranquillity of the North Norfolk countryside, you unexpectedly come across this AFV sitting in a field beside the road. It's a ZSU-23-4 "Shilka", a Soviet era self-propelled radar-guided anti-aircraft system, armed with four 23mm cannons. The vehicle is at the gate of the very impressive Muckleburgh Military Collection, sited on a former military camp at Weybourne, near Holt.
Cameras themselves can be art. The old cameras of years gone by were so exquisitely designed. A myriad of gears, dials and springs, all worked together to expose a very precise amount of light onto the film. This camera is my 1939 Graflex Speed Graphic. They were the mainstay of press photographers for decades. They were built to last and this one still works beautifully 82 years later. Without a doubt todays modern cameras will not be so long lived.
Shadows are starting to get pretty long on a summer evening as the Night Gas ducks under the highway bridge at Perma. One thing I could really get used to about Montana compared to here in the south, is having plenty of light (and lack of tree shadows) to expose images at 8pm and later during the longest days of the year. 7:40 PM MDT on this image to be precise, per my logbook.
L’île Louët se trouve au nord-est de la commune de Carantec. Elle se trouve en baie de Morlaix, à la sortie de la rade de Morlaix et plus précisément entre la pointe de Penn-al-Lann et le château du Taureau.
Le château du Taureau
À la suite d'une attaque de Morlaix par la flotte anglaise en 1522, il est décidé de construire un fort en baie de Morlaix. Toutefois, pour construire ce type de bâtiment sur la côte, il faut une autorisation du roi accordée par François Ier sur intervention du duc d'Étampes en 1542. Mais aucun financement royal n'est prévu. Le fort doit être construit sur les deniers des Morlaisiens qui seront remboursés plus tard, lorsque les finances du royaume le permettront. À titre de compensation, le Roi leur octroie le privilège de nommer le gouverneur du fort ainsi que sa garnison tout en assurant son équipement et son traitement. Ce privilège se révèle fort couteux, ainsi, en 1620, le budget alloué à la gestion du fort est de 18 000 livres.
En 1660, le Roi Louis XIV reprend le fort aux Morlaisiens et l'intègre dans le système de défense du royaume.
Vauban, ingénieur-architecte visita le château en avril 1689 et le trouva en fort mauvais état. Dans un rapport daté du 6 avril 1689, Vauban fait une description du fort primitif avant de donner son projet pour la reconstruction ; c'est ce projet général et ces idées qui seront utilisés jusqu'à l'achèvement du château en 1745. « Faire tout de pierre de taille. Choisir ces pierres des meilleures de l'Isle Calot qui tiennent bien leur arête, les tailler très proprement sur les faces» ordonne Vauban en 1689. La tour Française, même si elle est en bon état au niveau de sa maçonnerie, fait l'objet des bons soins de l'ingénieur. La tour d'artillerie devant assurer la défense du fort pendant sa reconstruction. Vauban propose de changer les deux planchers et leurs corbeaux de pierres de taille pour les ancrer dans le vieux mur, de réparer toutes les embrasures de la tour et de les doter de sabords.
Du reste de l'édifice, il veut construire un nouveau fort de « bonne et solide maçonnerie à chaux et sable ». Son profil « doit être fort et robuste, tant à raison des coups de mer dont il sera terriblement battu que de la grande hauteur qu'il est nécessaire de lui donner tant pour le rendre inaccessible aux entreprises de basse mer, que pour lui donner fleuron supérieur à celle de tous les vaisseaux qui passeront près ». La tour Française dominera l'ensemble du nouveau fort. Les quatre casemates à canons de l'ancien fort seront « déménagées », une nouvelle batterie basse voûtée de « pierres ardoisines » remplacera l'ancienne. Les basses embrasures sont destinées, selon les propres termes de Vauban, « contre le dehors à tenir du mousquet ».
Les travaux du nouveau fort du Taureau approuvés par Vauban commencent au printemps 1689.
Ce sont les ingénieurs Siméon Garangeau et Frézier qui mènent la reconstruction à son terme.
Garangeau meurt en 1741 à l'âge de quatre-vingt-quatorze ans, avant d'avoir pu terminer le château du Taureau. La dernière phase des travaux commence en 1741 et s'achève en 1745. La réalisation des plans d'achèvement du fort est donc confiée à Amédée François Frézier, ingénieur architecte du Roi qui collabore déjà, depuis 1717, au chantier. Le château fut totalement achevé en 1745.
fr.wikipedia.org/wiki/Château_du_Taureau
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Louët island
Louët island lies northeast of the town of Carantec. It is located in the bay of Morlaix, at the exit of the bay of Morlaix and more precisely between the tip of Penn-al-Lann and castle of Taurus.
Le château du Taureau
Following a Morlaix attack by the English fleet in 1522, it was decided to build a fort in the bay of Morlaix. However, to build such buildings on the coast, you need a license granted by King François Ier. Licence was granted in 1542 after an intervention of the Duke of Etampes. But no royal funding is provided. The fort was to be built on the money of Morlaisiens that will be repaid later when the kingdom's finances allow. As compensation, the King granted them the privilege of naming the governor of the fort and its garrison while ensuring its equipment and its treatment. This privilege is proving very expensive and, in 1620, the budget allocated to the management of the fort was 18 000 pounds.
In 1660, King Louis XIV takes back the fort from the Morlaisiens and integrates it into the realm of defense.
Vauban, architect-engineer visited the castle in April 1689 and found him in very bad condition. In a report dated 6 April 1689, Vauban give a description of the original fort before giving his project for reconstruction; this is the general project and ideas that will be used until the completion of the castle in 1745. "Doing all of stone. Choose the best stones on Isle Calot, hold their edge well, cut very neatly on the faces "ordered Vauban in 1689. The artillery tower was to defend the fort during its reconstruction. Vauban proposed to change the two floors and cut stone corbels to anchor in the old wall, repair all the embrasures of the tower and equip them with ports.
On the other part of the building, he wants to build a new fort of "good, solid masonry lime and sand." Profile "to be strong and robust, both because of the heavy seas which will be terribly beaten as the great height it is necessary to give so much to make it inaccessible to low water businesses, and give her flagship greater than that of all the vessels that pass by. " The French round will dominate the entire new fort. The four casemates of the old fort guns will be "relocated", a new vaulted low battery "ardoisines stones" will replace the old. The low doorways are intended, in the words of Vauban, "against the outside to hold the musket."
Work on the new high Taurus approved by Vauban beginning in spring 1689.
These are Simeon Garangeau Frézier and engineers who lead the reconstruction to an end.
Garangeau died in 1741 at the age of eighty-four, before he could finish the castle of Taurus. The last phase of work begins in 1741 and ends in 1745. The realization of the completion of the fort plans is entrusted to François Amédée Frézier King's architect engineer who is already working since 1717 on site. The castle was fully completed in 1745.
Translated from:
Radiant by artist Nicky Assmann (1980, lives and works in Rotterdam), in TENT. Radiant is a dynamic ‘mobile’ sculpture in which optical patterns and colour effects appear, due to a precise balance between space, form, movement and light.
Gênes est une ville italienne, capitale de la Ligurie située sur la mer de Ligurie, précisément sur les rives du golfe de Gênes. Il s'agit du plus important port italien et de l'un des plus grands ports de la mer Méditerranée.
En 2017, Gênes est la sixième ville d'Italie et compte 580 112 habitants et 846 363 au sein de son agglomération4.
Sa zone urbaine compte environ 1 540 000 habitants
Genoa is a city in and the capital of the Italian region of Liguria, and the sixth-largest city in Italy. In 2023, 558,745 people lived within the city's administrative limits. While its metropolitan city has 813,626 inhabitants, more than 1.5 million people live in the wider metropolitan area stretching along the Italian Riviera.
From Wikipedia, the free encyclopedia
7DM23361-HDR-Pano
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
Sevilla, ES, 2023
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2023 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando #tripyurieclelma2023 #yb_walkers #josetorowalkers #tv_strideby #stridebypoetry #sevilla #seville #sevilha #sevillagram #callesdesevilla #sevillasecreta #sevillatieneuncolorespecial #espana #callesdeespaña
For Lancia, the Aprilia, produced from 1937 - 1949, simultaneously marked the end of one era and the beginning of another. Technologically speaking, this was a supremely refined model, with a load-bearing body, a compact narrow V engine, independent suspension on all four wheels and extremely innovative aerodynamic lines.
During the 1920s, the invention of wind tunnels allowed industrial designers to seek new levels of performance for motor vehicles by improving their aerodynamics. In the United States, “streamline design” was all the rage, a trend for producing sinuous and aerodynamic lines, starting with airplanes, then trains and then cars, increasing their speed but also emphasizing their extravagant stylistic features.
This movement reached Italy in the 1930s when streamlining, a symbol of modernity, inspired the lines of the new Lancia Aprilia. But compared to the American style, Vincenzo Lancia’s trusted designer Battista Falchetto - who had shared the honors for the stunning design of the Lambda - created a car with fewer frills and more concrete lines, aimed at improving aerodynamics. The grille and windscreen were therefore slightly inclined, and the egg shape - considered at the time the most efficient profile from an aerodynamic point of view - gave character to the rear part. The compact and streamlined bonnet was made possible by the small size of the narrow V engine... an authentic concentrate of technology. It consisted of a light alloy monobloc with cast iron barrels, V valves controlled by rockers moved by an overhead camshaft and a hemispherical top on the combustion chamber. With only 1,352 cc it generated 48 HP which, thanks also to a total weight of only 850 kg, plus an excellent aerodynamic coefficient of just 0.47, thrust the Aprilia up to 125 km/h.
The Aprilia was a true Piedmontese aristocrat, refined and precise in every detail. Its famous four pillarless doors, a true Lancia icon, also have an extraordinary curved profile and invisible hinges. The famous click - the sound of the doors closing - underlined the scrupulous attention to the smallest details in design and assembly which typified Lancia’s outstanding modus operandi, providing an unforgettable grace note. The interiors, especially in the Luxury version, featured a classy geometric instrument panel on a grey background with black and white graphics: the square speedometer and clock perfectly matched with the rectangles chosen for the thermometer and the fuel gauge. The Lancia cloth upholstery (available on request in leather), the door panels, the roof covering and the rubber mats were the final touches of a creation which was the closest possible motorcar version of the classic Turin interiors of the period.
Its extremely low weight was mainly due to the load-bearing body: a Lancia patent - first seen in the 1920s on the Lambda - which, by overcoming the classic architecture which kept the chassis and bodywork separate, improved torsional rigidity and significantly reduced volumes. The independent suspension on all four wheels, with rear transversal leaf spring and front coil springs, enabled the Lancia Aprilia to offer road grip and passenger comfort that was much superior to most of its contemporary rivals.
The Lancia Aprilia contained all the most innovative and refined technical solutions that were so dear to Vincenzo Lancia. It constituted a pinnacle of motorcar production, carried out under the direct supervision of the founder of the Turin company. The name of the car came from that of an ancient Lazio town: a characteristic that linked it to its predecessors, the Artena and the Astura.
The Lancia Aprilia was presented to the public at the thirtieth edition of the Paris Motor Show, in October 1936. On February 15, 1937 its creator had a sudden and fatal heart attack, just before the car went into production. He was only 55 years old. Thus the Aprilia became universally seen as the spiritual testament of Vincenzo Lancia, becoming a huge commercial success, which continued even after the adversities of the second World War.
The first series of the Lancia Aprilia was produced from 1937 to 1939 in 10,354 units: a Sedan in standard and Luxury trims, to which were added 4,350 chassis for custom-made versions, on which the best Italian coachbuilders reveled in producing streamlined and elegant spiders and cabriolets. Pinin Farina's aerodynamic coupé was highly original, with its characteristic flattened muzzle, the central position of the 2 + 2 passenger compartment and an elegant tail.
Two years after the start of production, the second series was born, characterized by the increase in displacement to 1,486 cc. The power remained unchanged, but this improved the elasticity of the engine and the maximum speed. Despite a weight increase to 950 kg, it gained 1 km/h. In the decade from 1939-1949, 11,082 sedans were produced plus 2,252 chassis for coachbuilders.
The production of the Aprilia continued - with a further 703 exemplars - even after the Second World War, a period in which the model, despite being almost ten years old, could still be proud of its highly modern mechanics and settings. It held its place in the market right up to the last days of production, and in racing it remained the undisputed dominator of the Tourism class up to 1500 cc for years: it also triumphed in the Mille Miglia of 1947 thanks to its powerful acceleration and peerless road holding.
To this day, more than eighty years after its presentation, the Aprilia is considered a timeless pioneering car which, by gathering all the best of Lancia’s innovative philosophy, inaugurated a new era in motoring. Vincenzo Lancia was usually hypercritical about his cars, but after test driving the Aprilia prototype he spontaneously exclaimed: "What a magnificent car!".
Article credit: Heritage
We're back in Thailand, and to be precise, in Ayutthaya, the former (and sadly destroyed) capital of Siam (then still the Kingdom of Ayutthaya).
This temple was built in 1357 by the first king of the Ayutthaya Empire.
The impressive 80-meter-high chedi (the bell-shaped sacred building in the background) was commissioned by one of his successors, Naresuan the Great, in 1592.
It was intended to commemorate a duel between the ruler and the Crown Prince of the Kingdom of Burma (on war elephants), from which Naresuan emerged victorious.
The Crown Prince was killed in the this fight.
Wir sind zurück in Thailand und um genau zu sein in Ayutthaya, der ehemaligen (und leider zerstörten) Hauptstadt von Siam (damals noch das Königreich Ayutthaya).
Dieser Tempel wurde bereits 1357 vom ersten König des Ayutthaya Reiches erbaut.
Den beeindruckenden 80 Meter hohen Chedi (der glockenförmige Sakralbau im Hintergrund) liess jedoch einer seiner Nachfolger, Naresuan der Große, 1592 errichten.
Er sollte an ein Duell des Herrschers mit dem Kronprinzen des Königreiches Birma erinnern (auf Kriegselefanten) aus welchem Naresuan siegreich hervor ging.
Der Kronprinz kam dabei ums Leben.
……Or to be be more precise ‘Golden Orange’ Roasted Carrots actually! Diabetics & those diagnosed as being Pre-Diabetic will be interested in ANY alternative to Potatoes which are high GI. AND when you slice & roast carrots they make a great Macro Monday shot!!! The theme this week being "Slices” Bon Appétit. (Par boil then roast in a little oil, easy peasy) Have a great & low GI week! Stay cosy & locked down to stay safe and to keep EVERYONE else safe too! A VERY BIG THANK YOU to ALL the key workers who are carrying on to benefit the rest of us - we applaud you all. Alan;-)👏👏👏👏👏
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 66 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
Rotterdam is such a pleasant place in summer. It is not too hot or cold, and for architecture lovers it provides constantly new surprises. Here is the Maastoren, which is the second tallest building in the Netherlands. It looks nothing special itself, but together with the beautiful shapes and shadows of a nearby drawbridge, it comes to life.
São Paulo SP, 2025
Passos precisos, por caminhos imprecisos
Precise strides, along imprecise paths
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passosprecisos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #brstreet #fotoderuabr #saopaulo #saopaulocity #sampalovers #spstreets #supersaopaulo #saopaulo_originals #spstreets
Superbly flown by Captain Andrej Fiorelli of the Slovenian Armed Forces, Pilatus PC-9M '69' catches the light while in a vertical climb during RIAT 2025
For his outstanding flying skills he was awarded THE KING HUSSEIN MEMORIAL SWORD: Presented in memory of the late HM King Hussein of Jordan, former Patron of the International Air Tattoo, for the overall most polished and precise flying demonstration
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To be precise South of the River near the Thames Barrier. After an afternoon Karting by the river, I drove a few 100 yard along and back on to the Thames Path - amazing how the sky and lights looked during early evening, London at its best!
To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.
Henri Cartier Bresson
Les Dioscures, ce sont les jumeaux Castor et Pollux. Tous deux étaient enfants jumeaux de Léda, ou plus précisément faux-jumeaux. En effet, Castor était le fils de Tindare et frère de Clytemnestre. Pollux était le fils de Zeus et frère d’ Hélène. Oui, c’est un peu compliqué, Castor et Pollux étaient donc de faux-jumeaux, nés de pères différents.
Retenez surtout que les grecs autant que les romains vénéraient les Dioscures. Ils symbolisaient l’aide apportée par les jeunes gens en âge de porter les armes. Et comme ils avaient souvent aidé les romains dans leurs combats, ils étaient particulièrement vénérés des romains. À l'ouest de l'Olympiéion s'étend jusqu'à la Porte V un quartier de la ville, avec des vestiges de maisons d'habitation. Du nord de ce temple part une voie processionnelle qui longe les habitations pour rejoindre la Porte V et le « temple des Dioscures ». Ce nom lui a été attribué arbitrairement : des sources antiques nous disent, certes, que Castor et Pollux étaient honorés à Acragas, mais les dernières recherches tendent plutôt à rattacher les jumeaux à celui qu'on appelle traditionnellement « temple de la Concorde ».
Le « temple des Dioscures » est un temple dorique périptère du milieu du Ve siècle av. J.-C., de plan semblable à celui « de la Concorde ». Le coin sud-est a été remonté au en 1836 par le sculpteur Valerio Villa Reale et l'architecte Saverio Cavallari. Le couronnement pourrait provenir du temple L. Cette reconstruction est certes très pittoresque, et elle est même devenue un symbole et l'un des sujets les plus photographiés des vestiges d'Agrigente, mais elle est refusée du monde professionnel, qui y voit un mélange d'éléments de différents styles et de différentes époques. De nombreux restes de tambours des colonnes cannelées qui formaient autrefois le péristyle sont disséminés sur toute la surface du temple. On peut aussi distinguer des restes de l'autel, du côté est.
The Dioscuri are the twins Castor and Pollux. Both were Léda's twin children, or more precisely false twins. Indeed, Castor was the son of Tindare and brother of Clytemnestre. Pollux was the son of Zeus and brother of Helen. Yes, it's a bit complicated, so Castor and Pollux were twins, born to different fathers.
Above all, remember that the Greeks as much as the Romans revered the Dioscuri. They symbolized the help given by young people of military age. And as they had often helped the Romans in their battles, they were particularly revered by the Romans. West of the Olympieion, up to Porte V, is a district of the city, with the remains of residential houses. From the north of this temple leaves a processional path that runs along the dwellings to reach Porte V and the "temple of Dioscuri". This name was arbitrarily assigned to it: ancient sources tell us, of course, that Castor and Pollux were honored at Acragas, but the latest research tends rather to link the twins to the one traditionally called "temple of Concord".
The "temple of Dioscuri" is a Doric temple periphers from the middle of the 5th century BC. J. - C., of plan similar to that of "Concorde". The southeast corner was reassembled in 1836 by sculptor Valerio Villa Reale and architect Saverio Cavallari. The crowning could come from temple L. This reconstruction is certainly very picturesque, and it has even become a symbol and one of the most photographed subjects in the remains of Agrigento, but it is refused from the professional world, which sees it as a mixture elements of different styles and different eras. Many remains of drums from the fluted columns that once formed the peristyle are scattered over the entire surface of the temple. We can also make out the remains of the altar on the east side.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
Lisboa, Portugal, 2023
[PT] Entre ruas, sombras e ficções
Contemplo ruas, pessoas e pedras, entre ficções e esquecimentos, inspirado no poeta, talvez, percebo as sombras dos gestos de outros, a poesia do crepúsculo, um desassossego.
“...todos somos igualmente derivados de não sei quê, sombras de gestos feitos por outrem, efeitos encarnados, consequências que sentem.” (Fernando Pessoa, Livro do Desassossego, v.164)
[ES] Entre calles, sombras y ficciones
Contemplo calles, personas y piedras, entre ficciones y olvidos, inspirado en el poeta, quizás, percibo las sombras de los gestos de otros, la poesía del crepúsculo, una inquietud.
“...todos somos igualmente derivados de no sé qué, sombras de gestos hechos por otra persona, efectos encarnados, consecuencias que sienten.” (Fernando Pessoa, Libro del desasosiego, v.164)
[ENG] Between streets, shadows and fictions
I contemplate streets, people and stones, between fictions and oblivion, inspired by the poet, perhaps, I perceive the shadows of the gestures of others, the poetry of twilight, a restlessness.
“...we are all equally derived from I don't know what, shadows of gestures made by someone else, embodied effects, consequences they feel.” (Fernando Pessoa, Book of Disquiet, v.164)
Don't let the Duck appearance fool you, these Birds are masters at climbing, using their sharp hooked claws at the end of those webbed feet to get to places other ducks just simple couldn't. They're quite precise flyers too, and they need to be considering they nest in Tree holes.
Besakih Temple is a pura complex in the village of Besakih on the slopes of Mount Agung in eastern Bali, Indonesia. It is the most important, the largest and holiest temple of Balinese Hinduism,[1] and one of a series of Balinese temples. Perched nearly 1000 meters up the side of Gunung Agung, it is an extensive complex of 23 separate but related temples with the largest and most important being Pura Penataran Agung. The temple is built on six levels, terraced up the slope. The entrance is marked by a candi bentar (split gateway), and beyond it the Kori Agung is the gateway to the second courtyard. The precise origins of the temple are unclear but its importance as a holy site almost certainly dates from prehistoric times. The stone bases of Pura Penataran Agung and several other temples resemble megalithic stepped pyramids, which date back at least 2,000 years. It was certainly used as a Hindu place of worship from 1284 when the first Javanese conquerors settled in Bali. By the 15th century, Besakih had become a state temple of the powerful Gelgel dynasty
From the foot of the Spanish Steps, I raised my iPhone toward Trinità dei Monti, wanting to catch that precise moment when the marble walls glowed warm and the sky framed the towers in vivid blue. In shooting this, I was chasing two things: the sense of elevation (you feel you’re climbing, even from below) and a quiet contrast — the aged stone against the pure, deep summer sky.
I angled low to emphasize scale, to let the viewer feel the weight of those centuries in stone. And yes — a little irony: standing there in my modern clothes, snapping pictures with a phone, trying to immortalize what generations before me painted or sketched.
Dal basso della scalinata ho sollevato l’iPhone verso Trinità dei Monti, con l’intento di cogliere quel preciso momento in cui le superfici in marmo si infiammavano di luce calda e il cielo faceva da cornice di un blu intenso. In questo scatto cercavo due cose: la sensazione di ascesa (che si provi a salire anche solo guardando da sotto) e un contrasto sottile — la pietra consumata che dialoga con l’azzurro estivo puro.
Ho inquadrato dal basso per enfatizzare la scala, per permettere che chi guarda percepisca il peso di secoli racchiusi in pietra. E sì — un po’ di ironia: io lì, in abbigliamento moderno, con uno smartphone in mano, a tentare di rendere immortale ciò che generazioni prima hanno dipinto o disegnato.
It was at this precise location on June 7, 1983 that I initially determined just how quickly one could get from the top of an embankment covered in taconite pellets, to the bottom. It was an interesting ride. The three Chicago & North Western C628's have just brought a train of empty jennies up from Escanaba, MI and spotted them for loading at Empire Mine. That task completed they are now passing Palmer Line Junction, near Negaunne, cab lite and enroute to Ishpeming, where they will take legal rest before returning with a train of loads.
and precise placement ...
The frozen stream of water (yes, it's water) reminds me of Halsman's famous "Dali Atomicus" photo. That is the only reason this photo reminds of Halsman's photo, let me be clear on that. For one thing, I didn't have anyone around to throw cats, and I didn't have any cats for anyone to throw. I am forever plagued by unpreparedness. One should always have cats around to throw.
Any relationship of this photo to Cartier-Bresson is just due to the moment in time concept, not to quality, again trying to be clear.
... or be too precise or scientific about birds and trees and flowers and watercraft; a certain free-margin, and even vagueness - ignorance, credulity - helps your enjoyment of these things.
~ Walt Whitman
© All rights reserved. Please do not use my photo without my express permission.
I cannot be precise as to exactly where this is - all I can say is we were driving west on 61 from Frackville and came across it - a quick U-turn took us to this grade crossing. Somewhere near Mount Carmel, from memory? Perhaps someone will be able to pinpoint it. Looks like a Reading & Blue Mountain local - a pair of Geeps doing the honours. Around 9-30 am, 31 October 2022.
Scaffold poles to be precise. And there was no dancing. A bridge is enjoying repairs over the River Tweed in Berwick and was just begging for a nighttime photo.
I was also able to capture the female foraging by herself. The details of her plumage are more easily seen in this view, with her precise head colors so visible. The brown/orange feathers on her back are also so helpful in I.D.
www.fluidr.com/photos/barrentrees
Copyright © Debbie Friley Photography - All Rights Reserved
It was such a blast watching this amazing Osprey dive down with incredible precision and catch his lunch! Have a great weekend!
Wonderful footage of an osprey catching fish. www.youtube.com/watch?v=nA3LtXnNIto
Hovering at moderate height, the osprey dramatically plunges down feet first to snatch fish from the water's surface. A shake of the head as it emerges from the water; the osprey carries its skilfully captured prey with its long talons.
This Osprey get's God's work Ethic:
*2 Thessalonians 3:10 "... If anyone is not willing to work, let him not eat."
*Colossians 3:23 Whatever you do, work heartily, as for the Lord and not for men,
*Proverbs 14:23 In all toil there is profit, but mere talk tends only to poverty.