View allAll Photos Tagged Precise
Þórisvatn, Iceland, August 2025
I try not to chase icons or trends but search for hidden beauty in the landscape, preferring silence to spectacle. While I admire Michael Kenna and Bruce Percy, I still hope to find my own voice one day. I aim to develop my own inner criteria to guide me more than anything else.
I treat the technical side of photography as a fundamental tool for clarity, not an end in itself. I’ve come to believe that intention without formal clarity drifts into arbitrariness, and that technique without artistic maturity can become precise irrelevance.
I do find inner peace being out and taking photos. I also think about the philosophical, psychological or even spiritual sides of it. But when I speak about my images, I try to be plain and clear, without myth.
I consider photography an art form and I put a lot of time and effort into it. Photography is a way to express myself, and I value and pursue it with all my heart and mind. I’m ambitious about it, though I don’t know where it will lead me.
Reaching for the finest and juiciest leaves at the top.
The elephant’s trunk tip contains two finger-like appendages that enhance its dexterity, allowing elephants to grasp small objects and perform precise movements. (I have read that the tip is so sensitive that they are able to turn pages in a book)
Their trunk is essentially a fusion of the nose and upper lip and its incredible versatility makes it possibly the most useful body part in the whole animal kingdom. The elephant’s trunk is so sensitive that it is more capable than a bloodhound’s nose and is said to be able to smell fresh water from almost 20 km (12.4 miles) away. The nostrils are located at the tip of the trunk and function in breathing and smelling. The sense of smell is in constant use, with the trunk moving back and forth, detecting new scents and information.
It is remarkable is how the trunk is able to manoeuvre in so many directions without any skeletal support. It is able to do this by means of tightly packed muscle fibres that keep its volume constant through a variety of movements. Longitudinal, cross-sectional and lateral muscle arrangements allow the trunk to flex in literally any direction possible.
They were very precise, however the flags were kind of attacking second from our right's head! He was good natured about it, and our far left, cracked a smile at one point. I have that shot too, but I thought this was the more distinguished post for the occasion. =o) Hugs and thanks for viewing!
***All rights to my images are STRICTLY reserved. Please contact me if you are interested in purchasing my images or if you are an educator or non-profit interested in use. copyright KathleenJacksonPhotography 2009***
Nimble and precise, Vastt uses his gravity defying powers to create mind-bending battlefields. His four wing daggers are perfect for up close combat, or can be guided from a distance to fall to their targets. Vastt's Mask of Durability protects him from even the heaviest of impacts and allows him to slice through the toughest materials.
Build Notes:
Just a quick guy for the upcoming Bionilug convention display. Also hey first MOC I've posted this year!
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Dutch Railways recently announced that all their trains run on sustainable energy. That means, they buy their energy from a supplier that produces green energy "somewhere". The physical energy the trains run on, still comes from the nearest production site, be it a green one, a nuclear one, coal fired or other. I'm sure this Eurocity train is using energy produced in a nuclear power plant - the one of Cattenom to be more precise, visible in the background. Not sure where French Railways buys their energy.
The day of chasing Eurocity trains ended here, in Kanfen. We actually got 2 trains here, but the photos look alike (apart from the locomotive), so you won't get to see it here. Maybe on my blog in due time ;)
SNCF BB 26000, Kanfen 8-8-2015
mamoiada-sfilata de Sos Mamuthones
Probably actors who performed pagan rituals in ancient times but whose precise origins and meaning have been lost in the centuries, Sos Mamuthones and Issohadores have manteined intact their fascination and mystery.
"Without the Mamuthones there is no Carnival, say the people of Mamoiada. Theu are its most important feature, its symbol, almost. Their appearance is taken as a sign of festivity, happiness and times of grace.
The preparation of the masquerade creates an industrious ardour, a frantic, thrilled atmosphere that spreads to the whole community.
That of the Mamuthones is a solemn ceremonial, an orderly procession and dance at the same time.
The Mamuthones, in two parallel rows and flanked by the Issohadores, move very slowly, bent under the weight of the cowbells and, at regular intervals, lift their shoulder shaking the bell harness all at the same time. The Issohadores move with more agile steps and jumps, then, suddenly, they run, swiftly throw their lasso ("Sa Soha") to catch and pull towards them as prisoner the male friend or the woman they have singled out in the crowd."
Nati in tempi remotissimi, come attori attivi nei riti pagani, di loro si è persa l'origine e il significato.
"Sos Mamuthones" e "Sos Issohadores" , sono sopravvissuti con tutto il loro fascino e mistero.
"Senza Mamuthones non c'è carnevale", affermano i mamoiadini: il che vuol dire che è questa la più importante manifestazione e quasi simbolo del carnevale stesso e che l'apparizione dei Mamuthones è segno di festosità, di allegria e di tempi propizi.
La preparazione della mascherata, crea un fervore operoso, un'atmosfera agitata e fremente che si propaga in tutta la comunità.
Quella dei Mamuthones, è una cerimonia solenne, ordinata come una processione, che è allo stesso tempo una danza.
I Mamuthones si muovono su due file parallele, fiancheggiati dagli Issohadores, molto lentamente, curvi sotto il peso dei campanacci e ad intervalli uguali dando tutti un colpo di spalla per scuotere e far suonare tutta la sonagliera.
Gli Issohadores si muovono con passi e balzi più agili, poi all'improvviso si slanciano, gettano il laccio ("Sa Soba") fulmineamente e colgono e tirano a sè come un prigioniero l'amico o la donna che hanno scelto nella folla".
or to be more precise...
in my face, again... [see my previous 'dirt eating' ~ here]
rider: matti lehikoinen
place: downhill line, fort william, scotland
downhill world championship '09
canon 5d mark ii + canon 15mm [fish eye]
view it in large size on black ~ click
ps. this shot almost got onto the paper, but no luck this time,,,
this photo was POD on pinkbike.com on 2009-08-23
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
Larroque est un petit village tarnais, de la basse vallée de la Vère, entre Bruniquel et Puycelsi. Il est situé au pied d’une falaise de calcaire.
Sa situation géographique ainsi que la présence de grottes font que les hommes se sont installés dès la préhistoire dans lieu privilégié.
De rares vestiges (outils, silex) datant du paléolithique supérieur (vers – 20 000 ans avant notre ère) y ont été trouvés au pied de la falaise.
La découverte de haches en pierre polie, de meules pour broyer le grain, de tessons de poterie, laisse supposer la présence des hommes au néolithique ( – 5 300 avant JC) à cet endroit.
Avec les hommes du néolithique, commence la sédentarisation et avec elle, le début de l’agriculture et de l’élevage.
Dans les grottes de Larroque on a trouvé de nombreux objets attestant de la présence des hommes à l’âge de bronze (-1 500 ans avant notre ère). Ceux sont des morceaux de céramique typique, de vases et des outils (poinçons, lissoirs, coins, gaines en os en bois).
Les grottes furent aussi habitées à l’âge de fer, plus précisément à la période de la Tène (- 500 avant JC), comme le prouvent les nombreux tessons de poterie relatifs à cette époque, trouvés sur le site.
On suppose que les hommes ont commencé à délaisser les grottes pour s’installer au pied de la falaise à cette époque-là.
Les premières maisons, sous forme de cabanes, ont dû être bâties aux premiers siècles de notre ère ( du 2ème au 10ème siècle).
Plus tard, autour du 13ème et 14ème siècles, on construisit de vraies maisons.
Durant cette période de guerres, les grottes servirent de refuge. Il y avait des murs défensifs devant les grottes.
On a trouvé des pièces de monnaies médiévales qui prouvent la présence des hommes durant la guerre de Cent Ans et les guerres de religions (monnaies d’Henri IV et de Louis XIII).
Lorsque les guerres furent terminées, les hommes abandonnèrent les grottes. On peut toutefois supposer qu’elles servirent de refuge durant la Terreur.
La commune de Larroque a été créée aux dépens de Puycelsi, en 1791, à partir des paroisses de Saint Nazaire, de Larroque, Saint Martin d’Urbens et Notre Dame des Mespel (ou du Désert).
L’église romane est dédiée à Saint Nazaire.
Ne ratez pas le château de la Vère, ancien relais de chasse du 18ème siècle.
Larroque est un très beau village, et il fait bon se prommener dans ses ruelles dont les maisons ont été restaurées avec goût
Larroque is a small village in theTarn, in the lower valley of the Vère between Bruniquel and Puycelsi. It is located at the foot of a limestone cliff.
Its geographical location and the presence of caves where men have settled since prehistoric times in a privileged place.
Rare remnants (tools, flint) dating from the Upper Palaeolithic (toward - 20,000 years ago) were found at the foot of the cliff.
The discovery of polished stone axes, mills for grinding grain, pottery shards, suggesting the presence of Neolithic men (- 5300 BC) at this location.
With Neolithic man begins the settlement and with it the beginning of agriculture and livestock.
In the caves of Larroque were found many objects testifying to the presence of men in the Bronze Age (1500 BCE). Those are pieces of typical pottery, vases and tools (punches, polishers, corners, wooden bone ducts).
The caves were also inhabited in the Iron Age, specifically the period of the Tène (- 500 BC), as evidenced by the many pottery shards found at the site.
It is assumed that men began to abandon the caves and moved to the foot of the cliff at that time.
The first houses in the form of huts had to be built in the first centuries of our era (from 2nd to 10th century).
Later, around the 13th and 14th centuries real houses were built.
During the time of war, the caves served as refuge. There were defensive walls to the caves.
Were found pieces of medieval coins that prove the presence of men during the Hundred Years War and the wars of religion (coins of Henry IV and Louis XIII).
When the wars were over, man abandoned the caves. It can be assumed that they served as a refuge during the Terror.
The town of Larroque was created at the expense of Puycelsi in 1791 from the parishes of Saint Nazaire, Larroque, Saint Martin and Our Lady of Urbens Mespel (or Desert).
The Romanesque church is dedicated to St Nazaire.
Do not miss the castle of Vere, a former 18th century hunting lodge.
Larroque is a beautiful village, and it is good to walk through its streets whose houses have been tastefully restored
Thank you all for your visits & comments , they are much appreciated
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Flying towards Mount Everest at dawn, from the Nepal side.
Mount Everest (also known in Nepal as Sagarmatha and in Tibet as Chomolungma) is the Earth’s highest mountain. It is located in the Mahalangur section of the Himalayas. Its peak is 8,848 metres (29,029 ft) above sea level1 and is the 5th furthest point from the centre of the Earth.The international border between China and Nepal runs across the precise summit point. Its massif includes neighbouring peaks Lhotse, 8,516 m (27,940 ft); Nuptse, 7,855 m (25,771 ft) and Changtse, 7,580 m (24,870 ft).
The first recorded efforts to reach Everest’s summit were made by British mountaineers. With Nepal not allowing foreigners into the country at the time, the British made several attempts on the north ridge route from the Tibetan side. After the first reconnaissance expedition by the British in 1921 reached 7,000 m (22,970 ft) on the North Col, the 1922 expedition pushed the North ridge route up to 8,320 m (27,300 ft) marking the first time a human had climbed above 8,000 m (26,247 ft). Tragedy struck on the descent from the North col when seven porters were killed in an avalanche. The 1924 expedition resulted in the greatest mystery on Everest to this day: George Mallory and Andrew Irvine made a final summit attempt on June 8 but never returned, sparking debate as to whether they were the first to reach the top. They had been spotted high on the mountain that day but disappeared in the clouds, never to be seen again until Mallory’s body was found in 1999 at 8,155 m (26,755 ft) on the North face. Tenzing Norgay and Edmund Hillary made the first official ascent of Everest in 1953 using the southeast ridge route.
Camera: Canon EOS 5D Mark II
Have you ever noticed precise, conical divots in soft earth beneath large trees or at the base of cliffs? The conical pits are ant traps, dug and maintained by antlion larva, which may occupy the trap for two or three years before transforming to an adult (see first comment).
The larva lies patiently, just barely beneath the surface at the bottom of the pit, waiting for the sound and vibration of sliding sand, meaning that a beetle or spider or ant has fallen into the trap and is trying to climb out. The larva grabs it with its large jaws, injects venom to immobilize the prey and enzymes that turn the prey's tissues to mush. The antlion then siphons the digested material through the mandibles and tosses the hollow carcass out of the trap.
This is a live larva (promptly returned to its trap after this shot) caught beneath pines in a ponderosa pine forest in Boulder, Colorado.
“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
Astronomers using NASA’s Hubble Space Telescope have for the first time precisely measured the distance to one of the oldest objects in the universe, a collection of stars born shortly after the big bang.
This new, refined distance yardstick provides an independent estimate for the age of the universe. The new measurement also will help astronomers improve models of stellar evolution. Star clusters are the key ingredient in stellar models because the stars in each grouping are at the same distance, have the same age, and have the same chemical composition. They therefore constitute a single stellar population to study.
Image Credit: NASA, ESA, and T. Brown and S. Casertano (STScI) ; Acknowledgement: NASA, ESA, and J. Anderson (STScI)
Tampere - Art Museum - Hyper 2024
Evan Penny, Panagiot
Tampere Art Museum brings to the city the most interesting international artists in hyper-realistic sculpture from fifty years. HYPER takes the viewer directly to the skin, close to humanity. The works explore the relationship between life and death, reality and fantasy, human and machine, as well as various deformations of the human body. In hyperrealistic pieces, narrative and surprising elements merge with the precise depiction of reality. The sculptures in HYPER are technically skilful, depicting the human body as it is, down to the smallest detail, such as a pore, a wrinkle, facial hair and droplets of sweat. The subjects are everyday situations, ordinary people and the diversity of human existence. This makes the viewing experience strikingly real and immersive.
The precise extent of the once wooded area from which Southwood in the town of Ramsgate takes its name is uncertain. Today, Southwood has much clearer definition in the local inhabitant's mental map as a predominantly residential area and as the home ground of Ramsgate football. It equates with the area of the former Southwood Farm and of Southwood House. Southwood's large, Victorian water tower is also one of Ramsgate's distinctive and prominent landmarks. The Southwood neighbourhood occupies an area of about half a square kilometre, and consists of predominantly late nineteenth and early twentieth century houses. It sits on elevated ground one kilometre to the west of Ramsgate town centre and behind the more prestigious houses, cliff-top promenades, and greens of the West Cliff area.
The Tower was built in 1887 and was made a grade II listed building in 1988, now converted into flats. I can see the back of this building from anywhere in the front of the house.,
Apparently my house was lot 3 when the farm was sold and was used as a brickfield until the row of houses were built in 1902. A brickfield is a common location name in southeast England. Its name derives from a field where the topsoil was removed and the clay beneath was stripped, and mixed with chalk and ash to create bricks, we now have topsoil and chalk so I suppose all the clay was used up!
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
And all was just as well as he first came to this world. He learnt, he destroyed, and he rebuilt. He left this temporary ground for himself, and headed to where he came from. Home.
I can't believe this series is finally over. It's been almost a year of planning, making dresses and cloak, and long travels. Looking back at the first picture I took for this series, "Talking tree," I certainly have changed a lot. Or to be more precise, this series has changed me a lot. Story making has become even more exciting for me than before.
I fell on my knees really hard at times that sometimes I thought I couldn't get up. I hurt myself yet enjoyed the art of process at the same time. So I kept on telling myself that this wasn't over yet, and it brings me right here to a closure, and to be finally able to say that I dared to grow, as I always will.
I am officially selling limited edition prints from this series. The full story can be seen on www.mikaelaldo.com/one-day. For information regarding prints, contact me at mail@mikaelaldo.com
Facebook Page and Instagram.
Or to be precise, a Black Legged Kittiwake, captured from Mumbles Pier today. Really thrilled to see these ( and their chicks ) today because last year the Pier was closed for its ongoing refurbishment and this year, i wasn't sure if I'd get here due to Lockdown, let alone the fact that The Pier was open . One of my favourite seabirds with their raucous call which gives them their name, a call you can hear all the way from Knab Rock, Mumbles and further away depending on the wind direction.
Palmer, Alfred T.,, photographer.
Women are trained to do precise and vital engine installation detail in Douglas Aircraft Company plants, Long Beach, Calif.
1942 Oct.
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Douglas Aircraft Company
Airplane industry
Women--Employment
World War, 1939-1945
Assembly-line methods
United States--California--Long Beach
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-39 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35357
Call Number: LC-USW36-130
Yes again and as was tagged by a good friend Avô Quêu so even if I had already do it, I do it again for her and I hope do not make you fed up about me (smile)
The rule wants we say 16 things about ourself and tag 16 other friends, some of you have done it too, so I tag according the order from my list without make a selection
.
There is any obligation to do it, feel free !
kalle8.
Paul236
瑞士大龙
msummerchick(Deja-Vu photography)
DigitalGal
Robert Rakonczai
Margotte
Marjorie
sibi_thedesigner
Hj.Esa Md. Yunos
eileen.mccausland
Jim_Auchinleck
Thomas Michel
Anaya's Art
turtlemom4bacon
Albert AK
Diamante67
I precise that I have made no particulary choice, I have taken the 16 new contacts in my list.
So again 16 things about me :
1 - I like warm colors, sun and sea.
2 - I can not stand those driving to change of direction without using their flashing.
3 - I like people with a great sens of humour, I would like really have some.
4 - When I was 12 years old, I wanted bacome a religious in a convent wanting to get married with Jesus-Christ.
5 - in 1977, from morning to the evening, I did not stop to sing "Don't cry for me Argentina" sang by Petula Clark. I have even recorded an audio cassette. Since this period, I have never sing again fortunatly ! (I do not know to sing).
6 - I like drink red wine and I can not imagine eat cheese without it.
7 - I am hot-tempered.
8 - I love the sun burning my skin, I like to be brown.
9 - I am extraverti and I like singers with hoarse voice as Amye Winehouse.
10 - I like the beginning of everything, it is always the beginning who interest me.
11 - I have an horrible default, I always tear away rather than have a confrontation.
12 - My taste is more salty that sweet.
13 - I always had prefered to work with men that women, it is for this reason that I was a sales woman cars.
14 - All women here, forgive me by advance about that but I have at the first sight an antipathy for tall and slim women because probably I am all the contrary ! (it is a joke but it is because I am jealous I am little 1m55 (5 feet and 1 inch) and '128 pounds)58 kilogs ). Take it at the seconde degree please !
15 - I have never had interest in the nature untill I use a camera, I have lost so much time......
Unfortunatly my phobie of insects (all sort) stop me to go walk around the nature apart from winter time.
16 - I do not know to cook just to do chocolat cake and pancake only.
PS Thanks to my friend Old Coyotte to have given to me the right comparative metrics.
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
"Hummingbird - Painterly Portrait" by Patti Deters.
This is a close-up portrait of a female ruby-throated hummingbird (Archilochus colubris) perched at the end of a small branch. It is the males that have the red throat - females have white throat feathers, although they may occasionally sport a single red feather. Females have rounded tail feathers with white tips. This tiny little hummer can beat her wings about 53 times a second. She has very short legs that prevent her from walking or hopping - the best she can do is shuffle along a perch. But she is an exceptionally quick precise flyer and you can even hear the beat of the wings if you ever get close enough. If you like this wildlife nature artwork, please see more birds, animals, painterly and more at patti-deters.pixels.com/featured/hummingbird-painterly-po....
5837 and 5237 to be precise, the two locomotives were at Worcester Depot (85A) as Peter passed through. He probably grabbed this shot from his train, Peter was heading for Gloucester Eastgate station.
5837 was built at Brush, it entered service new to Sheffield Darnall 19/04/1962, Under TOPS it became 31304. The loco was withdrawn 07/1999 and scrapped 14/01/2000.
5237 was a Derby built locomotive it went new to Toton 19/12/1963. The loco was withdrawn 28/09/1980 and cut at Swindon Works 01/04/1981. Under TOPS it was numbered 25087.
Peter Shoesmith Circa 1970
Copyright Geoff Dowling & John Whitehouse: All rights reserved
Or, to be more precise, *completely* glazed north and south sides of the tower used for testing the lightbulbs in the lightbulb factory, TEŽ, in Zagreb, Croatia.
Taken with Panasonic GX7 digital camera and Panasonic G Vario 12–60mm F3.5–5.6 zoom lens.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
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Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
¿Cuántas ventanas hay en Manhattan?
First of all, there can be no precise figure for the number of windows in Manhattan, simply because there are no uniform buildings in Manhattan. But according to the New York Times, one can estimate that there are approximately 47,000 buildings of all kinds in Manhattan, depending on the source. However, even knowing this fact may not help, since the rest would be pure guesswork.
Another boss-impressing approach might be to estimate the rough number of square blocks in Manhattan — roughly 200 by 10. Next, subtract 150 square blocks for Central Park, which leaves 1,850. Then estimate the average number of windows on one floor per street block and the average windows per floor per avenue block – the Times suggest about 25 (times 2), and 75 (times 2), respectively. This rounds off to about 200 windows per block floor.
However, the next problem is coming up with an average building height – something that the City Planning Department doesn’t track. Again, the Times guesses an average of 10 stories, making 2,000 windows per square block. Add another 500 hundred or so for small inward facing windows, and multiply those 2,500 windows by 1,850 blocks: 4.6 million windows total.
And unfortunately that guess may be as close as any obsessive urbanite can get. [NYT]
En primer lugar, no puede haber una cifra precisa del número de ventanas en Manhattan, simplemente porque no hay edificios uniformes en Manhattan. Pero según el New York Times, se puede estimar que hay aproximadamente 47.000 edificios de todo tipo en Manhattan, según la fuente. Sin embargo, incluso conocer este hecho puede no ayudar, ya que el resto serían puras conjeturas.
Otro enfoque que impresionaría al jefe podría ser estimar el número aproximado de bloques cuadrados en Manhattan: aproximadamente 200 por 10. A continuación, reste 150 bloques cuadrados para Central Park, lo que deja 1850. Luego calcule el número promedio de ventanas en un piso por bloque de calle y el promedio de ventanas por piso por bloque de avenida: el Times sugiere alrededor de 25 (por 2) y 75 (por 2), respectivamente. Esto redondea a unas 200 ventanas por piso de bloque.
Sin embargo, el siguiente problema es encontrar una altura de construcción promedio, algo que el Departamento de Planificación de la Ciudad no rastrea. Nuevamente, el Times adivina un promedio de 10 pisos, haciendo 2,000 ventanas por bloque cuadrado. Agregue otras 500 o más para las ventanas pequeñas que miran hacia adentro y multiplique esas 2500 ventanas por 1850 bloques: 4,6 millones de ventanas en total.
Y, desafortunadamente, esa conjetura puede ser lo más cercano que cualquier urbanita obsesivo puede estar. [Nueva York]
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
This gull is flying so close to the water that I though he will crash... Unbelievable precise flight!
{Explore} Highest Position: 452 on Thursday, May 7, 2009
We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.
~ James Boswell
This is so true and it is what essentially builds a genuine friendship. A friend who isn't just there because it's convenient but especially when it's not. I have had friends like these before and I wish I still have them around.
Then again, we meet new people as we journey down the path we have chosen. We choose then again to dispense a drop of kindness... and another... and yet another... until we've once more found ourselves to that last drop that "which makes our heart run over."
Photo taken at the Chicago Botanical Garden with our Chicagoland Digital Photography Meetup Group on May 3rd.
And as I previously stated, I'm working my way up all your streams... I will get to yours eventually. It's just taking a good deal of time not because I feel like I'm dragging my feet but because I'm having a lot of fun browsing through all your amazing imagery (and most of the times, that includes reading the comments in your photos too... you'd be surprise how delightful that can get). As such, I can't go on to the next one without ever leaving a note of praise or approval (or a very light constructive critique if it's going to be helpful). A little more patience please and I do hope you don't tire of my unintelligible rantings!
HBW my Flickr Friends!
Aira Force, to be precise.
I'd say this is one of the most well known and/or visited waterfalls from the Lake District...and if it isn't, it should be.
This is a second visit for me and I'm pretty sure there was a tad more 'force' in the fall, the last time I was here. Even so, it's a lovely place to visit with a decent walk, a fair few steps in places, with plenty to distract you along the way.
I sacrificed the bridge for the sake of the 'pool' in this shot. Definitely personal preference and at least I'm consistent as I seem to recall I did that last time.
Space Science image of the week:
This colourful streamer is created from real data that represents the viewing direction of ESA’s Gaia satellite as it scans across the sky.
Gaia’s mission is to make the largest, most precise 3D map of our Galaxy by surveying more than a thousand million stars. This goal relies on the systematic and repeating observation of star positions in two fields of view to detect any changes in an object’s motion through space. As such, Gaia is rotating slowly, sweeping its two telescopes, which are separated by 106.5º, across the entire celestial sphere to make four complete rotations per day.
At the same time, its spin axis changes orientation around the Sun with a period of about 63 days, allowing different parts of the sky to be scanned. This approach builds up an interlocking grid of stellar positions and motions.
While star maps have provided the focus of previous image releases, this image represents the motion of the satellite itself across the full sky.
Gaia’s attitude is plotted every second with two dots: one to represent each of the two telescopes at that moment in time. The positions are plotted in celestial coordinates: right ascension (horizontal axis) and declination (vertical axis), which can be imagined as lines of longitude and latitude printed on the inside of the celestial sphere.
The colours indicate the direction of the scan, the key for which is indicated in the border of the image. The direction of the scan with respect to north (up) can be found by starting in the centre of the image and moving towards the border to the appropriate colour. Each colour around the border covers a range of 18º.
Zooming in reveals first a cross weave-like pattern, and ultimately the individual dots. The highest density of overlapping pattern represents the areas of sky that have been scanned multiple times in different directions already, while the lower density regions were scanned fewer times and in fewer different directions. Eventually the gaps will close, as Gaia makes more and more repeated scans of the sky.
Gaia was launched on 19 December 2013 and began routine operations in July 2014. The first catalogue of more than a billion stars, based on the first 14 months of scanning, was published in September 2016. The image shown here was created from Gaia’s movements between 1 October 2014 and 31 May 2016. This corresponds to the period that includes the second data release, which is scheduled for April 2018.
Credit: ESA/Gaia
Or to be precise Nigella damascena, I saw this one in a garden and thought at first it may be an aquilegia but the leaves were wrong, Mr Google helped me out and now the big test is to see if the garden centre has any and if so, will it grow in my chalky soil in Ramsgate? The garden it was in looked like the topsoil had been replaced.
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
That is certainly an apt description for these incredibly talented pilots. Watching the Blue Angels do their amazingly precise maneuvers in San Francisco is beyond Awesome! Let that be an inspiration for fulfilling any task you put your mind to: Be precise.
Have a fabulous weekend everyone!
— in San Francisco, California.