View allAll Photos Tagged Prioritize
Nikon Zf Deep Tone Monochrome and highlight prioritized metering give the results I could not reproduce in darktable.
I´m sorry I haven´t written for a couple of days now, but I have been quite buzy. I started to empty the boathouse/shed...... we´re planning to renovate the inside and rebuild it to bathroom and toilet. We sat and talked about how much it is to do, and what to prioritize. Stella wanted a bathroom, and I don´t mind at all. And how nice it would be, not having to use that old ugly outhouse! In all other aspects, both Stella and me can live primitive as long it´s needed.
So now the electrician have been here and connected the house to a public line. Truly nice to have electrical light, though we like to read. And I have been preparing for connecting the house to the sewer system. The last few days I have been like a timberjack in action. Cutting down the bush we had..... well, it almost was like a jungle! Now it is ready for the hired machines, which hopefully comes tomorrow, to dig that ditch for the pipes connecting the sewer system.
So when Stella is back, we just have to start build our new bathroom! I just have to buy a toilet, the rest is recycled things found on this property..... So we have to keep hold on to our dream :)
Now..... good night world, new day tomorrow!
Want to see the story from start? :
www.flickr.com/groups/ansgarsgladetales/
Taken at Lionheart:
maps.secondlife.com/secondlife/Lionheart/104/104/22
Recommended song:
One of the best Swedish voices!
Nano - Hold on
An intriguing blend of natural abstraction, vibrant color contrast, and layered visual textures.
The image shows a lionfish swimming just beneath the surface of shallow, clear water over a sandy seabed. The fish features characteristic striped patterns with elongated, fan-like pectoral and dorsal fins extending outward.
The rippling water surface creates a shimmering, slightly pixelated or broken visual effect on its body shapes and colors. In the bottom-left corner, a rocky reef or encrusted coral outcrop is visible, covered in blue algae or sponges.
At first glance, the eye is drawn to the center a lionfish suspended in shallow water. However, the true subject of the image is the distortion of light.
The deep reddish-purple and blue hues of the lionfish cut directly through the pale background, immediately establishing it as the centerpiece despite its small size relative to the frame.
The rippling surface of the sea acts as a natural lens, melting the sharp, dangerous spikes of the lionfish into soft watercolor strokes. The water behaves like an artist’s brush, blurring the lines between the creature and its environment.
Standing in stark contrast to the fluid, fleeting movement of the water, the textured coral structure in the bottom-left corner serves as a visual weight. It grounds the otherwise fluid and ethereal composition.
The brilliance of Liquid Palette lies in its color theory and textural juxtaposition.
The pale, neutral ochre of the sandy seabed provides a minimalist backdrop that allows the vivid indigo of the coral reef and the deep crimson of the fish to explode into view.
The vast expanse of rippling sandy bottom acts as dynamic negative space, adding a sense of isolation and focus to the central creature.
The defining artistic element is the rippling surface of the shallow water. It acts like a natural distorting lens or impressionistic filter, breaking the hard lines of the fish into painterly strokes of color.
There is a stark contrast between the sharp, jagged texture of the reef on the bottom left, the soft, smooth patterns of the underwater sand ripples, and the fluid distortion of the water's surface. This contrast creates an unsettling yet gorgeous visual tension.
The image relies heavily on the interaction between the warm, neutral beige of the sand and the cool, vivid blues of the reef and deeper water pockets.
The visual punch of this image relies on a modern twist of complementary harmony. The organic, warm sandy beige and soft pearl-pink tones of the seabed act as a muted canvas. This backdrop forces the intense electric violet and deep sea teal of the central starfish and bottom reef to visually pop forward.
Over 70% of the frame is dominated by low-saturation, desaturated neutrals. This choice isolates the high-saturation neon purples and blues. It prevents the overall composition from looking chaotic, focusing the viewer’s eye exactly on the marine life.
The overall tonal values lean heavily toward a light, high-key presentation. The water surface acts as a giant natural softbox. It diffuses light across the sand to wash out heavy shadows and replace them with pastel transitions.
Rather than capturing a clinical, sharp wildlife documentary photo, this image leans toward abstract impressionism. It prioritizes mood, light distortion, and form over precise anatomical detail.
Instead of focusing on sharp, realistic details, the image emphasizes how light changes the appearance of objects. The contrasting vivid purples, blues, and sandy beige tones shift dynamically through the moving water.
The image successfully captures the transience of light and water movement, giving the viewer a sense of looking through a moving window into an underwater world.
Liquid Palette invites viewers to pause. It demands a closer look to separate reality from abstraction. It reminds us that nature is the ultimate impressionist, constantly painting and erasing masterpieces in the span of a single wave.
1940 Ford Business Coupe
Yes, a 1941 Willys coupe and a 1940 Ford Business Coupe are directly connected through hot rod culture, wartime military vehicle production, and their shared era as iconic custom builds. They were manufactured by competing companies—Willys-Overland and the Ford Motor Company—but share deep ties in automotive history.
Both cars are legendary foundations for 1950s and 1960s hot rods and straight-line drag racing (specifically the "gasser" class).
Original 1941 Willys steel bodies were produced in much smaller numbers and became rare very quickly, prompting many builders to turn to the more abundant 1939–1940 Ford business coupes as an alternative canvas.
Executives like Joseph W. Frazer moved between these manufacturing firms during the late 1930s and early 1940s, cross-pollinating engineering and production strategies just as these civilian passenger models were built.
The 1940 Ford Business Coupe is a pre-war classic prized for its sleek, teardrop-headlight design and massive trunk. Originally built without a back seat to give traveling salesmen room to store wares, it became an iconic street rod and moonshiner getaway vehicle. It weighs 2,790 pounds and originally cost $720
Designed by Eugene Gregorie, it features sweeping fenders, a pointed V-shaped grille, and split-glass windows.
The interior offers generous head room and a large two-spoke steering wheel, though the cabin tapers inward and floor-mounted pedals feel slightly upright compared to modern suspended pedals.
The rear passenger area was minimal or contained folding jump seats, prioritizing an oversized trunk designed for sample cases or commercial goods.
It was powered by a 221 cubic-inch flathead V8 engine generating 85 horsepower (an economy 60-horsepower V8 was also available early on), with a floor-shifted 3-speed manual transmission.
It features a lightweight chassis, responsive mechanical drum brakes, and a smooth transverse leaf-spring suspension that delivers a compliant, vintage cruising experience.
The Moonshine Connection: The cavernous trunk and stout V8 made the 1940 Business Coupe a legendary choice for illegal whiskey runners ("revenuer" evasion) in the American South, who could fit over 100 gallons of cargo inside.
A Hot Rod Icon: Today, reviewers and collectors note that the '40 Ford remains one of the most popular canvases for restomods and street rods due to its timeless sheet metal and abundant aftermarket support.
... up the hair, why not the heart?"
a thought-provoking reflection on the importance of self-care and inner transformation. This quote draws attention to the common practice of taking care of our external appearance, such as straightening our hair, while neglecting the well-being of our hearts and inner selves. Guevara’s words serve as a reminder that true fulfillment and happiness come from nurturing our inner selves and cultivating a compassionate and loving heart. It encourages us to prioritize self-reflection, emotional well-being, and personal growth in our daily lives.
Quoted by Guevara. Also found as a Chinese proverb.
and deciding what I must prioritize next :-)
Martin Parr
Justice Matters! No one is above the law!
i was pleasantly surprised with the fortuitous placement of the gull...i had but one shot, and got lucky ;-)
Egg Rock Light is a lighthouse on Frenchman Bay, Maine. Built in 1875, it is one of coastal Maine's architecturally unique lighthouses, with a square tower projecting through the square keeper's house.[2][3][4] Located on Egg Rock, midway between Mount Desert Island and the Schoodic Peninsula, it is an active aid to navigation, flashing red every 40 seconds. The light was listed on the National Register of Historic Places as Egg Rock Light Station in 1988.[1]
The Egg Rock Light Station consists of two buildings, a combination light tower and keeper's house, and a fog station building. The keeper's house is a roughly square 1+1⁄2-story wood-frame building, with a hip roof pierced by dormers on all four sides. The painted brick tower, 40 feet (12 m) high, rises through the center of the house.[5] The light is a VRB-25 aerobeacon, mounted in a 1986 replacement lantern house. It is configured to flash red every 40 seconds.[6] The fog station is a brick structure southwest of the main building, with a gable-on-hip roof.[5]
Egg Rock Light
The Egg Rock light originally was fitted with a fifth-order Fresnel lens. The fog station (originally steam-powered) was added in 1904. The station was automated by the United States Coast Guard in 1976, at which time its ancillary structures except the fog station were torn down. The lantern house was removed and the light was replaced by the present aerobeacon. After public protest, a replacement lantern house was installed in 1986. The light continues to be managed by the Coast Guard, and is not open to the public; the island and buildings are owned by the United States Fish and Wildlife Service.[
IA : AMIE OU RIVALE DES PHOTOGRAPHES ?🤔
En Europe, et tout particulièrement en France (selon une étude de l’AFNUM 2024), 55% des photographes acceptent aujourd’hui de collaborer avec l’intelligence artificielle pour trier ou retoucher leurs images.
Pourtant, près de la moitié (49%) considèrent la génération d’images purement IA comme une menace directe pour leur travail et leur créativité.
Les professionnels restent partagés : environ 42% y voient une réelle opportunité d’explorer de nouveaux horizons visuels, tandis que 38% redoutent une dilution de la valeur artistique et du savoir-faire humain.
Chez les amateurs, et plus encore dans le monde de la photographie naturaliste, l’approche demeure plus prudente : on privilégie avant tout l’authenticité du regard, la trace du vécu, la patience d’une rencontre avec le réel plutôt qu’une création assistée par algorithme.
Personnellement, je m’interroge souvent : cette nouvelle ère est-elle une prolongation de notre regard ou un filtre de plus entre nous et le monde ?
Et vous, les artistes, comment percevez-vous cette évolution ? 🤔
L’IA est-elle pour vous un pinceau numérique au service de l’émotion… ou une ombre qui plane sur l’art photographique ?
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
AI : FRIEND OR RIVAL OF PHOTOGRAPHERS ? 🤔
In Europe, and particularly in France (according to a 2024 AFNUM study), 55% of photographers now accept collaborating with artificial intelligence for sorting or retouching their images.
Yet, nearly half (49%) see purely AI-generated images as a direct threat to their work and creativity.
Professionals remain divided: about 42% view it as a real opportunity to explore new visual horizons, while 38% fear a dilution of artistic value and human expertise.
Among amateurs, and even more so in naturalistic photography, the approach remains more cautious: authenticity of vision, the trace of lived experience, and the patience of a real-world encounter are prioritized over algorithm-assisted creation.
Personally, I often wonder: is this new era an extension of our gaze or just another filter between us and the world ?
And you, the artists, how do you perceive this evolution ? 🤔
Is AI a digital brush at the service of emotion for you… or a shadow looming over photographic art ?
________________________________________PdF______
We spent our family vacation in Grand Marais and at Camp House near Brimson. I prioritized time with family over chasing trains, but made one trip to the famed Toimi overpass to see the 5:00 a.m. North Shore Mining loads one morning. The sun was out until about 10 minutes before the train arrived. Still, I can't complain about seeing 3 SD40-2's instead of the newer power the railroad also uses on these trains.
Attempting to prioritize detail with the center of the flower. At the same time I was looking to bring out soft but detailed background grass. Nikon Macro Lens.
With a little bit of a traffic jam on the west end of the Flint Sub, choices had to be made. One choice was that M397 had to sit and wait for space in Battle Creek, and on 2 Q trains. After meeting eastbound Q140, Q149 flies past westbound entering CP Potterville.
A ZAGAL-004 is leaving Salkhit station with train 271 bound for Sükhbaatar.
In the background, the “parallel brothers” Salkhit shunter M62UMM-014 and 2M62MM-011 have just arrived from the Erdenet branch line with a copper train. This photo was taken during our special summer group tour focused on 2ZAGAL and M62 locomotives in the northern part of the Trans-Mongolian Railway. June ©2022
Sometimes during our tours, several impressive locomotives gather at the same time and closer spots, and it becomes quite a challenge to decide which one to prioritize for shooting. As I remember, we had a quick discussion before the passenger train’s arrival at Salkhit and decided to capture the 2ZAGAL train’s departure shot. Everything worked out perfectly, and afterward, we managed to get plenty of good shots of the other two green and blue monsters as well.
A proposed Massachusetts bill is sparking controversy because it would create a permanent taxpayer-funded 11-seat commission to advance Islamic priorities throughout the state, fostering unity among American Muslims and state organizations. The commission would also prioritize qualified American Muslims in Massachusetts for jobs in state government over other residents of different religious backgrounds. The bill violates the U.S. Constitution and Article III of the Massachusetts Constitution as well.
Job 30:14 “They advance as through a gaping breach; they keep rolling in through the ruins.”
Mood: All I need to see standing by my Christmas tree...
❤ Thalia Heckroth's TWILL JUMPSUIT fatpack. Available at the main store.
Ideal for days when prioritizing comfort is essential while still desiring a polished appearance. For Maitreya Lara, Meshbody Legacy, Legacy Perky, eBody Reborn and Zooby Momma.
Main store in-world: Thalia Heckroth in-world store.
Marketplace: Thalia Heckroth Marketplace
- Thalia Heckroth Flickr Group
❤ SUMMER MEMORIES // T4. Rainy day: 3 static poses with dog and umbrella (wear)
In-world: maps.secondlife.com/secondlife/The%20Northern%20Forests/9...
Flickr: www.flickr.com/photos/goiizane/
❤ Heartsdale Orange The World jewelry set exclusive from the 16 days of Activism Against Gender Based Violence event in SL - Nov. 25-Dec. 10, 2023 - UN Women's Orange The World
This digital painting (working on one of my own pictures of Bari) captures a row of weathered façades in Bari, where warm ochres, sun-bleached whites, and muted earth tones dominate the scene. The buildings appear timeworn yet dignified, with arched doorways, narrow windows, and irregular masonry hinting at centuries of layered history. The small piazza in the foreground, defined by pale stone paving and a solitary street element, opens the composition and invites the viewer into the urban rhythm of southern Italy. Light plays a central role: the bright Mediterranean sky washes over the surfaces, enhancing the contrast between shadowed recesses and sunlit walls.
Stylistically, the oil technique leans toward a loose, impressionistic approach with visible, energetic brushstrokes that prioritize atmosphere over precision. The textures feel almost sculpted, with thick, expressive paint suggesting cracked plaster and rough stone rather than describing them literally. This painterly treatment softens architectural rigidity, giving the façades a vibrating, living quality. The result is not a documentary rendering, but an emotional interpretation of Bari’s historic streets—warm, luminous, and gently nostalgic.
RX_01923_20240502_Bari
We really wanted a nice clean shot of this classic Twin Cities area scene from Mounds Park atop Daytons Bluff. After getting it in clouds the prior day we made sure to prioritize it when Sunday dawned sunny and blue. And while the train we caught was just another typical 1x1 DP setup (my least favorite to photograph but seemingly CP's favorite to run!) at least the light was picture perfect.
CPKC train 148 (Roberts Bank, BC to Bensenville, IL) comes around the corner through Division Street approaching Hoffman Ave. interlocking on Main 2 of the joint CPKC/BNSF St. Paul Subdivision mainline. Interestingly Main 2 here is CP property and is MP 408.9 while Main 1 is BNSF and is MP 429.1. In the background can be seen the impressive downtown skyline and Union Station while in the top right is the dome of the 1905 built state capitol building.
Also note that Great River Road / Shephard Road is empty as it was closed during our visit due to Mississippi River flooding which had crested here on April 27th at 18.2 ft. There also was no river traffic moving, and you'll note that all the barges can be seen safely lashed together and moored up along both banks.
Saint Paul, Minnesota
Sunday May 7, 2023
CN 149 throttles up out of Trenton after being told to wait on a VIA train with CN 2500 in the lead, as well as a SD75I & SD70M-2 trailing. The Canadian comfort cab that 2500 wears is my favourite style of widecab, a uniquely Canadian design that prioritized safety and comfort for the crews. I believe it looks good on every unit that got one and its always special when one is leading. Happy Canada day everybody!
This image captures a quintessential architectural detail found in the historic urban fabric of Italian cities, likely in a region like Tuscany or Emilia-Romagna. The focus is a grand, semi-circular arched doorway framed by heavy, rusticated stone masonry known as ashlar. This technique, characterized by large, textured blocks of stone with beveled edges, was a hallmark of Renaissance architecture, designed to convey strength, permanence, and a sense of imposing aesthetic order. Above the wooden door, a delicate iron grille provides ventilation and light, contrasting with the robustness of the surrounding brickwork and stone.
The city depicted is Siena, Italy, a location renowned for its profound historical significance and medieval urban planning. Siena’s architecture is largely defined by its brick facades and the pervasive influence of Gothic and Renaissance styles, which have been meticulously preserved through the centuries. Visitors to this region often prioritize exploring the Piazza del Campo and the Duomo, while the culinary landscape offers exceptional local delicacies. One must sample pici, a thick, hand-rolled pasta, and panforte, a traditional dense fruit and nut cake that dates back to the 13th century, often enjoyed with a glass of robust Chianti Classico wine.
This type of entrance reflects the socio-economic status of the historic buildings in the city center, where such grand portals were indicators of wealth and civic prestige. The use of exposed brick—a material deeply tied to the clay-rich soils of the Tuscan landscape—harmonizes with the lighter stone accents to create the warm, monochromatic palette characteristic of the area. Beyond its functional role, this structure serves as a tangible link to the past, embodying the continuity of craftsmanship that allows historic Italian centers to remain living museums of human habitation, commerce, and art.
Rarely seen in the US, Gabriel Voisin's very unique luxury cars reflected his aeronautical background, and stand out from the crowd in many ways beyond his wonderful very Art Deco Eagle mascot. Voisin, a French aviation pioneer and the creator of Europe's first manned, engine-powered, heavier-than-air aircraft capable of a sustained flight. During World War I the company founded by Voisin became a major producer of military aircraft, notably the Voisin III. Subsequently, he switched to the design and production of luxury automobiles under the name Avions Voisin. His early cars were some of the finest luxury vehicles in the world, with unique technical details. Many of them won in competition.
In 1919 he started producing cars using Knight-type sleeve valve engines. A former student of the Fine Arts School of Lyon and an enthusiast for all things mechanical since his childhood, Voisin's uncompromisingly individual designs made extensive use of light alloys, especially aluminum. One of the company's most striking early designs was the Voisin Laboratoire Grand Prix car of 1923; one of the first cars ever to use monocoque chassis construction, and utilizing small radiator-mounted propeller to drive the cooling pump. The characteristic Voisin style of 'rational' coachwork he developed in conjunction with his collaborator André Noel. Noel prioritized lightness, central weight distribution, capacious luggage boxes and distinctively angular lines. The 1930s models with under-slung chassis were strikingly low.
In the early 1930s, Gabriel Voisin could not pay all of his draughtsmen any more and a young creative engineer named André Lefèbvre quit, recommended by Gabriel to Louis Renault. Lefèbvre finally entered Citroën where he led three particularly significant car projects: the Traction Avant, the 2CV and the DS, using a lot of Gabriel's lessons, so his design ideas spread throughout the French Auto industry.
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
タイパ、コスパ優先の今の若者は気の毒です。
I feel sorry for today's young people, who prioritize time-performance and cost-performance above all else.
No matter what we dealt with yesterday, today is fortunately or unfortunately “A New Day”. Get your cup of coffee or your tea and let’s get busy. There’s always something to do and I could use a hand. Getting a hand in doing the deeds we do isn’t always easy. Days move by at a frightening pace it seems so being organized is paramount. Prioritizing is the best way I’ve found to get things done. Of course Gratitude and Kindness should play a role in all our days.
The Crimson-backed Tanager (Ramphocelus dimidiatus) photographed here was perched on a weathered stump at Hacienda Guadalajara in La Buitrera, Palmira, Valle del Cauca, Colombia. What immediately stood out was the intensity of the red plumage against the soft green background, a combination that creates strong subject separation even before depth of field comes into play. The pale blue bill adds a small but important color contrast that gives the portrait extra visual interest. I framed the bird to keep the perch as a grounding element while letting the background dissolve into a smooth, natural wash of color.
From a technical standpoint, this was a classic forest-edge setup: limited light, layered background, and a subject that doesn’t stay still for long. I prioritized a clean background and sharp eye focus, using a wide aperture to isolate the bird while maintaining enough depth to keep the bill and body sharp. Exposure was carefully controlled to preserve the detail in the red feathers, which can easily clip if pushed too far. For me, this kind of image is about balance—color, texture, and patience all working together in a single quiet moment.
©2026 Adam Rainoff Photographer
WNYP's afternoon switching job OL-2 out of Olean, NY performs their once a week shuffle of cars at Ardagh Group down in Port Allegheny, PA following early afternoon rain showers.
If you try to shoot this scene today, you'll instead have Erie livery GP15s in place of the Alco pair adorning this photo. It feels like any time anyone posts WNYP Alcos on here now that it comes with a somber mood, lamenting what time and quite frankly poor management has taken both from us as the railfans, and more chiefly the railroad itself. These days Port Allegany is the furthest south these guys travel, having scared away a big chunk of their sand traffic which used to go all the way to Emporium. Regrettably I never managed to chase an Emporium turn for whatever reason, but those runs are pretty well documented all the same so I don't feel too bad. My ever evolving mindset as far as prioritizing shots at the moment dictates I don't always have to go replicate someone else's shot at an important location for my own collection. There are of course still exceptions to that when something really catches my eye, but on the whole my goals lately have been documenting things no one else has. Anywhoser.
Sad boi hours aside, this in fact was a case of me seeing a friend's shots here and wanting it for myself. And y'know what? There's perfectly nothing wrong with that. I milked the heck out of this shoot too. Ardagh is a glass manufacturer, so the typical consist coming down for them is generally two and three bay covered hoppers. Today it seems the morning crew OL-1 will make the trip down here on Thursdays. However, at the time of shooting this, OL-2 was pairing this switch with their thrice-weekly Farmers Valley runs to International Waxes. I was told Wednesdays were the usual day to see this happen, so when I finally got my first glimpse of their train in North Eldred that day, imagine my disappointment when they had no glass hoppers with them. All would be revealed in time however when they got to the split point for the branch to Farmers Valley, tying down their train of tank cars on the main and taking a trip light power down to the port (which by the way, there is no major body of water in this town, so why it has the word port in its name is beyond me). As it turned out, these guys keep some cars on hand on a siding next to the plant. Smart usage of extant rails. Behind the point of view here just slightly to the north, there was a Saint-Gobain plant which also used to get rail service and covered hoppers alike, amid a couple other spurs on the other side of the tracks off to the left and out of view. That Saint-Gobain plant however is currently shuttered and non-operational, with no other tenants on site either. Safe bet it's been at least ten years since they switched there. If only I had a camera and a drivers license sooner! It may still not have been soon enough, but I sure would have seen some other cool stuff which no longer happens on this railroad, like switching reefers out for Cuba Cheese on the Hornell Line.
Sadly there was a reflection shot I nabbed at this very same spot that day with a large puddle behind me, which I accidentally and carelessly deleted while going through my frames in the car that same afternoon. Two years later I still double and even triple check what frames I have selected for deletion before pressing the button now. It was a cool shot, but not worth not taking any more photos that day just to try to preserve the spot for photo recovery software. The thought did linger in my mind though as I fired away shots at the next chase spot going north, imagining the shot I'd lost being permanently overwritten in that moment. Such is life. The daylight was long enough for early April that I was able to get some rather moody shots of these guys switching International Waxes a couple hours later. The newer LED headlights on these units are lens killers in darker conditions, but the right angle can diffuse most strong headlights, so I've found in my many night shoots over the years. I feel it's always worth adding that the crew was exceptionally friendly, and I remember exchanging horn toots with the engineer as I departed Farmers Valley later that evening. Other eventful memories from this day include getting pulled over in Olean and being written for my expired inspection sticker at the time (just another reason to love New York!), and also my dismay at Sheetz for changing their pizza recipe, from the doughy circle style I'd come to love to a thin crust rectangle. Perhaps a cost-cutting measure for them, or someone in corporate just decided they didn't like thick pizza. Either way, I haven't gotten another Sheetz personal pizza since, which is a shame because those were a go-to order for me. There was one other brief moment of frustration even before I got my first shot of the train that day, which by the way due to those LED headlights also caused that first shot to not turn out at all as it was raining at the time. I remember calling up CSX TouchTrace to check a covered hopper for a once a month customer in Rochester, only to find someone had pulled the car on an off day for their service schedule. However for whatever reason they did not replace that car with a new one, so the following morning I at least got redemption with a shot there of a new car going in. It was a day filled with ups and downs, and as an aside the town of Olean even dropped the ticket the state trooper gave me a month later once I fulfilled my inspection duty. None of these details are important to the shot, and yet, they make up a cohesive memory from the day surrounding it. That's worth something in my book. I'm just happy to have this shot with the Alcos above all else.
Because of the need to prioritize, there are a few groups of birds, such as small and medium shorebirds, that I do not follow, so I am not that familiar with them. However, i seldom turn down a great chance opportunity for a photo.
I did not have the opportunity to see this bird walk or fly. It does not fit a Solitary Sandpiper in my guides perfectly but i concluded from the overall look and especially the tail that it is one.
Dense fog distorts my senses in a way that is simultaneously disconcerting yet thrilling. The liminal quality of spaces such as this scene is overwhelmingly immersive. I feel so much more than indifferent observer. Images such as this exist only because I involve myself in the space, become a part of it, and quite literally allow it envelop me.
One of my many fascinations with fog is the sense that clarity exists only within arm's reach. It's the same way my mind perceives life when I'm dreaming. The entire world surrounds me, but it becomes progressively murky as it recedes in distance. I behold only what my mind prioritizes even while I have peripheral awareness of my surroundings. Likewise, fog has the effect of cordoning me into a small space even when I am outdoors in the middle of a large expanse such as stubble field. I desperately want to enter that nebulous threshold where the trees vanish into the fog, but it's an unapproachable boundary. It exists visually, but its not a physical space. I live for visual contradictions such as this.
I´m sorry I haven´t written for a couple of days now, but I have been quite buzy. I started to empty the boathouse/shed...... we´re planning to renovate the inside and rebuild it to bathroom and toilet. We sat and talked about how much it is to do, and what to prioritize. Stella wanted a bathroom, and I don´t mind at all. And how nice it would be, not having to use that old ugly outhouse! In all other aspects, both Stella and me can live primitive as long it´s needed.
So now the electrician have been here and connected the house to a public line. Truly nice to have electrical light, though we like to read. And I have been preparing for connecting the house to the sewer system. The last few days I have been like a timberjack in action. Cutting down the bush we had..... well, it almost was like a jungle! Now it is ready for the hired machines, which hopefully comes tomorrow, to dig that ditch for the pipes connecting the sewer system.
So when Stella is back, we just have to start build our new bathroom! I just have to buy a toilet, the rest is recycled things found on this property..... So we have to keep hold on to our dream :)
Now..... good night world, new day tomorrow!
Want to see the story from start? :
www.flickr.com/groups/ansgarsgladetales/
Taken at Lionheart: maps.secondlife.com/secondlife/Lionheart/104/104/22
Recommended song:
One of the best Swedish voices!
Nano - Hold on
The early morning light breaking over Honolulu in "Waikiki sunrise.jpg" reveals a striking contrast between the untamed Pacific and the rigid geometries of the city skyline. Captured during a travel photography trip to Oahu in April 2026, this image embraces a high-vibrancy aesthetic that pushes the dynamic range to its absolute limit, drawing out the deep, bruised purples of the heavy cloud cover and the fierce, molten golds fracturing across the horizon.
By deliberately prioritizing high tonal contrast over strict realism in Adobe Lightroom, the post-processing amplifies the emotional weight of the dawn, transforming a simple coastal view into a deeply atmospheric tableau. The silhouette of the Waikiki hotels stands monolithic against the awakening sky, their dark, windowless vertical lines anchoring the left side of the frame while the gentle, sloping ridge of the distant mountains grounds the right. Down below, the dark, rippling ocean waters catch fragmented reflections of the fiery heavens, creating a luminous, glowing pathway that draws the viewer's eye directly into the burning core of the sunrise.
Scattered across the water's surface, tiny figures—likely early morning surfers or paddlers seeking the first swells of the day—offer a vital sense of immense scale against the looming urban architecture and the vastly expansive, dramatically lit atmosphere above. Shot handheld without the restrictive use of sensor grid overlays, the composition relies entirely on an instinctual feel for the environment, capturing the exact moment when the natural light perfectly fills the chosen frame. The resulting photograph preserves a visceral, raw encounter where heavy, lingering storm clouds and the aggressive, piercing morning light battle for absolute dominance over the Hawaiian coast, perfectly reflecting Jonathan Potts' distinctive, high-impact approach to urban landscape and documentary photography.
Narrowleaf Cottonwood (Populus angustifolia), Quaking Aspen (Populus tremuloides), and Gambel Oak (Quercus gambelii) line the slopes above the Crystal River, near Marble, Colorado.
I have been too busy with cider orchestrations this autumn to make it out into the mountains to witness the golden-leaved glory that is Colorado in its richest color. It is a pity that apples ripen at the same time that leaves turn golden, and I will not prioritize the same way next year. In light of me rueing the trade-offs I have made, I wanted to resurrect one of the finest autumn afternoons our family has spent out in the hills in recent memory. We walked from Marble to the Crystal Mill and back, and the leaves were at peak color. Everywhere one turned the trees created a visual feast of golden hues.
Skaftafell glacier, also known as Svínafellsjökull, is a breathtaking natural wonder located in Skaftafell National Park in Iceland. It is a part of the larger Vatnajökull glacier, which is the largest ice cap in Europe. Skaftafell glacier is known for its stunning blue ice formations, crevasses, and ice caves, making it a popular destination for glacier hiking and ice climbing.
The beauty of Skaftafell glacier is truly awe-inspiring, with its shimmering blue ice contrasting against the surrounding black volcanic sand and mountains. It offers a surreal and otherworldly experience that will leave you with unforgettable memories. Just remember to always prioritize safety and respect the fragile nature of the glacier while exploring this incredible natural wonder.
The best viewpoints in Skaftafell National Park are through the Sjónarnípa trail. This moderate hiking trail takes you to a stunning viewpoint overlooking the vast glacial landscape and surrounding mountains.
As you hike along the trail, you'll be treated to breathtaking views of the Skaftafell area, including the Skaftafellsjökull glacier and the nearby mountains. The trail winds its way up to the top of Sjónarnípa, which translates to "Viewpoint Peak" in Icelandic. Once you reach the summit, you'll be rewarded with a panoramic view that stretches as far as the eye can see.
Canon EOS R5, RF24-70mm F2.8 L IS USM
ISO100, 24mm, f/16, 1/6s
- Anthony Burgess.
|| insta || blog || photostream ||
During my first visit to Canyonlands National Park, I completely overlooked the Shafer Canyon Viewpoint as a photo spot during planning, only realizing its significance once I was there. With many iconic sites and a full schedule, I couldn't include it on that trip. Therefore, during our December visit, I made it a point to prioritize it. While exploring, I identified three possible viewpoints: one directly across from the visitor center, which is the most popular and offers the best views; another at the Shafer Canyon Overlook trailhead, which shows the canyon and trail but with a less expansive view; and a third spot with a small pullout that provides an impressive view of the road. I reached this last viewpoint on the way back from a sunrise shoot and captured this image illuminated by the beautiful morning light on the canyon walls.
Nestled within the historic labyrinth of Vieux Lyon, this composition captures a study in contrasting textures and centuries-old façades along a narrow cobblestone street. The heavy wooden doors, bearing the traditional property markers numbers 13 and 15, are framed by weathered ashlar masonry and rounded stone arches characteristic of the district's enduring medieval and Renaissance vernacular. A vertical drainage pipe divides the two entryways, acting as a modern spine against surfaces that have weathered centuries of urban evolution on the western banks of the Saône River. The doorway on the left exhibits dark, time-worn timber planks topped with an open lattice transom, while the adjacent green-painted portal features horizontal panels secured by iron clavos beneath a semi-circular transom window.
Vieux Lyon stands as one of Europe’s most expansive intact Renaissance districts, earning designation as a protected sector under the Malraux Act in 1964 and securing UNESCO World Heritage status alongside the surrounding historic quarters. Originally flourishing as a hub for Italian merchants, bankers, and wealthy silk printers during the 15th and 16th centuries, this quarter evolved around three distinct focal points: the clerical Saint-Jean, the mercantile Saint-Paul, and the artisan-driven Saint-Georges. The buildings characteristically prioritize depth over frontage, concealing intricate internal courtyards, spiral staircases, and legendary traboules—secret covered passageways utilized historically by silk merchants to transport textiles protected from inclement weather.
As the culinary capital of France, Lyon offers a rich gastronomic heritage deeply rooted in local tradition, famously championed by its historic bouchons serving regional specialties like quenelles de brochet, saucisson lyonnais, and cervelle de canut. The surrounding Auvergne-Rhône-Alpes region provides exceptional ingredients, from Bresse poultry to alpine cheeses, complementing world-class vintages from the nearby Beaujolais and Rhône Valley vineyards. This culinary prestige, combined with an architectural legacy spanning from Roman ruins on Fourvière hill to the vibrant traboules of the old town, cements Lyon's position as a living museum of urban culture and gastronomy.
20220529_RX_03924_LYON
Strategisch schaakspel met die ene bui: BB 22307 te Les Attaques
Het was een dag van nauwgezet plannen en anticiperen. De hele voormiddag speelden we een tactisch spel met die ene, hardnekkige bui die langzaam van het noordwesten naar het zuidoosten over het land trok. Door ons steeds strategisch op te stellen en telkens net de grens van de bui over te steken, slaagden we erin om onze foto’s in de volle zon te blijven maken. Zo stonden we ook in Nouvelle-Église nog op een droge plek voor de passage van de twee treinstellen.
Rond 14:00 uur was de bui eindelijk ver genoeg naar het zuiden opgeschoven, waardoor we konden doorsteken naar ons eigenlijke doelgebied rond Calais. We besloten eerst even plaats te nemen langs de lijn van Calais naar Hazebrouck, aangetrokken door het feit dat hier binnen een uurtje twee goederentreinen zouden passeren. Er stond echter ook een rit van Saint-Omer naar Calais op het programma die nergens op de officiële SNCF-kanalen terug te vinden was.
We besloten toch maar eerst een standpunt in te nemen voor deze trein (waarbij we de talrijke hoogspanningspylonen die hier bij Les Attaques langs de lijn staan, mooi wisten te verbergen achter een struik in voorjaarsvorm). Groot was onze verbazing toen we de neus van een Nez Cassé zagen opduiken met een sleep dubbeldeksrijtuigen. Deze zeldzame verschijning bleek één van de opleidingsritten te zijn die momenteel tussen Calais en Saint-Omer worden uitgevoerd. Gaaf om deze klassieker hier aan te treffen! Het was een geweldige opsteker halverwege de middag, maar de fotodag was toen nog lang niet voorbij!
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A strategic game of chess with a single shower: BB 22307 at Les Attaques
It was a day of careful planning and anticipation. Throughout the morning, we played a tactical game with a single, stubborn rain shower moving slowly from northwest to southeast. By positioning ourselves strategically and constantly crossing the edge of the shower, we managed to keep taking our photos in full sunshine. This allowed us to stay dry at Nouvelle-Église for the passage of the two multiple units.
Around 2:00 PM, the shower had finally pushed far enough south for us to move to our target area around Calais. We first decided to set up along the line from Calais to Hazebrouck, attracted by the prospect of two freight trains passing within the hour. However, a run from Saint-Omer to Calais was also on the schedule, though it was nowhere to be found on official SNCF channels.
We decided to prioritize a position for this train first (successfully hiding the numerous high-voltage pylons at Les Attaques behind a bush in its spring finery). Much to our surprise, the nose of a Nez Cassé appeared with a rake of double-decker coaches. This rare sight turned out to be one of the training runs currently being operated between Calais and Saint-Omer. Great to encounter this classic here! A fantastic boost midway through the afternoon, and the photo day was far from over!
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Les Attaques, 06/05/2026
SNCF 522307
714317 St-Omer - Calais Ville
Rheas, like many other birds, cannot create suction to drink water as mammals do. Instead, they rely on gravity to help them swallow. When drinking, a rhea dips its beak into the water to scoop it up, then tilts its head back to let gravity carry the water down its throat. This method is not precise, so they spill a significant amount of water in the process. This behavior is common among large, flightless birds such as rheas, ostriches, and emus, whose anatomy prioritizes other functions over efficient drinking.
Neotropic Photo Tours. www.neotropicphototours.com
In 2025 I saw this angle just outside of Emo, Ontario and knew I should prioritize it on another visit to the Fort Frances area. This visit was made more complicated by a derailment on the CN Sprague Subdivision mainline north of Warroad, Minnesota the previous morning (0500 - March 28, 2026) that snarled the movement of traffic on the busy route from Winnipeg to Fort Frances and then points south.
I was exploring the Cranberry Peatlands Interpretive Area nearby when I heard moving CN traffic from the west - a clear indication that trains were moving again through the derailment zone. That was my que to head to Emo and try my luck. After a while of waiting, the intermediate signal in Emo popped on clear for a westbound train. Some of the local cattle got curious about me while I was waiting and decided to make their presence known to my enjoyment just as this long-awaited westbound sand train takes the curve approaching Emo.
Obviously a cow pun was appropriate for the photo title.
Colorful architectural homes line the water at Rietplas in Houten, just outside Utrecht, their reflections stretched into near perfection by time itself.
Captured on a quiet summer day in July 2017, this scene is less about movement and more about patience.
With an exposure time of exactly 300 seconds, the surface of the water is transformed into a mirror, softening ripples, dissolving distractions, and allowing color and form to exist without urgency. The sky drifts slowly above, leaving faint traces of motion, while the houses stand calmly below — grounded, yet doubled.
Long exposure photography often reveals what the eye cannot see: not more detail, but more silence. Here, time is not frozen — it is gently stretched.
Technical details:
– Exposure: 300s (5 minutes)
– Aperture: f/11
– ISO: 100
– Focal length: 27mm
– Filter: Lee “The Super Stopper” (15 stops ND)
Fun facts: The Lee Super Stopper reduces light by 15 stops, turning bright daylight into long-exposure territory normally reserved for twilight or night.
A 300-second exposure smooths water so effectively that even light wind and small ripples disappear entirely.
Houten is known internationally for its human‑scaled urban planning, prioritizing pedestrians, cyclists, and visual harmony over cars.
Long exposures don’t just change how a place looks — they change how a place feels.
"Puentes olvidados"
A finales del siglo XIX, España buscaba conectar con urgencia de la forma más rápida y directa sus dos grandes urbes: Madrid y Barcelona. El proyecto del tramo catalán contemplaba que los trenes bajaran desde Zaragoza por Caspe, cruzaran Reus y llegaran a Roda de Barà sin necesidad de pasar y maniobrar en la saturada estación de Tarragona.
Para poder sortear los desniveles del Camp de Tarragona y, en especial, el cauce del río Gaià a la altura del municipio de La Riera de Gaià, la ingeniería civil de la época diseñó un imponente puente de obra de piedra con diez arcos de medio punto. Tras meses de complejas obras, la estructura se inauguró oficialmente el 17 de julio de 1884 junto con el resto de la línea.
A partir de la segunda mitad del siglo XX, la suerte de esta sección de la línea Directa cambió. El Estado comenzó a modernizar y electrificar la red de vías que pasaba por la costa (San Vicente de Calders -Tarragona-Reus) y las rutas comerciales y de pasajeros se priorizaron a través del nudo de Tarragona, dejando este tramo Directo (Reus-Roda de Barà) como una vía secundaria de poco interés para Renfe.
El bajo interés sobre este tramo del ferrocarril Directo y sobre todo la falta de mantenimiento de esta sección hizo que se cerrara al tráfico de viajeros definitivamente en 1992.
Pese a que el tramo quedó abandonado, el viaducto ha resistido al paso del tiempo y a los expolios de metal como un testigo mudo de la era del vapor y de la revolución industrial en Cataluña.
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"Forgotten Bridges"
At the end of the 19th century, Spain urgently sought to connect its two largest cities, Madrid and Barcelona, in the fastest and most direct way possible. The project for the Catalan section planned for trains to travel down from Zaragoza through Caspe, cross Reus, and arrive at Roda de Barà without the need to pass through and maneuver in the congested Tarragona station.
To overcome the uneven terrain of the Camp de Tarragona and, in particular, the riverbed of the Gaià River near the municipality of La Riera de Gaià, civil engineering of the era designed an imposing stone bridge with ten semicircular arches. After months of complex construction, the structure was officially inaugurated on July 17, 1884, along with the rest of the line.
Starting in the second half of the 20th century, the fortune of this section of the Direct line shifted. The State began to modernize and electrify the coastal track network (Sant Vicenç de Calders - Tarragona - Reus). Consequently, commercial and passenger routes were prioritized through the Tarragona junction, leaving this Direct section (Reus - Roda de Barà) as a secondary track of little interest to the operators of that time (Renfe).
The low interest in this section of the Direct railway, combined above all with the lack of maintenance on this stretch, led to its definitive closure to passenger traffic in 1992.
Although the section was abandoned, the viaduct has withstood the passage of time and metal looting, standing as a silent witness to the steam era and the industrial revolution in Catalonia.
It's about smack dab in the middle of autumn and some leaves are still hanging onto the trees amidst some sub-zero temperatures complimented by a fresh layer of snow as CP H08 moves east on the Havelock Sub with GP38-2 3129 in the lead. This was the earliest significant snowfall these parts of Ontario saw in around 55 years supposedly, and I jumped at the opportunity to head out and capture some shots, hoping to prioritize areas like the one above in Blackstock where it was evident that the fall was still in full swing.
This morning I wanted to concentrate on smaller birds and test Sony's Eye AF changes. It works great! With the correct settings, it will prioritize the eye to be in focus instead of the closest point to the camera within the focus area.
(Epthianura albifrons)
Western Treatment Plant - Werribee - VIC
Austrália
With this photo, I conclude my extensive series of one photo per species from our 30-day trip to Australia. We recorded 207 species, a disappointing number for a dedicated birdwatcher, but we are not birdwatchers and we didn’t photograph everything we saw. We prioritized good photographic opportunities, often spending a lot of time with a single species, rather than focusing on the number of sightings, which we didn’t even keep track of.
Even so, out of eagerness and caution—since we might not see the species again—we often photographed under much less-than-ideal conditions, resulting in a significant number of species recorded with low quality. Sorry fot that!
I also photographed a handful of additional species, but I don’t dare to show them, as the quality is so poor.
Additionally, I still have a folder with photos labeled as "Unknown," but even if I manage to identify them, the quality is once again disappointing, so they will most likely remain in that state.
I once again have to give a big thanks to our new Australian friends—Karen and Kevin in Werribee (Melbourne), John and Leoni in Mount Barker (Adelaide), and Stu and Colin in Brisbane—who helped us tremendously in obtaining these photos.
Without their help, we wouldn't have even seen many of these species, let alone photographed them. I hope to one day return the favor, but I think that's unlikely due to the distance. I will be eternally grateful and will try to help others who visit us.
We're already eager to return, but for now, I'll pick some of my favorite photos to complete the collection!
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All my photos are now organized into sets by the country where they were taken, by taxonomic order, by family, by species (often with just one photo for the rarer ones), and by the date they were taken.
So, you may find:
- All the photos for this trip Austrália (2024) (309)
- All the photos for this order PASSERIFORMES (3553)
- All the photos for this family Meliphagidae (Melifagídeos) (43)
- All the photos for this species Epthianura albifrons (2)
- All the photos taken this day 2024/11/02 (27)
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Doug Harrop Photography • August 17, 1984
Mr. Harrop was a huge fan of UP's DDA40X "Centennial" locomotives. When 25 of them were removed from storage early in 1984, he prioritized photographing them as much as possible.
UP 6910 passed his home in Mountain Green on Aug. 17, 1984, and he gave chase. While the weather was dark and gray, he knew the double diesels wouldn't be around forever. This fine photo was taken in Echo Canyon under threatening skies.
History is grateful Doug was there to record the final months of service. 6910 was retired by UP on May 29, 1985, and scrapped at St. Louis Auto Shredding.
For decades, like a ghost, she's been waiting for better times by watching from the window. But only little changes happen...
Despite all the progress in all sectors, the human being continues to disappoint and prioritize personal desires and follies, and for that, he inflicts suffering on others using violence, disrespect for life and personal freedom. Prioritizing the desire to have what he wants simply goes on eliminating supposed adversaries.
After two years of this terrible pandemic, all we want most is peace to assimilate the pain of so much loss and so much despair. Never, even in the worst of nightmares, would we be able to imagine an unjustifiable war that can reach unimaginable proportions.
Sorry friends, but I've been feeling a little depressed lately, a little disillusioned with where life is going. But I left in this photo small colored dots symbolizing the hope that something will change over the days...
This photo is a "fantasy" and was made (through simple Photoshop features) by combining a photo taken in Italy and a postcard from the early 20th century romantic series.
The lady in the photo just observes but keeps a certain sadness in her eyes.
Better seen when you zoom the photo. ;)
On Explore: April 18, 2022
I have missed the whole week of epic sunsets due to work, ran to the Shoreline Boathouse nearby once I see the beautiful cloud pattern without hesitation and what I experienced was a beautiful meditative evening of color show. The foreground is blurry since I was in a huge hurry to prioritize the calm water, but sometimes we win and sometimes we learn...
📷 IG:travelwgraceh
1958 Chevrolet Apache Fleetside
The 1958 Chevy Apache Fleetside marked a major turning point in Chevrolet truck design, introducing dual headlights, the new “Apache” name, and the first-year Fleetside bed option. It sits at the crossroads of late‑1950s styling and the rise of small‑block V8 power, making it one of the most collectible Task Force–era trucks today.
First year for the “Apache” name, applied to Chevy’s light‑duty trucks.
First year for dual headlights, giving the truck a more modern, upscale look.
Debut of the Fleetside bed, featuring smooth, wide bedsides instead of the earlier Stepside design.
Chevy’s small‑block V8 had matured significantly by 1958:
Originally introduced in 1955, the engine grew from 265 cu in to 283 cu in by 1958.
Optional Rochester mechanical fuel injection made it one of the first production engines to reach 1 horsepower per cubic inch.
Inline‑six engines were also available for buyers prioritizing economy over power.
I never posted a landscape photo on my Photostream before, a part those few occasions where I used them as background for Lego or other collectibles photos.
I usually focus on storytelling using my collectibles and it always requires so much effort I don’t have a lot of time for other hobby activities and so I prioritize.
Over the years I took a very large amount of landscape photos. It is was the genre that saw me start photography years ago.
Browsing all the photos I took over the years would require a lot of time and “prioritization” strikes back.
However few days ago I managed to take this photo as I was trying to set up an outdoor scene for my Lego and action figures photos (it’s getting quite hot here and sometimes it’s not easy to set up the scenes for those photos) and I decided to share it with you :)
I won’t bother you with geographic details but if you are curious the location of this photo is near the Cinque Terre, a rather famous location in Liguria, Italy.
I hope you like this photo :)
First I've been essentially off Flickr for several months. Life has been busy but I have been out shooting when I can. I hope everyone is well and I hope to catch up with your work as time allows.
Went with a friend in early June just over the Georgia border into North Carolina to primarily target this warbler. We have some breeders at higher elevations in the north Georgia mountains but those populations get a fair amount of pressure from birders and photographers. I usually don't target warblers on territory that late in the season but wanted to try something different with this species. Those more familiar with my warbler photography know that when working on Spring breeding grounds I prioritize locations that are largely 'off-grid', meaning they are seldom visited by other birders or photographers. They also know my preference for composition which often includes something in bloom and preferably something found growing in the bird's territory. I've learned over the years that each warbler species has its own tendencies as to responsiveness to playback and I've also learned how complex playback can be....and of course I'm still learning! The goal is to minimize playback and have an interaction with the bird that minimizes any potential stress. To place a warbler on an intended perch where it in turn is comfortable enough to sing is usually my goal in Spring. It has been my experience that this species can be one of the most challenging species of all eastern warblers to accomplish that feat; that is to perch it on an exact intended perch with a smooth background and get singing shots.
Using refined techniques (timing in breeding cycle and playback call choices and process) for this species we worked with just one male and photographed him on the blooming Mountain Laurel as well as blooming Flame Azalea. As a bonus his presumed mate joined him briefly on the Flame Azalea. The call choices and process used built on that used in the upper peninsula of MI two Springs ago. For whatever reason it seems those birds in the northern part of the range are easier to work with earlier in the season than those in the more southern part of the range. Time will tell. With all things warbler as pertains to responsiveness there are definite tendencies but few if any absolutes.
In the southern part of its range Canada warbler is often found in areas where Black-throated Blue warblers breed. Canada warblers are very responsive to the playback techniques I've learned for that species when used soon after breeding ground arrival. What would be the results about a month to 6 weeks later using the same techniques? We tried several Canada warblers when we visited this North Carolina area in early June as my friend was interested in photographing that species too. The results were clear. For Canada warblers at least in the southern part of the range I will stick to the early arrivals when attempting spring breeding ground photography. This appears to be in stark contrast to the better timing for Black-throated Blue warblers in the southern part of their range.
There may be the assumption that any app with calls has what you need. When you spend as much time as I have in the field with warblers you will realize that no one app has the library of calls you would like to be available to you. That expanded library access has enabled me to close gaps in responsiveness for many warbler species which means better images and much less potential to stress the bird. The technique of "just turn on the call' is imho a rather primitive one but where I too started many years ago. That technique will often increase stress on the subject and yield more limited results as well. Boiled down using playback well for warbler photography is an interaction which requires careful observation of how the bird is or is not responding. If you are needing an app such as Merlin to locate your subject that is fine. However if you yourself can not hear the subject well and see how it is responding based on what you hear and also the visual than you will be limited in your results and probably increase the stress on your subjects as well.
Rivulets of distant Quaking Aspen (Populus tremuloides) gather and flow into a greater current as they descend the northeast slopes of East Beckwith Mountain (12,441 ft; 3,792 m), Gunnison National Forest, Colorado. The wave of colour builds and crests into a tumbling wall as it overtakes the foreground copse.
Looking at this image, I feel that it is a pity that apples are ripe at the same time of year that leaves shed their pedestrian, functional garb and don their festive outer-wear. I have been fermenting and making cider for several years now, and the apple crop along the Front Range this year is like nothing I've ever seen. The quantity of fruit is profound, and I have discovered numerous varieties with extraordinary and intriguing colors and flavors. Unfortunately, collecting and processing all this fruit (600 lbs so far) is time consuming, and I have therefore not prioritized traveling to take in the seasonal show in the mountains.
Fortunately, it is easy to flick back in time via the computer and remember that last year brought so many beautiful moments, despite the fear and isolation brought on by the ongoing pandemic. One benefit that accrues when one absorbs time in the out-of-doors is that it becomes harder and harder to focus on internal travails, whatever they may be.
I hope the first days of autumn have treated everyone well!
“Roadiripophobia (r)
The fear of not having any road trips planned” -unknown.
Although we have been home for a month now, I do find myself getting itchy feet lately. . I shall have to be content with day trips for the winter. This is a scene from the Fundy Trail Parkway. While covering long distances on our road trips, there are times we just cannot not stop to take pictures. We need to prioritize. Consequently, I got better at taking pictures through our car windshield as the car is moving. I started an album to keep track of some the roads we have travelled over time. With a higher ISO to get the sharpness I needed and then some AI magic in editing, I got some decent results. This road was newly paved with lots of twists and turns. It was a dream to drive on.