View allAll Photos Tagged Prioritize
23250 McKay Avenue
Maple Ridge, BC Canada
A Harbour Authority (HA) is a non-profit, locally controlled organization which operates under a head lease with the Department of Fisheries and Oceans (DFO) to operate and maintain a DFO-owned public commercial fishing harbour in the best interests of the commercial fishing fleet.
The harbour facility consists entirely of the property and water lots under the ownership of DFO – Small Craft Harbours (SCH).
An HA must operate the harbour as a public facility in accordance with the terms of the head lease and must at all times prioritize the needs of the commercial fishing industry above all else
Image best viewed in large screen.
Thank-you for your visit, and any comments or faves are always very much appreciated! ~Sonja.
Photograph published on 10/21/2021 { link below }
thebl.com/politics/160-republicans-push-biden-to-prioriti...
Also published on 10/30/2021 { link below}
bles.com/ultimas-noticias/eeuu-senador-marco-rubio-vatici...
Thank you everyone for taking the time to fill this out! There has been so many who applied, and we thank you all!
Basically, we will be prioritizing bloggers who post about deco and poses. Some fashion blogs might be accepted if they have some deco post that are well put, so we expect they do good in a decor post for us!
We will be sending a group invite (inworld) in a few days after we get all the names sorted out! Again thank you and we look forward to working with the ones who will be selected! <3
From the underground steel cage fight matches at Silent Sam's, Max prepares for combat!
Magister Maxwell "Max" Tennyson, or Grandpa Max as his grandchildren call him, is the paternal grandfather of Ben and Gwen. He is a slightly overweight man in his late 50's to early 60's, with a keen sense for adventure and a strange taste in exotic food. During the original series, Max takes the kids on a summer road trip across the United States. Max travels in a motor home nicknamed the Rust Bucket, which he has modified with advanced technology.
Max was a semi-retired legendary Magister rank Plumber and is the mentor of Ben, Gwen, Kevin, and the Plumbers' Helpers. Max is widely considered the greatest Plumber in the Milky Way. As of Omniverse, Max quit retirement and joined the Plumbers again, and is currently Magister of Earth.
Personality
An easy-going, kind, and normally jovial man, Max Tennyson often comes across as pleasantly absent-minded at times, but is actually quite perceptive. For instance, he knew early on in Ben's adventures who was most likely pursuing him, as he was aware of Vilgax's history having fought the alien tyrant many times before.
Max is a very brave man, having dedicated his life to preserve peace on Earth between humans and extraterrestrial life. His bravery has resulted in him being injured, having his DNA spliced, nearly killed in several dozen ways, and more. His prioritization of others' safety above his own even when bereft of a weapon shows his selfless nature at its finest.
Ever the consummate strategist, Max is very intelligent, being able to select the correct weapon to battle Zs'Skayr based on minimal information given to him by Ben, choosing a light-based weapon to bring down the rogue Ectonurite.
Though well-meaning, Max is not without a stern side, having struggled to guide Ben during the first few months of his grandson's possession of the Omnitrix. When pushed, Max can be strict, harsh, but not unreasonably so, not being afraid to call people out on their selfishness and mistakes when necessary.
Max has a weird appetite, which comes from his travels both on the Earth and beyond.
Powers and Abilities
Although Max doesn't have any super powers, he is very skilled in combat and can take on anyone who does have them as he is quite athletic for someone of his age. As a retired Plumber, he has access to a variety of various Plumber tools and weaponry, which he uses skillfully. Aside from that, his experience from his Plumber days made him knowledgeable on various species of aliens. He is also able to strategize well and is skilled in inventing new machines. He is telepathically connected to his lover, Verdona.
Before joining the Plumbers, Max was a United States Air Force pilot, with dreams of joining NASA and going to the moon. He was an expert at flying an F-104 Starfighter and was able to shoot down an alien spacecraft.
Weaknesses
Despite being highly trained, Max is far from the prime athletic specimen he was during his days as a Plumber. He is a senior citizen, and has not managed to keep in shape, though he does still possess an incredible tactical mind to compensate for his less than stellar physical conditioning.
Regular Appearances
In the Original Series, Max wore a white shirt, covered by a red buttoned-up Hawaiian shirt with a floral design. He had grey hair and blue pants, as well as brown shoes.
In Alien Force and Ultimate Alien, Max's appearance did not change except for his blue pants being changed to brown, he had more wrinkles, a slightly darker shirt, and whiter hair. He wore black shoes.
In Omniverse, Max's appearance has not changed that much except for his brown pants, which are now white. He has whiter hair, more wrinkles, and his eyes have been changed to little black dashes. His white shirt that he wore under his red button up shirt has changed to black. Also, his shoes are now grey at the top and black at the bottom.
Occasional Appearances
In the original series, his pajamas were blue and had yellow lightning streaks.
While in the hospital in The Alliance, he wore a light blue hospital gown, with a cast around his left leg, bandages around his head and a band-aid on his left cheek.
In Dr. Animo and the Mutant Ray, he wore an orange life jacket.
As a Lepidopterran hybrid in the same episode, he had a maggot-like body with green skin and six legs. He had four eye stalks with orange eyes and grey hair.
In Back with a Vengeance, he wore a yellow raincoat while touring Niagara Falls on a ship.
In A Change of Face, he wore a pilgrim outfit.
In Merry Christmas, while cursed as Santa Claus, he wore a red and white robe, a red hat and green gloves.
In Game Over, while inside Sumo Slammers Smackdown, he wore grey armor which covered his left pectoral and lower body. He had brown hair on top and on the sides of his head, along with a brown beard.
In Monster Weather, he wore blue jeans, a brown headband, a brown vest and brown sandals along with his red Hawaiian shirt.
In Under Wraps, he briefly wore a blue bath robe.
In Under Wraps, The Return and Be Afraid of the Dark, he wore a hazmat suit.
As Ultra Grandpa in Perfect Day, he had a stereotypical superhero costume. He wore frameless blue goggles, a cyan shirt and white pants. He also donned a white cape like Ultra Ben.
In Divided We Stand, in addition to his red Hawaiian shirt, he wore brown shorts and brown strap sandals.
In Don't Drink the Water, Max briefly wore a pair of glasses.
After being turned into a 10-year-old in Don't Drink the Water, Max's hair was similar to a crew cut, and rather than fat, he looked skinny and athletic. He initially wore his own clothes, then switched to Ben's clothes.
In Big Fat Alien Wedding, during the wedding ceremony, he wore a black tuxedo.
In Ben 10 vs. the Negative 10: Part 2, he wore a grey exo-suit with blue markings on its visor.
In Alien Force and Ultimate Alien, he sometimes wore a short-sleeved white T-shirt with light brown pants and a green pouch with a sling that hangs on his shoulder.
In a flashback in Ben 10 Returns: Part 2, Max wore his regular shirt as well as dark blue shorts, white socks and brown shoes.
In Max Out, he wore a light brown long coat and a brown hat with a horizontal black stripe, over his regular outfit.
While under the identity of the Wrench, he wore a black T-shirt and light brown pants under a brown robe.
In Alien Force and Ultimate Alien, he occasionally wore a Plumber suit.
In Alien Swarm, Max wore a blue Hawaiian shirt instead of a red one. He wore a brown jacket over this outfit near the end of the movie. In a video recording, he wore a bluish grey vest over a long-sleeved white shirt, as well as blue pants.
As seen in a flashback in Moonstruck, Teen Max had short brown hair. He wore a brown jacket over a red shirt as well as light brown pants. He briefly wore his Air Force uniform.
In a flashback in Of Predators and Prey: Part 2, Max's fishing outfit consisted of a brownish grey hat with a horizontal grey line, as well as baggy brownish grey pants held up by black straps.
In a flashback in Blukic and Driba Go to Area 51, as a young adult, Max had black hair and was scrawny. He wore the same Hawaiian shirt he wears in the present.
In Something Zombozo This Way Comes, as a Zombie Clown, Max had white makeup, red lipstick, a red nose and different hair.
⋅•⋅⋅•⋅⋅•⋅⊰⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅∙∘☽༓☾∘∙•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅•⋅⋅⋅•⋅⋅⊰⋅•⋅⋅•⋅⋅•⋅⋅•⋅
A year of the shows and performers of the Bijou Planks Theater.
Ben 10
Sumo Slammers
Max
2006, Bandai
"How do you protect your camera?!" When I hear this, I assume you haven't taken any photos at Burning Man.
The safety of your gear and the amount/quality of photos are inversely proportional. I know which is more important to me, and prioritize accordingly. You can get a new camera, but not those photos again.
Photo by Martin Smith, friend and Blight crew member.
See my post-burn report at www.theblight.net/?p=87
PS: this is my personal gear, not paid for nor provided by any organization (other than The Blight, and that's me.)
I would say my greatest opportunity in a personal or professional environment is adapting to the challenges, changes, shifts, and circumstances that come up in an instant- and overcoming them so they do not wreck my day or week. It's challenging and a struggle, but I feel like I have gotten better at adapting to the fires that pop up, the challenges they create, and prioritizing things so that the right things get done.
Some days more so than others I let it get the best of me (hello, Thursday nice to meet you!), but probably the best lesson I have learned is that it's just a day. It's just a moment, and I can move on.
Theme: Working Conditions
Year Thirteen Of My 365 Project
World Water Day 2023
The theme of World Water Day 2023 is accelerating change. This theme aims to urge governments, civil society, and individuals to accelerate progress toward achieving Sustainable Development Goal 6. To ensure safe drinking, bathing, and using proper sanitation facilities for everyone, we need more action, ambition, and innovation.
The main goal is to fulfill the commitments of the 2030 Agenda for Sustainable Development and ensure that Water, Sanitation and Hygiene (WASH) are seen as core elements in all sectors. Additionally, the theme explores how to coordinate action across multiple sectors, strengthen the collaboration among stakeholders, and maximize impact.
In 2023, World Water Day will provide an opportunity for people, corporations, and governments to take responsibility for achieving WASH objectives on time. Governments should prioritize investment in infrastructure such as pipes, sewers, wells, pumps, water tanks, and basic maintenance systems.
The UN 2023 Water Conference will be held in New York from 22 to 24 March 2023. By discussing what needs to change, we should create a collective action plan to help us reach our goals faster than ever. Now is the time for each of us to take responsibility for our actions. As a result, we will be able to accelerate the necessary changes needed to improve hygiene standards worldwide. By doing this, every person in the world can access clean drinking water.
Klipvoor Dam
Borakalalo
Near Brits
South Africa
Fort Funston - San Francisco, California
Fort Funston, San Francisco... What can I really say about this area? Well... If you have a dog, it's a great beach to take them to, but only if they get along with other dogs. There are many trails that run along the cliff sides, but I headed straight to the south end where rows of old pier pylons can be located. I've driven past this area countless times, but never stopped. I meant to, just never did. That is until I started exploring the area via this site. I have seen a few images from around the area, but again, I never really took the time to look into it.
Being a bit unmotivated the past few days, I figured that this place may help put my direction back into order. I guess my brain has been on overload these days. I have so many ideas... So many places I want to photograph, its just a matter of prioritizing my goals.
As I headed out for the afternoon, I knew the sky would give up something nice, but I also knew that it wouldn't give up much color, so black & white was my goal for the afternoon.
Composed for a square crop, I ended up liking the full frame, but I will stick with my original vision for now.
View my stream on black here
Exposure: 180
Aperture: f/16.0
Focal Length: 60 mm
ISO Speed: 50
Lens: EF 24-70 f/2.8L
B+W ND110 (10 stop solid)
Lee .6 & .9 hard edge GNDs
I wonder who the lucky lady is?
Daily Dog Challenge 2732. "May Day"
119 Pictures in 2019 - #47. "Fragile"
You'll notice Toby is conspicuously absent from today's picture. Neither the ceramic pitcher nor the little silk flowers were up to it.
But gentle Henry?
No worries!
Arg! Falling behind on my 119 (plus general Flickr commenting, posting, etc.)
Not but a lot... yet... but I need to refocus on Flickr.
The past month I've been prioritizing Toby's training - a necessary step for the teenage pup so he'll be a good Model and joy to be around both at home and away, but one that cuts into photography time.
I smile to think I began taking picture of my dogs (when I joined Flickr back in 2011) as a simple way to add some interest to training, and now training revolves around creating Models for photography.
100x in 2019 : #35 (Black)
And yes, my desire to get away from Black backgrounds has temporarily been put on hold for the same reason (see above).
That said, I'm running at just under/over 50% black backgrounds for the year so I'm still feeling pretty good about that.
Stop on by Henry and Toby's blog: bzdogs.com - The Secret Life of the Suburban Dog
Taken during a long weekend in Valley Forge in 2010, - newly re-edited using today's Lightroom, Photoshop and DxO Photolab.
We were lucky to meet mikonT - one of my Flickr friends - in Audubon, Pennsylvania.
Valley Forge played a major role during the American Revolution.
Driven by the need to escape the brutal cold of December 1777, the Continental Army arrived at Valley Forge and immediately prioritized shelter for its 12,000 soldiers and camp followers.
Out of necessity, they turned to the trees.
The math is staggering: A virtual city of huts, each structure taking 80 trees, arose in a matter of weeks. In addition, the accessible forestry was also used for defence structures, fires and other supplies.
Amazingly, however, not every tree at Valley Forge was felled during Washington’s stay.
One of the most impressive survivors, the Pawling Sycamore, still stands.
The tree is 25,5 meter tall and with a spread of 43 meters.
It is about 285 years old.
What was the last difficult decision you had to make? How did you feel? What kept you grounded? We all wrestle with decisions that test our resolve and challenge our emotions. Whether it’s choosing between two paths with unknown outcomes or navigating a dilemma that affects the people we care about, these moments often feel overwhelming. There’s a mix of anxiety, self-doubt, and mental exhaustion as you weigh your options and search for clarity.
But in the midst of the struggle, there’s an opportunity to discover strength and perspective. Taking time to pause, reflect, and prioritize what truly matters can be grounding. Seeking advice from trusted voices, focusing on your values, and accepting that no decision is perfect are crucial steps in finding peace with your choice. While wrestling with difficult decisions can feel like an uphill battle, it’s often these moments that shape character, teach resilience, and pave the way for growth. These challenges are more than just obstacles—they’re the turning points that define us.
Boulevard of Broken Dreams
A fine example of 20th century American highway design prioritizing convenience for drivers over that of residents of communities "served" by the road.
The Crucifixion is a life sized painting by the Venetian artist Titian, completed in 1558 and presently hanging in the sanctuary of the church of San Domenico, Ancona. Jesus Christ is shown crucified, with Saint Mary and Saint John standing either side of the cross in the Stabat Mater tradition. The kneeling figure is of Saint Dominic. The canvas was completed during Titian's fifth decade of painting, and is one of the works marking a shift toward his extensive exploration of tragedy and human suffering.
The mirderoa heads of the standing figures are presented in an upturned triangle arrangement near the base of the cross. All the figures appear in the foreground, which is on a single plane, lending a sense of immediacy to the picture. The composition is dominated by a colouristic conception of painting in which the picture's predominant dark blue, brown and red hues are pierced through with near-white flashes of light. The cloying regions of dark hues, such as the area of browns and near-black comprising the Golgothan terrain from which the saints emerge, intensify the sadness and horror of the crucifixion. Against this, the moonlit highlights draw attention to significant dramatic and emotional elements of the spectacle. In the late years of his life, in such works as the Ecce Homo (National Gallery of Ireland, Dublin), and the Saint Margaret and the Dragon (Museo del Prado, Madrid), Titian used this method of contrasting of light and colour as a key—or even pivotal—tool for rousing in the viewer a dominant emotion of one kind or another. With the Crucifixion, this method of generating a tragic sensibility is used almost to the exclusion of any other method. It is one of the earlier—possibly the earliest—and most direct uses of the technique in all of Titian's paintings.
But this was not a practice the artist used in all his paintings from this period, and it is indeed in sharp contrast with The Martyrdom of Saint Lawrence, another depiction of human suffering Titian was completing at the same time he was working on the Crucifixion. Whereas the Crucifixion has a simple layout, The Martyrdom of Saint Lawrence is a complex—almost baroque—composition. Although the use of colour, light and contrast in the Martyrdom has some obvious similarities with the Crucifixion, it makes no use of any plan of monolithically coloured forms to convey any of its message or gravity.
In Giorgio Vasari's account of The Crucifixion in terms of Titian's late style, he noted Titian's use of what he termed as "stains or patches" (referred to as "macchie")—forceful, striated and impasto applications of paint, alongside more concise brushwork. Vasari particularly pointed out the vigorous and textured quality of these strokes. The sparse yet skillful highlights on Saint Dominic's head and the expansive earthy tones defining Christ's feet bear a striking resemblance to the suggestive technique observed in Titian's unfinished works.
Even before entering the last phase of his life, Titian demonstrated a more liberated painting approach in certain situations. This occurred, for instance, when the artwork's surface wasn't meant for close inspection or when dealing with larger-scale compositions. In pieces like the Crucifixion and The Annunciation in San Salvatore in Venice from around 1560-6, there are several instances exemplifying this 'late style', such as the expressive, impasto lilies in the latter. These artworks, likely destined for dimly lit church settings, might have influenced Titian's decision regarding the level of meticulousness applied to these works. A similar scenario might be observed in The Martyrdom of Saint Lawrence, which not only is set at night but also allows for broader, more dynamic brushwork. The fact that these paintings left Titian's studio during his lifetime suggests an intentional pursuit of this more relaxed stylistic effect.
Another notable aspect of Crucifixion as well as other late works from Titian, is the presence of flecks of colour applied across the painting. When the canvas is viewed from a distance, these spots of bold colours have the effect of bringing animation to the surface of the picture.
This artwork stands out as a pioneering piece in Counter-Reformation art, which notably prioritized narrative clarity and emotional empathy. The deliberate positioning of the three mourners in the foreground encourages viewers to empathize with their grief. The Virgin and saints form a crescent shape, resembling the head of an anchor, positioned at the foot of the cross. The Virgin expresses solitary sorrow on the left, while St Dominic, depicted with elongated fingers, fervently grasps the base of the cross for strength. Christ, noticeably more illuminated, appears somewhat distant, slightly smaller than the others, evoking a sense of separation. Titian vividly portrays blood coursing along Christ's arms and soaking into the loincloth, aligning with the Counter-Reformation's aesthetic and principles.
Guy Anderson (1906-1998 Washington)
Oil on Board 12"x17.5"
Original gilt framing 16.5"x21.5".
Signed lower left and notated "Edmonds, Wash." on the back.
Painting has been glued at edges into framing.
Overall excellent condition.
Guy Anderson’s Harbor Scene, Edmonds, Washington (1930s) depicts a lineup of sailing ships still active on Puget Sound decades after steam had become dominant. Edmonds was a key departure point for the Alaska trade, and many older wooden schooners and barkentines remained in service hauling lumber, salmon, and general cargo northward. The Depression prolonged their use, as they were cheaper to operate and maintain than steamships.
Painted with a bold, blocky impasto and a palette of muted blues, violets, and russets, the work reflects Anderson’s early Northwest modernism. Rather than aiming for meticulous detail, he captured the structural rhythm of masts and rigging, setting them against a subdued sky. The composition emphasizes vertical thrust, echoing both the maritime forest of spars and the rising ambitions of a young artist.
Guy Anderson (1906–1998) was a central figure of the “Northwest School” alongside Morris Graves, Kenneth Callahan, and Mark Tobey. Born in Edmonds, Anderson studied at the Cornish School in Seattle and developed a style rooted in Pacific Northwest landscapes and spirituality. While his mature work leaned toward mythic and symbolic figuration, his early paintings—like this harbor scene—document the working ports and coastal culture of Puget Sound with an expressive, almost Fauvist brush. Today, he is recognized as one of the leading voices of mid-20th-century Northwest art.
Context in the 1930s Art Debate:
When Anderson painted this scene, American art was divided between regionalist realism—celebrated in the Midwest by artists like Grant Wood and Thomas Hart Benton—and the emerging strains of modernism that prioritized form, color, and emotional resonance. Anderson’s Harbor Scene straddles both impulses: the subject matter is firmly local and documentary, tying him to regionalist concerns, yet the execution is modernist, with its loose brushwork and abstraction of structure. This balance anticipates the distinctive Northwest School, which fused local imagery with universal, often spiritual, concerns.
This text is a collaboration with Chat GPT.
Kaer Station floated in the upper atmosphere of the gas giant Kaer, an aging Tibanna gas platform that had long seen its prime. Built during the Republic era, it had once been a thriving hub of activity, but by the end of the Clone Wars, it was largely aban- doned, its corridors silent and lifeless. When ARGO Industries took over, the corporation prioritized utility over restoration, investing only in the bare minimum to make the station operational. The platform became a patch- work of old, rusted bulkheads and newly installed conduits, blending its worn history with ARGO’s functional upgrades. Tibanna gas extraction rigs hummed steadily, meeting the company’s needs, while much of the station remained dormant—a labyrinth of empty corridors, inactive terminals, and forgotten vaults.
Under ARGO Industries, Kaer Station operated with a skeleton crew—only a few workers and just enough droids to keep the station running, with automated systems handling most of the operations. Arrivals and departures were rare, shrouded in secrecy, with transports coming and going under the cover of atmospheric storms. Officially, the station supplied Tibanna gas for ARGO's industrial needs, but rumors persisted that it served a secondary purpose. Some whispered about hidden cargo and unregistered ships docking in sealed-off sections of the platform, suggesting that ARGO had used Kaer Station for clandestine operations far from prying eyes.
///
I finally got to Kaer Station, somewhat hidden in the Siskeen system. I love how much nitty gritty lore is hidden in legends. The inspiration comes from the Star Wars: Legacy comics. See more photos and behind the scenes below. Thanks for watching!
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Views from small stretches of Brooklyn in early 2021 showed the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
Using these paper clips helps me keep documents, prioritized, categorized and organized at a glance.
I have a nice circular clip holder with pie shaped compartments for the various colors.
My N1J4 w/ 55mm @ f8 Nikkor Macro F lens from the 70's.
A government that prioritizes Gross National Happiness over GDP must surely engender a happier people. These Bhutanese schoolgirls were full of smiles on their way to class.
The Nishi Building in Canberra was designed by a large team including Fender Katsalidis Architects, Suppose Design Office (Japan), and March Studio, among others. Its interior is known for using recycled and natural materials, especially in its dramatic timber staircase made from over 2,000 reclaimed wooden beams. The lobby combines hotel, residential, and social spaces with a mix of concrete, timber, and plants. Hotel Hotel (now part of Ovolo Nishi) occupies several floors and features handcrafted furniture, local artworks, and inward- or outward-facing rooms that connect with the natural light and atrium garden.
The building focuses strongly on sustainability and received a 6-Star Green Star rating and an 8-star NatHERS rating. It uses solar power, natural ventilation, and recycled water systems. The interior design prioritizes energy efficiency and local materials. Nishi has won multiple awards, including International Project of the Year (2015) in London and several honors from the Australian Institute of Architects. Its design combines environmental performance with striking, artistic interiors.
The back wall is hinged via the pipes, which I thought was quite neat.
The building is 12 bricks wide and thanks to the walls taking up 3 bricks of space in total, the interior space is only 9 bricks wide. However designing the interior wasn't too challenging despite that. It meant that I could design a lot less and make the most of the few objects in the space which was a lot of fun. I prioritized a cozy feeling above all else.
After being badly damaged on a return trip from Legoland California 5+ years ago, Hoth was left to wither away, broken in a dark tomb, lol. I have decided to pull it out and hopefully over the next year will break it down and then build a bigger, more detailed Hoth battle display. Some of the old stuff and plans for some new features. Thinking it will go from a 5'-9" by 12'-0" display to a 7'-0" by 14'-16' display and add around 25,000 to 50,000 more elements. I know many of you asked for a new build, but low funds will allow for a rebuild, not an entirely new build, as I will soon have 2 kids in college. Gotta prioritize the funds, I guess, haha
Fantastic red colors in these amazing outbreaks on the beginning of the evenig March 10th. A little later in the evening the aurora became more green/white/yellowish. This was not a planned shot, I was looking behind my back, and was shocked when I saw the colors at display.
I just had to turn around my camera, compose quickly, using the barn and the house, and fire away.
Man I am happy I got to experience this!
Shot at Ulsfjord, close to Tromsø, Northern Norway.
BR.
Ole
PS! PLEASE PLEASE no flashy big group icons!! Real comments are always welcome, positive and constructive negative, but PLEASE spare me of those fancy flickr-idol logos!! Comments with huge pictures/logos in it will be removed. Please don't invite me to groups with the purpose of commenting on 3 pictures etc.
AGAIN! I have been deleting lot's of meaningless comments lately with nothing more than a huge logo inviting me into groups for commenting on pictures. I will comment on the pictures that I like, and I will prioritize the work of the excellent photographers that I follow! PLEASE do not invite me into these groups, spare your energy! Those logos are so impersonal I'd rather you don't post anything. Please respect this!!
Ole
It's amazing to observe how some leaves have the perfect light on them. The shot is mostly unprocessed, was shot in RAW and the only thing i played around with was the WB.
Dedicated to this really amazing semester in college. Although at times, it seemed like a series of unfortunate events, it has helped me re-prioritize things and hopefully it has brought changes in me for the better..
Also dedicated to Foo Fighters, current favourite by them being Statues, and Nine Inch Nails for In this Twilight.
Press L and F11 to view on Large and Black, it brings out the details
A "Jhaalmuri" / "Spicy Puffed Rice" seller by profession, he puts 100% dedication towards his customers. He did notice me while I took the photo, but preparing jhaalmuri was prioritized higher than posing for a photograph.
a moment to imbibe.
Sometimes we need a break from our daily life. To relax, reflect, mediate and recharge from the stress of our lives. How we prioritize it is up to our own discretion and availability of the moment. I hope you will forget your distractions, if even for a moment then I will have achieved a little victory in my simple post.
Thank you.
Abstract expressionism in nature photography involves using photographic techniques to transform natural subjects into non-representational or abstract forms, emphasizing form, color, texture, and light over literal depiction. This approach prioritizes emotional impact and subjective interpretation, encouraging viewers to find their own meanings in the image.
Yeah sadly this collab is being put on hold or just cancelled. Brick Rebellion and I decided it would be best to work on other things and kinda cancel this. There are still a lot of things we both need to prioritize and yeah, thats how the cookie crumbles :P when you see this photo the moc will be gone.
Another shot from March 10th. Incredible long and vivid rays, never experienced it like this. Truly an amazing experience.
More info to follow.
Canon 5D Mark II + Nikon 14-24 2.8G
Hope you like it.
BR.
Ole
PS! PLEASE PLEASE no flashy big group icons!! Real comments are always welcome, positive and constructive negative, but PLEASE spare me of those fancy flickr-idol logos!! Comments with huge pictures/logos in it will be removed. Please don't invite me to groups with the purpose of commenting on 3 pictures etc.
AGAIN! I have been deleting lot's of meaningless comments lately with nothing more than a huge logo inviting me into groups for commenting on pictures. I will comment on the pictures that I like, and I will prioritize the work of the excellent photographers that I follow! PLEASE do not invite me into these groups, spare your energy! Those logos are so impersonal I'd rather you don't post anything. Please respect this!!
For more pictures, follow me on facebook:
arctic light photo - on facebook
Ole
♦ Instructions available at Rebrickable ♦
"This is where the fun begins!"
My latest ship from the Prequel Trilogy has arrived, and it surely was a lot of fun to make: here's Obi Wan's Eta-2 Actis Interceptor from Episode III - Revenge of the Sith and The Clone Wars.
This small unit consists of 281 pieces (stand included), and has one major feature: true Minifig scale!
There's a handful of beautiful MOCs of this ship out there already, but most of them are based on the huge cockpit piece from the playsets, so they're drastically oversized. So here I am with a, dare I say, more accurately scaled version.
It does come with a drawback, you guessed it: you can't put a fig inside. A bit ironic I know, but I chose to go for a brick-built cockpit in order to get as close to the original design as I could, prioritizing accuracy over playability, as usual.
The wings were pretty challenging given the ridiculously small scale, and my goal was to have them as thin as possible without compromising the SNOT look.
I'm quite happy with the result and I think this makes a nice little display piece. It's also very swooshable despite the intricate wing design.
I'm usually not a fan of stickers, but I thought this one deserved some sweet markings. I used the sticker sheet from the playset - it is included in the parts list. The color scheme can be changed to red with only a few part swaps (see last page in the instructions).
► Instructions for the Eta-2 Actis Interceptor are available at Rebrickable!
Well... finally, after all the delays and design challenges, it is done. Here is my B-18A Bolo LEGO MOC, a medium bomber used by the U.S. Army Air Corps primarily in the Pacific during the interwar and early World War II periods. It was a notoriously funkily-proportioned aircraft, with its round-bellied fuselage, its backwards-tapered wings and its odd bombardier canopy shaping at the front; but, all in all, it was a sturdy, rugged bomber (though nothing to write home about as for success in World War II XD). Lots of these were destroyed on the ground during the raids of Pearl harbor, but I really wanted to challenge myself in attempting to construct a plane that isn't all about the glamour and good looks so many beautiful aircraft of its era retained. Having incorporated working landing gear and included string for the wings, I am proud of its functionalities. However, I sadly could not include a working bomb bay due to the construction of its simulated rounded "doors" flush with the fuselage. Nothing opens on the underside, but that was due to the fact of me wanting to prioritize structure and look to the Bolo. Unfortunately, the sacrifice ended up being without a functioning bomb bay... but, overall, the result (for now) is adequate for my liking. But, let me know YOUR thoughts in the comments! Faves are also appreciated, and, as always, have an awesome day! (:
Signed J. J. Bulten in lower right corner. I was unable to locate information about the artist.
This is one of a pair of oil portraits that complement the nautical theme of a newly reopened and redcorated restaurant in the seaside community of Long Beach, Washington.
At least three other marine paintings graced the walls. I'd say whoever selected those prioritized genre and availability over quality.
On the other hand, I wish I had found this portrait and its companion piece before the current owner did.
As I woke up… there are dark clouds … there are strong sun rays…. I’m thinking that the weather might be uncertain.. I for myself can relate to this.. haha! I have lots of things to do over the weekend and I’m not that sure which to prioritize… oh well time management can solve it sometimes…. Haha! Have a nice day to all!
---
Well... finally, after all the delays and design challenges, it is done. Here is my B-18A Bolo LEGO MOC, a medium bomber used by the U.S. Army Air Corps primarily in the Pacific during the interwar and early World War II periods. It was a notoriously funkily-proportioned aircraft, with its round-bellied fuselage, its backwards-tapered wings and its odd bombardier canopy shaping at the front; but, all in all, it was a sturdy, rugged bomber (though nothing to write home about as for success in World War II XD). Lots of these were destroyed on the ground during the raids of Pearl harbor, but I really wanted to challenge myself in attempting to construct a plane that isn't all about the glamour and good looks so many beautiful aircraft of its era retained. Having incorporated working landing gear and included string for the wings, I am proud of its functionalities. However, I sadly could not include a working bomb bay due to the construction of its simulated rounded "doors" flush with the fuselage. Nothing opens on the underside, but that was due to the fact of me wanting to prioritize structure and look to the Bolo. Unfortunately, the sacrifice ended up being without a functioning bomb bay... but, overall, the result (for now) is adequate for my liking. But, let me know YOUR thoughts in the comments! Faves are also appreciated, and, as always, have an awesome day! (:
This image is one of my favorite images from 2008, not simply because of the eerie result, but the circumstances that resulted in this image were a good reminder to me in keeping my mind open and my expectations from running away from me.
It all starts with a camera, as it so often seems to. In this particular case, the camera in question was the Fuji 6x17 panoramic. I do not usually succumb to kameralust but I admit to having a touch of it whenever I am around one of these beasts. So to scratch that itch, I had rented the camera in high expectation of taking it out to shoot a specific waterfall up around Mt. Adams one fine Fall day in the Pacific Northwest. Unfortunately someone forgot to inform me that it was going to be pouring buckets that day. And I don't mean the little plastic buckets you give your kids when they are playing on the beach, but the big, industrial-strength kind of bucket. In other words, it was raining with an almost biblical severity. It was so wet, I was nervous even carrying the camera in its case for fear the case could not even resist the deluge. I have an aversion to getting $2000 cameras wet, particularly when I don't own them...
So... I did not get to shoot the camera nearly as much as I had anticipated. I basically did not shoot it at all. I made one fumbling exposure, balancing my cable release in one hand, desperately clinging to an umbrella with another. But by the time it came to drive home, I had made only that single exposure, not even half a roll on a camera that only needs four shots to burn an entire roll. But then on the drive back, necessity stepped in. See, I had a choice. I was pretty certain I was not going to shoot anymore that day, yet I still had three images left to toy with to finish the roll off before I returned it the next day. So I figured, I may as well experiment with some panning shots while driving down the wooded back highways of southern Washington. And this shot was the result, something that if the first half of my day had proven to be more successful, I may never have even have attempted. If I had come away with those successful images of the waterfall that I had hoped and planned to capture, that satisfaction may have caused me to drive right by this image of these trees. Oh, it would have still been there I think, but not for me.
Shifting gears only slightly, photography never fails to amaze me thus in that it constantly reminds me just how much there is out there to see. Even in the exact same spot, ten people will see ten different things usually. Or better yet, put one photographer in the same spot ten different times under ten different sets of circumstances (I have driven this stretch of highway dozens and dozens of times, never before making this image) and they will create ten different photographs. This is one of the reasons I photograph. Sometimes I think about the recording of my vision as a way of recording who I am. It is an odd thought to wonder where my negatives may end up in 100 years, who may be looking at them, and what will they think. What are they going to know about me? Or the places I went? The things I saw? Sometimes that is why I photograph at such a breakneck pace. I am not really concerned too much with slowing down now to do much with my images. I know if I poured more time and energy into it, I could probably market a decent number of these. And in some ways I do. But having to slow down to do this stuff means I am out shooting less. I am not only documenting these places and time less, but I am documenting myself less as well. And there is going to be a point at which age (hopefully it is age) or some other factor forces me to slow down. Where I am not going to be able to photograph to this degree any longer. When I no longer find myself driving through the pouring rain down a wooded highway with photographs-to-be the click of an imagination away. That is the point in time I am more concerned about.
I do not think of this in any sort of fatalistic or pessimistic fashion, it is just a realization that time and opportunity are finite, so I care to prioritize how I spend them. It is a unique gift each photographer has, to document not the world, but their world. For each image like this, there is a photographer without whom it would have been impossible for that image to exist. Or so I sometimes think.
Anyway I am rambling now, so I am going to call it a night. Good night (or good morning) all and thank you for looking as well as reading.
And I apologize in advance for those frustrated by the small thumbnail. This image becomes more impressive large but I try to manage who has access to the larger files. I am sure there are plenty of you out there who should be contacts but I have not made you such. If so, just drop a comment here or send me an e-mail.
Hilma af Klint (Swedish pronunciation; 26 October 1862 – 21 October 1944) was a Swedish artist and mystic whose paintings are considered among the first abstract works known in Western art history. A considerable body of her work predates the first purely abstract compositions by Kandinsky, Malevich and Mondrian. She belonged to a group called "The Five", comprising a circle of women inspired by Theosophy, who shared a belief in the importance of trying to contact the so-called "High Masters"—often by way of séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.
Hilma af Klint never married, lived only with women and prioritized deep friendships with them. She has not left any diaries, letters or rumors about romantic relationships. This has led to modern theories that she was queer or specifically lesbian, additionally claiming that her paintings, views on androgyny and gender fluidity show queer sensibility, and comparing her decision to keep her work secret for 20 years after death to Emily Dickinson.[35][36][37]
In her will, Hilma af Klint left all her abstract paintings to her nephew, vice-admiral Erik af Klint of the Royal Swedish Navy. She specified that her work should be kept secret for at least 20 years after her death. When the boxes were opened at the end of the 1960s, very few persons had knowledge of what would be revealed.
In 1970 her paintings were offered as a gift to Moderna Museet i Stockholm, but the donation was declined. Erik af Klint then donated thousands of drawings and paintings to a foundation bearing the artist's name in the 1970s. Thanks to the art historian Åke Fant, her art was introduced to an international audience in the 1980s, when he presented her at a Nordik conference in Helsinki in 1984.
The collection of abstract paintings of Hilma af Klint includes more than 1200 pieces. It is owned and managed by the Hilma af Klint Foundation in Stockholm, Sweden. In 2017, Norwegian architectural firm Snøhetta presented plans for an exhibition centre dedicated to af Klint in Järna, south of Stockholm, with estimated building costs of €6 to 7.5 million. In February 2018, the Foundation signed a long-term agreement of cooperation with the Moderna Museet, thereby confirming the perennity of the Hilma af Klint Room, i.e., a dedicated space at the museum where a dozen works of the artist are shown on a continuous basis.
(Wikipedia)
Hilma af Klint never married, lived only with women and prioritized deep friendships with them. She has not left any diaries, letters or rumors about romantic relationships. This has led to modern theories that she was queer or specifically lesbian, additionally claiming that her paintings, views on androgyny and gender fluidity show queer sensibility, and comparing her decision to keep her work secret for 20 years after death to Emily Dickinson.[35][36][37]
In her will, Hilma af Klint left all her abstract paintings to her nephew, vice-admiral Erik af Klint of the Royal Swedish Navy. She specified that her work should be kept secret for at least 20 years after her death. When the boxes were opened at the end of the 1960s, very few persons had knowledge of what would be revealed.
In 1970 her paintings were offered as a gift to Moderna Museet i Stockholm, but the donation was declined. Erik af Klint then donated thousands of drawings and paintings to a foundation bearing the artist's name in the 1970s. Thanks to the art historian Åke Fant, her art was introduced to an international audience in the 1980s, when he presented her at a Nordik conference in Helsinki in 1984.
The collection of abstract paintings of Hilma af Klint includes more than 1200 pieces. It is owned and managed by the Hilma af Klint Foundation in Stockholm, Sweden. In 2017, Norwegian architectural firm Snøhetta presented plans for an exhibition centre dedicated to af Klint in Järna, south of Stockholm, with estimated building costs of €6 to 7.5 million. In February 2018, the Foundation signed a long-term agreement of cooperation with the Moderna Museet, thereby confirming the perennity of the Hilma af Klint Room, i.e., a dedicated space at the museum where a dozen works of the artist are shown on a continuous basis.
(Wikipedia)
"The Vic," formerly known as "The Victoria," is a striking and modern re-imagination of a waterside office building in MediaCityUK, prioritizing contemporary design and occupant wellbeing. Originally a 23-year-old building, it was redeveloped starting in 2018 with a £9 million investment to create a more relaxed and flexible workspace.
Exterior architecture
Contemporary update: The renovation by architect Bate & Taylor focused on updating the building for modern business needs. The design emphasizes natural light and creates a seamless connection between indoor and outdoor spaces.
Waterside focus: The Vic's architecture is built around its tranquil waterside location on the banks of the Manchester Ship Canal. Outdoor terraces, waterside views, and lush green landscaping are integrated into the design to maximize this feature and provide spaces for relaxation.
Industrial context: While thoroughly modernized, the design acknowledges the area's industrial heritage by using construction materials like steel, natural stone, cement, and wood in a contemporary style.
Interior architecture
Modernization and remodel: The extensive refurbishment included a full overhaul of the interior, from the reception and common areas to the office floors.
Focus on wellbeing: The interior design has a specific focus on occupant health, wellbeing, and mindfulness.
Flexible and collaborative spaces: The reconfigured spaces are designed to accommodate a range of work styles, with Wi-Fi enabled co-working areas to foster flexible and creative work.
Enhanced amenities: On-site amenities support a healthy work-life balance and are a core part of the architectural vision. These include a café, bike storage, showers, and dedicated spaces for fitness activities.
“Lessons:
(a) Anyone can abandon an action when it’s still at the ‘romantic’ stage.
(b) There is always someone to tell you: ‘Now that you’ve started, finish.’
(c) Everyone has the authority of an official when he or she is absolutely convinced of what he or she is doing.” –Like the Flowing River
-----------------------------------------------------------------------------------------------------------------------------------
I started my 365 to prove myself that for once I can start something, enjoy the journey in between and hopefully get to finish it with a big smile. Unfortunately, certain circumstances have been presented (I will only be around here for two days a week, the most) that made me think perhaps this project will have to wait. That there are things I have to prioritize and thus I’ve contemplated on postponing everything. Postpone, never quit. Yet, I don’t want to act on impulse and thus I turned to people whom I look up to and I know will enlighten my clouded senses. Some agreed with me, but mostly did insist that I should go on.
Vanessa, I won’t be doing a cleaning around here, I promise you that.
Janey, you’ve provided the biggest comfort with your words and for that thank you.
Beautiful McKayla, you’ve always been a wonderful friend, a gift.
Belle, good luck with everything, I hope you know how wonderful you truly are.
Sir Rich, you should know that I’ve always been grateful for your presence and never ending words of encouragement.
And Edan, I LOVE YOU<3
Today marks day 129, but I opted to post an outtake from day113. I just want to be reminded of that day when I took my camera out for a shoot, after a week of hiatus. The day I was most thrilled to take a photograph- waking up as early as 5 in the morning with my first set of printed photos on hand, ignoring all the insect bites and the scary noises around, and being caught in that private area was the least of my worries. All I wanted was to capture the photo I envisioned it to be (and in the end be pleased with it.)
I know I haven’t been following the rules of a 365 as strictly as I should, but I’m going to continue. No matter how long this may take.
Ángeles
My marks aren't real but their's were. And the deepest marks are not in sight. Thousands of sanitarian had to face workdays at risk, without secure and enough material. Some of them had lost their lives.
This is something that cannot be forgotten. Never forget to prioritize what is important as health.
Without health, there's no life, and without life, there's nothing.
Mis marcas no son reales pero las de ellos sí que lo han sido. Y las marcas más profundas son las que no se ven.
Miles de sanitarios se han tenido que enfrentar a jornadas de trabajo en riesgo, sin material suficiente y seguro. Algunos incluso han perdido la vida.
Esto es algo que no se debe olvidar. Que no se olvide nunca priorizar lo verdaderamente importante como es la Sanidad.
Sin salud no hay vida y sin vida no hay nada.
Last year's for comparison. Other people doing similar things: Owen McCabe.
In general, black is walking, red is bicycling, blue is cars or buses, and green is above-ground rapid transit or freeways. (Color is from speed, not from an actual record of transportation mode.) Not shown: tunnels and subways.
In spite of that ritual caption, there's basically no red on here because I haven't actually been on a bike all year. The other striking thing is how small my San Francisco is now: I go to work and I go to #geobreakfast, and I get lunch, and that's about it.
What have I been doing instead? Trying to turn myself into a better piano player. It's very time-intensive and home-oriented. The other big time-suck that does show up as geography is a bunch of trips to the Berkeley campus to go the library and read everything that's ever been written about colorblindness.
One thing you can see on the map is the change in how I walk to BART. Now it is generally on 42nd Street instead of 41st so I can avoid having to use any of the traffic signals on Broadway, now that AC Transit and the City of Oakland have misguidedly prioritized through vehicle movement in an ineffective attempt at transit efficiency.
The big thing that doesn't show up at all is that I went to Spain to speak at the Technarte conference. I walked a hundred miles in a week and still only saw a tiny fraction of what there was to see. Spain looks like California and shows how good California could be if the United States knew how to build cities. Steph and I also went to New Orleans, which demonstrates how the US can do less damage to the cities that it does have by not doing any traffic engineering for decades.
How big is your world?
Alien art
Science fiction
If a life form arrived at our planet millions of years ago, it would have found the proper environment to develop. Cells contain genetic information that allows life to thrive on Earth. The "tree of life" shows how life developed from simple forms to humans. As life evolved, many species emerged, and some got extinct.
The cells of life forms have survived by going from spices to species. On the way of the development, there were some hurdles like species have killed and ate other species. It looks like the development went in the wrong direction, but the cells have survived with the killers and survivals. Important is cells and hosts. Species are created to be just hosts, just to carry the cells. The species' blueprint was always kept in cells to make sure that dominant species go on, live.
Sperms, made of cells, travel to other host during love making so that the life of the cell continues, with the latest genetic information. Our bodies comprise interconnected cells. When we watch TV, cells watch too. Aliens may have spread their cells throughout the universe to ensure survival. They might have created suitable environments for cell survival in asteroids.
Humans are not perfect and have flaws. Our sufferings are not imported as we are just hosts, acting in that way too. We prioritize humanity over individuals. Humans have a lot of cells to compare to a human. Many people die in wars, traffics accidents, etc. Who cares? There are already more hosts on earth, billions of them. A couple dies, no problem!
If we would not be just hosts, we would act differently, would care for the death of a fellow human being, and would adopt the mindset that one death is too many.
In the first half of 2023 I made many F1 machines with Lego, some of them are already posted to Flickr, but this is one of the remaining.
Mclaren MP4/8, driven by Ayrton Senna in 1993 won 5 races, including victory in the Monaco and his home, Brazil.
The technique used for this is basically same as MP4/4 I 've already introduced.
I prioritized its size than giving small details.
In my humble opinion, the greatest knowledge one can posses is to realize that we all have limited time.In my own life, this thought allows me to prioritize the right things in my life.
ODC:Knowledge
I don't want to live in a world without melody.
Sometimes the rhythmic din of society is too much for me.
But purpose is prioritized these days the goal is win the prize.
There's a sleeping resonance we hold through which we're unified.
So let it out!
Don't get lost in the crowd.
No one can deter you from your own path.
There's no trip too remote from which you can't come back.
And I've got this hunch about you and me,
None of us are ready for a world without melody.
- Bad Religion
If it weren't for the individuals working hard to be inventing new technology each and every day to keep America moving safely, there would be no 50th anniversary for Amtrak such as what they're celebrating today. Those people have presented companies such as Amtrak with safety-focused systems, designs, and plans that are used to keep America moving. Building that safety-prioritized message that Amtrak presents to it's riders and customers, a Positive Train Control (PTC) test train was slated the evening before to be sent south on the Northeast Corridor.
PTC is a system designed to prevent train-to-train collisions, over-speed derailments, incursions into established work zones, and movements of trains through switches left in the wrong position. Essentially, almost any form of human error is designed to be caught and prevented by the PTC system.
This train, Amtrak 863(22) was sent out of Boston to exercise the PTC system on the Northeast Corridor, particularly this morning from Southhampton Street Yard in Boston to New Haven, Connecticut. These trains are ran a few times a year to test the health, status, and integrity of the positive train control system of each testing block the crew is assigned.
Sound City Files, Volume 1 - Chapter 5
---------------------------------------------------------------
< Sound City Files, Volume 1 - Chapter 4
The water poured down with a splash, sheets flowing from her body as it cleansed her body and mind. A shower. She knew the name, but this... this was far better than she expected. Not like the rain, this water made you feel clean... refreshed.
The water clicks off.
"s̷h̷o̷w̷e̷r̷ ̷c̷y̷c̷l̷e̷ ̷c̷o̷m̷p̷l̷e̷t̷e̷"
The voice startles her to jump with a verbal squeak.
"Are you okay?"
His voice calls from the other side of the door.
"I'm fine.. This... thing? just said my shower was over..."
She's standing in the shower with the unit beeping and water dripping from the shower, now off.
He lets out a hearty laugh.
"Sorry for not warning you about that, they limit us to how much water we use. Were you able to finish?"
"Mhmm"
She dries off, squeezes her hair dry, and wraps the towel around her.
"Was there anything that you found would fit me?"
"Well, yes... but... everything I own is for men... definitely not a woman your size. I still had a few things that got confiscated when I was with CorGen and I washed them, but...."
He hesitated.
"It's fine, it can't be any worse than walking around in a towel."
Her legs were covered in goosebumps, rubbing her arms to stay warm. The heat systems at this altitude weren't exactly great. She sticks her arm out the door, cracked open just enough.
"D̴͚̜͓̳͓͈̭̀̓͐͒̇͑̐͜A̴͍͚̦̘̚T̶̨̡̘̬̰̼̪̋͂̓̋̉̒̅̓͜͝A̸͉͐̆͑͊́̾̿̕͠͝ ̸͖͎͗̒ͅÇ̸̠̻̪̦͊͗͛̍̀̃͘̚͝͝Ŏ̵̡͇̻̝̝̯͖̘̌̾R̸̨̲̤͉̣̠̼̣͎͐̈́̀͌Ŗ̴̯̰̂̈̐̽̿̏̔̎̏̐Ṵ̸̪̘̘͍̦͇̜̞̮̎́̀P̵̢̡̫̗̬͍͎͠T̶̖̰̣̲͔̗̜͖͎̪͗̈́͐̎́̃͘͝ ... you didn't really think I wouldn't be expecting you... did you?"
He kicks the ground.
"You know, I didn't even go there looking for him. Nice cover, by the way. But hey, I guess it was just my lucky day right? I owed that motherfnck3r." Vinzer smiles a vicious smile filled with perfectly aligned, perfectly white, perfectly fake teeth.
The four lapdogs surrounding her are all visibly eager. She sizes each one up carefully. One to the left. One to the right. Vinzer in front, with one flanking him on each side. Prioritize close combat targets. She thinks to herself. Remeber what he taught you. Know their next three moves. Then nine. Keep going until they don't.
"Do you give them doggie treats after each mission?"
"Is this /REALLY/ all you had?"
She sighs.
He stammers.
"I... I swear. I can go to a store and find something for you right now. Just give me li-"
"No. It's... fine."
Her face feels like it's on fire. The bodysuit barely covered anything. Confiscated? Of course the confiscated box would be from a strip club. Her body can't help but react, thinking about his eyes on her.
The door opens slowly and she takes a tedious step forward. She tries to be modest, but the tiny bit of cloth covering her made that difficult.
He's sitting on the sofa, focused on the comm in his hand when he looks up to see her. The comm drops to the floor with a dull thud. He stands up slowly, almost instinctively.
The first strike is from the agent to her left. She parries with an elbow and follows it with the muzzle of her pistol right to the female agents chest.
One.
She weaves to avoid the next shot, gunfire from the agent to her right. She swings her arms over her shoulder sending two shell casings clattering as the agent slumps to the ground.
Two.
An open shot. She moves to take down Vinzer, but the slippery rat dodges behind his own teammate to use them as a shield. Good thing it was a full synthetic. Now it's about... two-thirds of one.
Three.
He walks towards her, quiet. His eyes fixed on her. Her thighs press together, as though she can feel his eyes touching everywhere he gazes.
"w-what?" Her voice is weak, why is her heart racing like this?
He just shakes his head.
"I.. you... you're beautiful."
"It's... just this outfit. You put me in something too sexy..."
Her body is aflame. It feels like fire would erupt from her every pore. Hot. Burning.
Now only inches from her, his hand reaches up and tilts her head up by the chin to meet his gaze. So tall. So strong. So... big.
She bites her lip, making it sting slightly.
He moves forward, slowly urging her back towards the wall. It's cold against her skin. Like ice, compared to how hot she feels. She slides her calf against his, wrapping her thigh around his and pressing against him.
His hands move to the straps of her bodysuit, slowly sliding them down until they go past her wrists. They're both breathing heavily, chests heaving. She musters only four words...
"Like what you see?"
A fist slams her jaw, stars dance in her head for a moment.
The last thug grabs her from behind, arm wrapped around her neck. Thunder rings in her ears. A clang. Searing pain.
"How does it feel to take a shotgun point blank? Even your suit can't stop all of the force. I should know, I helped them test the d4mn things."
Vinzer stands holding a tactical shotgun just feet away.
"ᴡᴀʀɴɪɴɢ, ᴄʀɪᴛɪᴄᴀʟ ꜱᴜɪᴛ ᴅᴀᴍᴀɢᴇ.
ʙɪᴏʟᴏɢɪᴄᴀʟ ᴅᴀᴍᴀɢᴇ ᴅᴇᴛᴇᴄᴛᴇᴅ:
ꜰʀᴀᴄᴛᴜʀᴇꜱ ɪɴ ʀɪʙꜱ 3, 4, 6, 7, ᴀɴᴅ 12.
ʜᴀɪʀʟɪɴᴇ ꜰʀᴀᴄᴛᴜʀᴇ ɪɴ ꜰɪʀꜱᴛ ᴛʜᴏʀᴀᴄɪᴄ ᴠᴇʀᴛᴇʙʀᴀᴇ.
ɪɴᴛᴇʀɴᴀʟ ʜᴇᴍᴏʀʀʜᴀɢɪɴɢ ɪɴ ᴛʜᴇ ꜱᴛᴏᴍᴀᴄʜ ᴀɴᴅ ᴇꜱᴏᴘʜᴀɢᴜꜱ."
The suits lecture isn't what she needed right now.
"Fnck. You."
The attack had stunned her, and now her guns were at her feet. She tugs at the thugs hold, twisting hard, and another blast roars through the streets.
The thug falls to the ground in a wet splat.
Four.
"Are you fncking serious??"
Vinzer fumes as she stumbles forward to her knees. The thug blocked most of the blast, but her back was almost numb from the pain.
She coughs. She knows now. There was never any chance of turning back. This is her judgement, and Vinzers requiem.
And not she or him could do a d4mn thing to avoid it.
Her hands slide under his shirt, the chest hair running between her fingers. His hands slide down her back, lower... lower... then lifts her up to be face to face.
She giggles softly and wraps her legs around his waist. His deep growls and firm grip send lightning through her body. His breath is warm against her chest as she runs her hands through his hair.
His scent, smooth and cool yet worn and rugged. She pulls his shirt open, buttons clatter to the floor. Feeling his bare skin against hers she leans in and bites his neck gently, letting her tongue run against his skin.
Her hands find his belt buckle and promptly release it. She moans low into his chest feeling him swell against her. He presses her hard against the wall as he drops the bodysuit to the floor.
Imposing. That's how most anyone would describe him. Few people stood taller, and her arms didn't even come close to fitting around his chest. No matter how you looked at him, he was a big man. His hands grip her hips firmly as he pulls her down until she can't go any further. She lets out a sound from her mouth she didn't even know possible. Deep, for her, and growling in ecstasy. A /very/ big man.
He lifts her to her knees by her hair. The back of his hand cracks against her mask.
"Just like good old times, right?"
His fist slams between her eyes and she falls back from the force.
Vinzer tosses a clump of blue hair to the side.
"What was it that came next? I forget... was it a kick to the stomach, or a knee to the head?"
Red mist pumps from the mask as she rolls to her back.
"Fnck it, let's go for double points." The steel toe of his shoe slams into the mask, snapping her head to the side like a whip. Silence. Darkness.
His muscles flex against her, the movements smooth, steady. Her hips roll, as his soft grunts set the rhythm. Her arms wrap under his to hold his shoulders as her legs bounce in the air.
His fingers slide along her neck, his palm pressing against her throat softly. His hand moves up, and to the back of her head while the other arm wraps her waist like a massive python. He leans back, pulling her from the wall and holds her as his arms guide her body. Faster now. She gives in completely. Her body tenses suddenly, then goes limp as she lets out a muffled moan into his neck.
Her mind races as she's filled with warmth, love. His love. Her mind reels in pleasure. Nothing ever felt more right.
She lays on the sofa relaxing, crop top and panties as usual. The door latch clicks. She checks the time.
"Welcome home!" She bounces up from the sofa and does her best to tackle the man.
"Wow. You really put the shine on her, dint ya?" Jessups voice is unmistakable.
"I did nothing of the sort." He's stern, more than usual.
When she realizes, she ducks behind a cabinet. "Hey! Why are you here??" She tries to cover herself.
"Jessup is just helping me bring up some boxes from the storeroom so I didn't have to make 2 trips." He slides the box over and stacks the one from Jessup on top. "Thanks, I'll stop by later so you can check the actuator in my knee. It's been a bit glitchy."
"Ya ya, no freebies this time." Jessup shuffles to the stairs. "Full price!"
"So what have you been up to?" He pulls her close as he shuts the cabinet door she was hiding behind.
"Well, first I went out and sold myself to EVERY guy on the block." She giggles.
"Oh really? Did you make a lot?" He squeezes her.
"Oh lots, but THEN I went and bought all of the expensive clothes I've wanted." She wiggles against him.
"Oh, then I get a fashion show?" His hands sneak lower.
"I don't need new clothes to do that for you..." She looks down and pulls the loose collar of her top off her shoulder, then looks back up to him softly biting her lips as she peers up from under her long eyelashes.
His lips press against her forehead. "So what did you really do?"
"I had an early delivery, then a commute across town to get another in the afternoon. That's about all. Also... I cleaned!" She points at the floors.
"Did said cleaning involve dancing?" He chuckles, knowing the answer.
"Duh, like I would clean and NOT dance." She slithers her body against his.
He spins her around like a ballroom dancer. "I'm glad your day was good."
"Yep! Let's celebrate!" She springs around the apartment, stopping at the sofa and leaning over the back to talk to him.
"I've been here for a month now!"
"Oh, you are absolutely correct. That most definitely /is/ reason to celebrate. So..."
The word echoes in her mind.
"Where are we going?"
They lay back on the bed, content and worn. "I'm sorry... you might need another shower..." His voice is soft from heavy breathing.
She giggles and snuggles into his chest. "Want to share one?" Her voice is seductive and low.
He pulls her close and sighs contently as a moments eternity of peace gives them a tiny taste of respite.
She lays on top of him, both sweaty and panting. "Let's leave."
"What?" He blinks, surprised by the statement, looking down into her eyes.
"Let's leave. This place. It's... rotten. Maybe if there was some order.. or even just... someone that cared. This isn't the place to start a life." She draws patterns on his chest with the tip of her finger as she lays her cheek against him.
"You know I'd go anywhere with you. Just say the word." He brushes her hair back over her ear.
"I just.... I want it to be us. Just us. No CorGen. No thugs. No more operations. What if... one day... you don't come back to me?" A tear wells in her eye and drops onto his skin.
"Ok. Fine. So..."
The word echoes in her mind.
"Where are we going?"
"... *crackle* to *krzzzzz*ie."
.
.
.
"... going to *digital noise*"
.
.
.
"You're going to DIE!"
It's warm, but cold at the same time. She's here, but everywhere also.
"... up."
.
.
.
"get*static*"
She looks where her hand should be. Nothing. Everything is white. There's nothing but... light.
"I knew you'd do something reckless." His voice comes from beside her, behind her, inside her. "You have to get up. If you don't, you're going to die."
"Am I dead?" She tries to look around but there's no left or right, up or down.
"I need you to listen. I wasn't... entirely honest with you. That place... where they kept you. It wasn't just a place to torture you. They did things. Horrible things. Vinzer was taking young girls from the streets and using implants to force them to do what he wanted. Murder, robbery, and... other things. But you... nothing they did would break you. I couldn't do it any more. Chasing you down, dragging you back to that place. Your screams..."
He looks away.
"I left his crew, and the moment I could come get you... I did."
"Why?" She wants to cry. "Why did you lie to me?"
"I didn't want to force you to remember. Any of it. It was wrong. Can you forgive me?"
His words are soft.
"I love you." Her response comes without any will of her own.
"I can't make it right, but I can help you... one more time. All of the VES suits, they're modeled after you. You were subject #000. When I worked on your suit, I linked it to your neural implant..."
His explanation makes little sense.
Her mind interrupts. "You're dead."
"Well, yes... technically. And... technically, so are you." His voice doesn't waver.
"Dead?" She questions.
"Yes. For now." He sighs. "All done. I love you. You don't have to do this. Please. Get out of there. Run. Don't look back. Forget me. Forget the city. Be free. I'll always be watching you, my love."
The white fades to gray. "I love you. My light." Her thought sends vibrations through her reality, shattering it to nothingness. Dark. Quiet.
The apartment is pitch black, the only sound the rain pattering against the windows.
Quiet. Dark.
"D̴̀̓A̴͍̚T̶̋͂A̸͐͠ ̸͗̒C̸͊͘Ŏ̵̌R̸͐̈́R̴̂̈U̸̎́P̵̢͠T̶͗͘???" She calls for him. Silence. Her eyes adjust, and she sees the apartment in shambles.
"D̴̀̓A̴͍̚T̶̋͂A̸͐͠ ̸͗̒C̸͊͘Ŏ̵̌R̸͐̈́R̴̂̈U̸̎́P̵̢͠T̶͗͘?!?!?!?!?!" She calls out again, and again... silence. She flicks the lights, nothing.
She uses the light of her comm to look around frantically. Calling his name, over and over. As she turns the corner to their bedroom she falls to her knees.
Her hands shake as she reaches for his... Cold. She screams in pain. It's so dark. So cold. She can't see his light.
She drags herself close to his still body and lays her head on his chest. "You can't go... you can't leave me..."
The door bangs open suddenly and Jessup rushes in carrying a flashlight. "Is everyone alright? I heard a screa-" He stops abruptly as he sees her. "Oh fnck..."
She turns towards Jessup, eyes cold as the oceans depths. "Jessup..." Tears stream down her face. "My light..." The words barely escape her lips.
"They took him from me."
-------------------------------------------------------
Sound City Files, Volume 1 - Chapter 6 >
😭😭😭😭😭*kicks and punches at the air* Go get em! RAWR!! lol
I love how this shot came out. I always proof my photos before I post them, andthis one was just sooo much fun. I took a backdrop, modified it for use in the city, then used it as a more elaborate backdrop. I think there's probably about 150 lights in that shot. Seriously. There's definitely thousands of particles. I know everyone I've shown previews to has been really amped up about it! I hope you enjoy it as much as I did taking it!
Only a couple of chapters left.... are you ready?
EDIT: I'm sorry about the formatting. Flickr feels that they should modify what you enter. I'm not sure why... but they do. I also can't use anything to format it more properly since they ignore or remove the formatting. Please reach out if you know of a way to keep formatting when I post descriptions. Thanks! :)
❤️ Epi!
What is he supposed to say? Please prioritize kids over guns?
© Web-Betty: digital heart, analog soul
UPDATE: This is how I edit my photos:
Video 1: youtu.be/9jY0BPGaM6A
Video 2: youtu.be/xew7eLrpfVg
================
Urgh, I wish I can prioritize this photography thing because I love doing it, I really do, but the thing is there are more important things to do. I am bombarded with lots of “reality” stuffs.
I miss talking to my flickr friends who have the same story as mine. Flickr world can be a paradise to some ~_~
I promise to get back to you as soon as I can, I miss talking to you all!
Anyway, this is Jomer, the guy from my previous upload. I love shooting with him because he lets me explore how this portrait photography thing works- the how-to of bringing out your emotions and posing and everything under the sun modelling- wise. It’s a lot harder than how I used to think.
It has been months and months that I have not had the time to do a SP, as the business has been growing more and more I have had to prioritize those shoots (which I like better than photographing myself of course) anyways i missed doing this too! I hope you enjoy these, I had fun taking them :)
PS: Also, i cut my hair about 8 inches, you like?
One of the few things I clearly remember from when I rushed to catch the light on this lily was the song playing in my head as I looked at its leaves:
“Fill your pockets with the dust and the memories,
That rises from the shoes on my feet.”
Slint - Washer
X-Pro2 • Voigtländer Nokton Classic 40mm f1.4MC
Probably f2 because light was fading and I think I was using the…
Marumi DHG Super polarizer
Pro-Neg Hard
WB: 5600k
Straight out of camera
First post from the new Voigtländer 40mm Nokton. Going with this one not because it’s particularly representative of the character of the lens but because it’s the prettiest shot I’ve gotten of the lilies that sprung up at the beginning of spring, and I want to get the post out of the way so I’m not stuck in the analysis-paralysis of indecision any longer.
But also it is a shot that makes me think about the lens, because the slightly gentle, non-clinical rendering of the details forces me to remind myself: this is exactly why I got the lens! I don’t obsess over sharpness, but even so I find myself zooming in and noticing that it’s not as crisp and clinical as some of my modern Fujis (and maybe a few of my actual vintage lenses)… even though the whole point to me is to have a vintage-character lens with modern coatings. Our relationship with gear can really mess with our minds.
I also have to shake my feeling that I screwed up the focus. I said a long time ago that I think you can tell a lot by someone’s focus selection on a flower: are they showing off how sharply they can render the detailed components, or are they rendering what’s beautiful about a flower in a beautiful way? In this case, I recall thinking that the curling tip with a bit of cobweb would be conspicuous if not sharp, and I also liked the texture of the pollen on the leaves, so those are the things I focused on. Yet in hindsight I find myself wondering if I should have focused on the central spadix (I had to look that up), even though I think that part of it is as ugly as its name and better left out of focus. Why does it concern me? Because I shot it the way I like to see it, but it’s not how I see everyone else shoot it, and that gets at me even though I know better.
In both lens and my own choices, I achieved what I wanted in this shot, yet have to remind myself that it’s ok that my priorities aren’t what most others prioritize. That’s why this feels like it should be the first thing I put up from the Nokton. Hopefully many more to come; I’m enjoying the character of this tiny lens a lot.
(DSCF8844)