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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
"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.
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.
This image is best viewed in Large screen.
Thank-you for your visit, and any faves or comments are always sincerely appreciated.
Sonja
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
33428 Harbour Ave.
Mission, BC Canada
These vessels are sitting in frozen ice on the Fraser River.
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.
Happy New Year to all friends and contacts. And anyone else that might drop in. Christmas 2023 was not the relaxing type of Christmas, so I prioritized life over Flickr. Sorry about that.
I hope to be back now, but it will take some days to reach around to all of you. As a farmer with an old barn it takes 6 hours a day just to feed, clean, milk and all the other things to do twice a day in the barn. And then you have the other things to do, which takes time when we get 3 feet of snow over a few days just around Christmas.
I haven' taken much photos either, so I just grab a few snapshots from the last two weeks and present here. And a few jokes from the web.
And a photo that surely isn't for everyone. It is a joke we had in the "Vintrakveld" show at the Christmasparty in Ungdomslaget. It is a dinner and program party with dance to a local band on the fifth day of Christmas. We were a little over 100 people gathered, and the show is about making fun of things that happened last year here in our community.
One joke we had was that the landscape calendars I make sold so poorly last year, so now I have gone all in to raise the sale. I will make a nude calendar! And to get a shock reaction we also showed a photo to drive home the point. And people did laugh! And not just laugh, when the party was over a local lady had got ten farmers to join to create a nude farmers calendar for real to raise money for a good cause next year!! If this joke can end up in a prosject raising money for mens health is it a good thing in my eyes.
In Norway this photo isn't a big deal, but I have no idea how other nations culture will see it so I add just a link to it. Clicking on the link is on your own risk. Old farmers surely isn't something everyone will see! The link: photos.app.goo.gl/iy9dxXRCfwmv3EFv8
There are as always more photos in the first comment
33428 Harbour Ave.
Mission, 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.
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
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! (:
If all the mothers look like this we have a world over populate
humor got to love the craziness...
On a more series thought
MOTHERS DAY has a special meaning to me
few years ago I heard GOD CALL MY NAME most think this is crazy its ok most of you are sleeping ..... today my child thank me for teaching her to be kind and to be kind to others
that's has more more values to me then any thing materialistic from this world I am so proud of you
God gave me the most amazing gift you ..For my 💕 daughter 💕
your Supermom as you call me hehheh .
IT REALLY PAYS OFF YOU PRIORITIZE YOUR ALL IN YOUR CHILDREN AFTER GOD .
a song for you 💕
Van Morrison - Brown Eyed Girl
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.
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!
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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.
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.
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.
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
Another Friday spent along the rails of Cape Cod did not disappoint.
My main goal was to photograph newly repainted FL9 2011 which I did and then I had planned to again photograph the meet and swap with the northbound energy train. But those plans got changed when this unexpected train showed up.
Mass Coastal train MC2 was thrown into the mix as they came down from Rochester with a string of empty C&D gons for Cassova at Otis that they were going to swap out with loads before heading back north to Rochester and on to Wareham. Here they are holding the main at Taylor at MP 54.9 on the MassDOT owned and Mass Coastal operated former New Have Cape Mainline.
Leading the way is MC 2008, a GP9RM blt. Apr. 1956 as CN 2020. They will hold here for a bit until the passenger consist pulls north from the station into the siding. Once they are clear and the bridge is lowered they will head south toward the Falmouth Branch and on to Otis meeting the waiting energy train at Canal Jct. The latter will use the same bridge closing to scoot back here and hold the main for a meet and crew swap with the passenger consist before they each then head on their respective ways to Seamass and back down to the station.
For a small little shortline it sure got busy here for a moment requiring some decisions on what I wanted to prioritizing shooting. Not a bad problem to have!
Wareham, Massachusetts
Friday September 15, 2023
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.
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.
♦ 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!
Siem Reap: Sun Smart or something else?
Remember, it is 38 degrees Celsius...in the shade. Maybe they are sun smart. However, dark-skinned women in Cambodia live in a society that heavily prioritizes light skin. Traditionally, dark-skinned Cambodian women have faced a lack of social and employment opportunity, but it is slowly changing...very slowly. Cambodian women will often say they are not beautiful because they have dark (black) skin. It is thought that their dark skin means they have worked in the fields planting and harvesting rice. Western women have a different view of dark/brown skin.
The year 1936 brought forth an automotive gem, the Ford Model 68, a vehicle that not only captured the essence of its era but also pushed the boundaries of design and innovation. Born from the storied assembly lines of the Ford Motor Company, this classic car emerged during a time when America was finding its footing after the Great Depression. As a testament to resilience and forward-thinking, the Model 68 showcased Henry Ford's commitment to affordable yet stylish transportation for the masses. One particularly intriguing fact about this model is that it was among the first to offer a glimpse into streamlined design, which would dominate the automotive industry in the years to come.
Design and Innovation: A Blend of Style and Substance
The exterior of the 1936 Ford Model 68 exuded elegance with its teardrop-shaped headlamps and a bold, v-shaped grille that commanded attention. The car's sleek lines and rounded fenders were a departure from the boxy shapes of earlier models, hinting at the aerodynamic future of automobile design. Inside, owners were greeted with an interior that prioritized simplicity and functionality without compromising on quality. Luxurious touches like mohair upholstery and wood-grain accents spoke volumes about the craftsmanship of the era. Technologically, the Model 68 stood out with its flathead V8 engine, a marvel that offered unprecedented power and reliability to everyday drivers. Color options ranged from Washington Blue to Cordoba Tan, with many buyers favoring darker hues that accentuated the car's sophisticated silhouette. Available in various body styles including coupes, sedans, convertibles, and even wood-paneled station wagons known as "Woodies," it was the Deluxe Roadster that often stole hearts with its irresistible blend of performance and panache.
Performance-wise, the 1936 Ford Model 68 was no slouch. Its V8 engine could propel it to top speeds that were impressive for its time, while acceleration from 0-60 mph was achieved in a manner that could best be described as spirited for a pre-war car. On various driving conditions, from bumpy rural roads to newly paved highways, the Model 68 handled with poise and assurance. Drivers often reveled in the throaty rumble of the flathead V8 as they navigated through their journeys, enjoying a tactile connection with their machine that modern vehicles struggle to replicate.
The 1936 Ford Model 68 stands as more than just another vintage vehicle; it is a symbol of innovation during times of adversity and a precursor to modern automotive design philosophies. Its legacy is etched into history books and continues to be celebrated by enthusiasts around the globe who are captivated by its story and enamored by its character.
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! (:
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!
Danielle Smith wants to deny trans kids access to gender-affirming care and LGBTQ kids access to books with LGBTQ relationships, under the guise of "protecting children".
Gender-affirming care is health care and it is SO important. It even saves lives. Likewise, LGBTQ kids knowing that LGBTQ people exist and there's nothing wrong with them is also important and life-saving. What does harm children is making them feel broken, bad, worthless, or unloved for being LGBTQ. What does harm children is denying them health care and prioritizing a desire for who you want a child to be instead of who they actually are, so much that you will sacrifice their well-being and happiness to try to force them to be someone they are not!
LGBTQ kids should feel accepted, appreciated, supported and loved! 💙️🌈
~Pride Parade 2025
Rovingian Permanent Tattoos - Visual Design Manual by Daniel Arrhakis (2026)
Rovingian Permanent Tattoos - Visual Design Manual
Introduction
The Rovingian nomadic monks' movement prioritizes detachment and bodily sacredness, making exceptions only for tattoos that serve as tools for profound individual spiritual evolution, as there is freedom in each monk's spiritual journey.
However, tattoos done after joining the movement must respect rules based on its basic principles.
Visual Objective
Permanent tattoos should be designed as spiritual marks of protection, inner growth, and nomadic journey. The design should not function as a decorative ornament, but as a visual system of identity, discipline, and ritual memory.
General Principles of Composition
The composition should prioritize verticality, restraint, rhythm, and bodily legibility. Each mark should respect anatomy, follow the body's natural lines, and leave areas of empty skin to preserve balance, visual silence, and sacred character.
Authorized Areas
Back, shoulders, arms, and forearms are the main areas of application. Legs can receive vertical bands or structures. On the back, the elements should preferably be arranged in a triangular structure, based on the shoulders and aligned with the spine.
The face and neck should be avoided for permanent tattoos. When present, the markings should be minimal, discreet, and not very extensive, functioning more as a ritual symbol than as a dominant composition.
Forbidden areas
The chest and the entire front of the torso should not be tattooed, as they represent the space of the heart, prayer, and giving. The hands should remain clean as they symbolize blessing, greeting, sustenance, and gestural communication.
Below the knees, the application should be restricted to the calves, preferably on the back, with vertical lines associated with continuous walking, the spiritual journey, and connection with the earth.
Permitted graphic language
The visual language may include natural motifs, animals and plants, ruins integrated into nature, pseudo-writing, dots, lines, and sacred geometries derived from the monk's path. References to Amazigh patterns and the Sak Yant style are acceptable, provided they are reinterpreted within the Rovingian identity.
Anthropomorphic motifs should be excluded. Faces, human silhouettes, or recognizably human figures should not be part of the composition.
Architecture of the Dorsal Triangle
The dorsal triangle is the main matrix for back tattoos. The base should follow the scapular line, visually uniting the shoulders. The lower vertex should align with the spine, in the lower back or at the beginning of the sacrum, creating a descending and stable frame.
The sides descend diagonally from the shoulders to the lower central point, leaving the outer flanks clean. The external structure should maintain clear symmetry, while the interior can admit controlled asymmetries, representing the personal quest of each monk.
Internal Distribution of the Triangle
The interior of the triangle should follow a visual hierarchy. The upper region, between the shoulders and the cervical spine, can receive denser and more horizontal elements, such as thick dots, expansive geometries, or broad strokes. The central axis of the column should favor pseudo-writing, vertical lines, or signs of spiritual ascension.
The inner space should combine stylized nature, scattered dots, and sacred geometric forms, keeping areas of skin free to avoid visual saturation. The composition should appear constructed, not accumulated.
Formal Restrictions
The design should not reach the armpits, exceed the neck limit, or invade prohibited body areas. The edges should be clean, recognizable, and consistent with the main geometry. The graphic density should be moderate to preserve readability, silence, and solemnity.
Design of vertical stripes on the legs
Visual Function
The legs should be treated as mobile pillars of the body. Tattoos applied to this area should reinforce the idea of walking, resistance, and connection between earth and sky. The composition should be organized in vertical columns, never in horizontal masses or closed patches.
Recommended Alignment
The stripes should descend vertically, following tendons, main bones, and natural lines of movement. The priority areas are the outer lateral aspect of the thigh and calf, aligned with the outer seam of the trousers, or the posterior center line of the leg, over the Achilles tendon.
Proportion and Spacing
Each stripe should have a defined width, preferably equivalent to two or three fingers of the monk himself. Between parallel stripes, enough skin should remain visible to preserve the individual reading of each column and prevent the leg from appearing completely covered.
Formal Reference
The stripes can be inspired by the Hah Taew of the Thai Sak Yant, adapted to the scale and movement of the leg. The reference should be manifested in parallel columns of pseudo-writing, repetitive geometric dots and patterns, always reinterpreted according to Rovingian iconography.
Line, texture, and finish
The line should be thin, disciplined, and rhythmic. You can combine solid line with dense pointillism, or dotwork, to suggest manual application with a stem. Terminations can taper into points, abstract marks, or small symbolic arrows oriented towards the ground or the sky.
Graphic vocabulary
The composition of the stripes can include linear pseudo-writing, continuous characters without recognizable linguistic meaning, small diamonds, circles, short horizontal strokes, and patterns of vertically stacked knots. Wavy lines can represent the wind, while vertical modules can suggest reeds, bamboo, or spiritual growth.
Visual validation criteria
Before finalizing the drawing, check if the stripe reinforces vertical movement, if it preserves sufficient free skin, if it does not create a heavy stain, and if it maintains coherence with the rest of the body system. The tattoo should resemble a prayer in motion: legible, contained, and spiritually functional.
Symbolic Function
The stripes symbolize the strength of the walker and physical resistance in the face of fatigue, illness, and difficult paths. Each step symbolically activates the protection inscribed on the leg, making the mark part of the continuous gesture of walking and praying.
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Tatuagens Definitivas Rovingianas - Manual de Design Visual
Introdução
O movimento dos monges nómadas rovingianos prioriza o desapego e a sacralidade corporal, abrindo exceções apenas para tatuagens que sirvam como ferramentas de evolução espiritual profunda individual, pois existe liberdade no percurso espiritual de cada monge.
No entanto, as tatuagens feitas após a adesão ao movimento devem respeitar regras baseadas nos seus princípios básicos.
Objetivo visual
As tatuagens definitivas devem ser concebidas como marcas espirituais de proteção, crescimento interior e percurso nómada. O desenho não deve funcionar como ornamento decorativo, mas como sistema visual de identidade, disciplina e memória ritual.
Princípios gerais de composição
A composição deve privilegiar verticalidade, contenção, ritmo e legibilidade corporal. Cada marca deve respeitar a anatomia, acompanhar linhas naturais do corpo e deixar áreas de pele vazia para preservar equilíbrio, silêncio visual e caráter sagrado.
Zonas autorizadas
Costas, ombros, braços e antebraços são zonas principais de aplicação. As pernas podem receber faixas ou estruturas verticais. Nas costas, os elementos devem organizar-se preferencialmente em estrutura triangular, com base nos ombros e vértice alinhado com a coluna vertebral.
A face e o pescoço devem ser evitados em tatuagens definitivas. Quando existirem, as marcas devem ser mínimas, discretas e pouco extensas, funcionando mais como sinal ritual do que como composição dominante.
Zonas interditas
O peito e toda a zona frontal do tronco não devem ser tatuados, pois representam o espaço do coração, da oração e da dádiva. As mãos devem permanecer limpas por simbolizarem bênção, saudação, sustento e comunicação gestual.
Abaixo dos joelhos, a aplicação deve restringir-se aos gémeos, preferencialmente na parte posterior, com linhas verticais associadas ao caminhar contínuo, ao percurso espiritual e à ligação ao solo.
Linguagem gráfica permitida
A linguagem visual pode incluir motivos naturais, animais e vegetais, ruínas integradas na natureza, pseudoescrita, pontos, traços e geometrias sagradas derivadas do trajeto do monge. São admissíveis referências a padrões Amazigh e ao estilo Sak Yant, desde que reinterpretadas dentro da identidade rovingiana.
Devem ser excluídos motivos antropomórficos. Rostos, silhuetas humanas ou figuras reconhecivelmente humanas não devem integrar a composição.
Arquitetura do triângulo dorsal
O triângulo dorsal é a matriz principal para tatuagens nas costas. A base deve acompanhar a linha escapular, unindo visualmente os ombros. O vértice inferior deve alinhar-se com a coluna vertebral, na zona lombar ou no início do sacro, criando uma moldura descendente e estável.
As laterais descem diagonalmente dos ombros até ao ponto central inferior, deixando os flancos exteriores limpos. A estrutura exterior deve manter simetria clara, enquanto o interior pode admitir assimetrias controladas, representando a busca pessoal de cada monge.
Distribuição interna do triângulo
O interior do triângulo deve seguir uma hierarquia visual. A zona superior, entre os ombros e a cervical, pode receber elementos mais densos e horizontais, como pontos grossos, geometrias expansivas ou traços largos. O eixo central da coluna deve privilegiar pseudoescrita, linhas verticais ou sinais de ascensão espiritual.
O espaço interno deve combinar natureza estilizada, pontos dispersos e formas geométricas sagradas, mantendo áreas de pele livre para evitar saturação visual. A composição deve parecer construída, não acumulada.
Restrições formais
O desenho não deve alcançar as axilas, ultrapassar o limite do pescoço nem invadir zonas corporais interditas. As margens devem ser limpas, reconhecíveis e coerentes com a geometria principal. A densidade gráfica deve ser moderada para preservar leitura, silêncio e solenidade.
Design das faixas verticais nas pernas
Função visual
As pernas devem ser tratadas como pilares móveis do corpo. As tatuagens aplicadas nesta zona devem reforçar a ideia de caminhada, resistência e ligação entre terra e céu. A composição deve organizar-se em colunas verticais, nunca em massas horizontais ou manchas fechadas.
Alinhamento recomendado
As faixas devem descer verticalmente, acompanhando tendões, ossos principais e linhas naturais de movimento. As zonas prioritárias são a face lateral externa da coxa e do gémeo, alinhada com a costura exterior das calças, ou a linha central posterior da perna, sobre o tendão de Aquiles.
Proporção e espaçamento
Cada faixa deve ter uma largura definida, preferencialmente equivalente a dois ou três dedos do próprio monge. Entre faixas paralelas, deve permanecer pele visível suficiente para preservar a leitura individual de cada coluna e impedir que a perna pareça totalmente coberta.
Referência formal
As faixas podem inspirar-se nas Hah Taew do Sak Yant tailandês, adaptadas à escala e ao movimento da perna. A referência deve manifestar-se em colunas paralelas de pseudoescrita, pontos e padrões geométricos repetitivos, sempre reinterpretados segundo a iconografia rovingiana.
Traço, textura e acabamento
O traço deve ser fino, disciplinado e ritmado. Pode combinar linha contínua com pontilhismo denso, ou dotwork, para sugerir aplicação manual com vareta. As terminações podem afinar em pontas, marcas abstratas ou pequenas setas simbólicas orientadas para o chão ou para o céu.
Vocabulário gráfico
A composição das faixas pode incluir pseudoescrita linear, caracteres contínuos sem significado linguístico reconhecível, pequenos losangos, círculos, traços horizontais curtos e padrões de nós empilhados verticalmente. Linhas onduladas podem representar o vento, enquanto módulos verticais podem sugerir juncos, bambu ou crescimento espiritual.
Critérios de validação visual
Antes de finalizar o desenho, verificar se a faixa reforça o movimento vertical, se preserva pele livre suficiente, se não cria uma mancha pesada e se mantém coerência com o restante sistema corporal. A tatuagem deve parecer uma oração em movimento: legível, contida e espiritualmente funcional.
Função simbólica
As faixas simbolizam a força do caminhante e a resistência física perante a fadiga, a doença e os caminhos difíceis. Cada passo, ativa simbolicamente a proteção inscrita na perna, tornando a marca parte do gesto contínuo de caminhar e rezar.
Melbourne, AUSTRÀLIA 2023
Swanston Street is one of the most significant and busiest thoroughfares in central Melbourne. It's a predominantly pedestrian and tram-only street, making it highly accessible and vibrant. The street is home to some of the city's most prominent cultural and educational institutions, including the State Library of Victoria. It's a central point for accessing Federation Square, St. Paul's Cathedral, and the Melbourne Town Hall. Along Swanston Street, you'll find a mix of shops, cafes, and restaurants, as well as public art. It's a key hub for student life, with several universities having campuses nearby. The street is a constant hive of activity, featuring street performers and events. Its design prioritizes pedestrians and public transport, reflecting Melbourne's urban vision. Swanston Street is the pulsing heart of the city's civic and cultural life
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.
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.
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
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?
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.
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.
The year 1936 brought forth an automotive gem, the Ford Model 68, a vehicle that not only captured the essence of its era but also pushed the boundaries of design and innovation. Born from the storied assembly lines of the Ford Motor Company, this classic car emerged during a time when America was finding its footing after the Great Depression. As a testament to resilience and forward-thinking, the Model 68 showcased Henry Ford's commitment to affordable yet stylish transportation for the masses. One particularly intriguing fact about this model is that it was among the first to offer a glimpse into streamlined design, which would dominate the automotive industry in the years to come.
Design and Innovation: A Blend of Style and Substance
The exterior of the 1936 Ford Model 68 exuded elegance with its teardrop-shaped headlamps and a bold, v-shaped grille that commanded attention. The car's sleek lines and rounded fenders were a departure from the boxy shapes of earlier models, hinting at the aerodynamic future of automobile design. Inside, owners were greeted with an interior that prioritized simplicity and functionality without compromising on quality. Luxurious touches like mohair upholstery and wood-grain accents spoke volumes about the craftsmanship of the era. Technologically, the Model 68 stood out with its flathead V8 engine, a marvel that offered unprecedented power and reliability to everyday drivers. Color options ranged from Washington Blue to Cordoba Tan, with many buyers favoring darker hues that accentuated the car's sophisticated silhouette. Available in various body styles including coupes, sedans, convertibles, and even wood-paneled station wagons known as "Woodies," it was the Deluxe Roadster that often stole hearts with its irresistible blend of performance and panache.
Performance-wise, the 1936 Ford Model 68 was no slouch. Its V8 engine could propel it to top speeds that were impressive for its time, while acceleration from 0-60 mph was achieved in a manner that could best be described as spirited for a pre-war car. On various driving conditions, from bumpy rural roads to newly paved highways, the Model 68 handled with poise and assurance. Drivers often reveled in the throaty rumble of the flathead V8 as they navigated through their journeys, enjoying a tactile connection with their machine that modern vehicles struggle to replicate.
The 1936 Ford Model 68 stands as more than just another vintage vehicle; it is a symbol of innovation during times of adversity and a precursor to modern automotive design philosophies. Its legacy is etched into history books and continues to be celebrated by enthusiasts around the globe who are captivated by its story and enamored by its character.
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
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.
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?
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.
An airborne early warning and control (AEW&C) system is an airborne radar early warning system designed to detect aircraft, ships, vehicles, missiles and other incoming projectiles at long ranges, as well as performing command and control of the battlespace in aerial engagements by informing and directing friendly fighter and attack aircraft. AEW&C units are also used to carry out aerial surveillance over ground and maritime targets, and frequently perform battle management command and control (BMC2). When used at altitude, the radar system on AEW&C aircraft allows the operators to detect, track and prioritize targets and identify friendly aircraft from hostile ones in real-time and from much farther away than ground-based radars.[1] Like ground-based radars, AEW&C systems can be detected and targeted by opposing forces, but due to aircraft mobility and extended sensor range, they are much less vulnerable to counter-attacks than ground systems.[2]
AEW&C aircraft are used for both defensive and offensive air operations, and serve air forces in the same role as what the combat information center is to naval warships, in addition to being a highly mobile and powerful radar platform. So useful and advantageous is it to have such aircraft operating at a high altitude, that some navies also operate AEW&C aircraft for their warships at sea, either coastal- or carrier-based and on both fixed-wing and rotary-wing platforms. In the case of the United States Navy, the Northrop Grumman E-2 Hawkeye AEW&C aircraft is assigned to its supercarriers to protect them and augment their onboard command information centers (CICs). The designation "airborne early warning" (AEW) was used for earlier similar aircraft used in the less-demanding radar picket role,[3] such as the Fairey Gannet AEW.3 and Lockheed EC-121 Warning Star, and continues to be used by the RAF for its Sentry AEW1, while AEW&C (airborne early warning and control) emphasizes the command and control capabilities that may not be present on smaller or simpler radar picket aircraft. AWACS (Airborne Warning and Control System) is the name of the specific system installed in the American Boeing E-3 Sentry and Japanese Boeing E-767 AEW&C airframes, but is often used as a general synonym for AEW&C.[4][5]
General characteristics
Wellington Ic "Air Controlled Interception" showing rotating radar antenna
Modern AEW&C systems can detect aircraft from up to 400 km (220 nmi) away, well out of range of most surface-to-air missiles (SAM). One AEW&C aircraft flying at 9,000 m (30,000 ft) can cover an area of 312,000 km2 (120,000 sq mi). Three such aircraft in overlapping orbits can cover the whole of Central Europe.[6] AEW&C system indicates close and far proximity range on threats and targets, help extend the range of their sensors, and make offensive aircraft harder to track by avoiding the need for them to keep their own radar active, which the enemy can detect. Systems also communicate with friendly aircraft, vectoring fighters towards hostile aircraft or any unidentified flying object (UFO).
Oostende’s promenade was once lined with grand villas and Art Nouveau buildings, reflecting its status as a luxurious seaside resort during King Leopold II's era. After World War II, most of these historic structures were demolished to make way for modern high-rise apartments. This transformation was driven by the rise of mass tourism, prioritizing functionality over preserving architectural heritage.
Today, the Belgian coastline, including Oostende, is heavily urbanized and often criticized for its lack of charm compared to other European coastal areas. Dense apartment blocks have replaced natural dunes and historic landmarks, permanently altering the landscape. Unlike places such as the French Riviera or Dutch coastal towns, which have preserved their historical appeal, the Belgian coast has lost much of its unique identity.
In this image, I aim to create beauty out of this stark reality, playing with light and shadows to transform the setting.
Ostend, Belgium
Sound City Files, Volume 1 - Chapter 5
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< 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!
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.
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.
The M-68 Mastiff, commonly referred to as the Mastiff LRV (Light Reconnaissance Vehicle), is an American light infantry mobility and reconnaissance vehicle developed for the United States Army. Entering service in the late 2130s, the Mastiff was designed to supplement heavier infantry fighting vehicles and replace aging light tactical platforms in high-threat, drone-saturated battlefields. The vehicle is manufactured by Oshkosh Defense, leveraging the company’s long experience with tactical wheeled vehicles.
The Mastiff is optimized for rapid infantry transport, reconnaissance, and urban combat support, prioritizing mobility, modularity, and low logistical burden over heavy armor. It is intended to operate alongside dismounted infantry, unmanned ground vehicles, and rotary- or tiltrotor-borne formations, particularly in expeditionary and dense urban environments.
The vehicle features a four-wheeled (4×4) configuration with independent suspension, allowing for high off-road mobility while maintaining a compact footprint suitable for airlift and shipboard transport. The Mastiff typically carries a crew of two—a driver and vehicle commander—while accommodating four fully equipped infantry soldiers depending on mission configuration.
Protection is focused on small arms fire, fragmentation, and blast mitigation, with modular add-on armor and electronic countermeasure suites available as mission kits. Unlike traditional infantry fighting vehicles, the Mastiff relies on speed, situational awareness, and networked support—such as unmanned aerial systems and precision fires—for survivability.
By the early 2140s, the M-68 Mastiff program was estimated to cost between USD $18–25 billion, with procurement plans ranging from 8,000 to 12,000 vehicles across active, reserve, and allied forces. Average unit cost was projected at $2–3 million, depending on configuration and electronics fit.
1:43 scale
Exactly a year since I uploaded the M40 Vanguard, I introduce the newest member to the US forces motor pool, the M-68 Mastiff. I wanted the vehicle to be similar in function and design to the Warthog and Razorback from halo and the GAV Swan from Avatar, while not ripping off the designs too much. In the end I think I was successful. The angled sides, thanks to the hinged plates, were inspired by the C-0T Light Transport by Louis K. on Flickr. The digital renders look a little bare on details, whenever I build it irl I will flesh it out with a rear roll cage, steering wheel etc. It will prob be the last US forces vehicle I post in a while, shifting my focus now to the UAS side of things, especially since I got a camo scheme going for them…
More photos available on my instagram
My dad gave me $40 for a field trip today, and since I knew I probably wouldn't buy anything at the museum, I went to Target during first block since I was signed out of all my classes for today anyways x) I went to buy a belt, but then I saw that this one had the LITDH dolls out on shelves, so naturally I prioritized and got Talkin' Barbie. The basic Barbie doll is out now too, but IMO, she's not nearly as gorgeous as the talking one, and neither of her dresses are as cute ;p
The field trip was fun! I've been to the museum of fine arts a ton of times already tho x) But yeah, kewal :)
“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
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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.
Bloom with the attitude you value... 🌸🌞
It doesn't matter how others are, focus only on what matters to you - ecstasy and happiness... 💕
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" Prioritize what you value over the noise and complaints. Don't trade a rare quality for something ordinary that can easily be replaced.
Dismiss the notion of equality lamentation. Status isn't tailored for equals... it's exclusively reserved for the rare superior who exudes unmatched excellence, ticking all of your checkboxes. "
________ Scarlett Saphira
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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.
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.