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Prompt: A fierce and confident cowgirl riding a galloping horse across a dusty western landscape. She is holding a lasso in one hand, mid-swing, ready to rope. She's wearing a classic cowboy hat, a western-style shirt with fringe, denim jeans, leather boots, and a belt with a large buckle. Her expression is determined, her hair flows in the wind, and the horse is muscular and powerful. The background features wide-open plains, mountains in the distance, and a dramatic sunset sky. Action-packed, cinematic composition, high detail, and dynamic lighting.
This digital fine art was created using Sora AI and Photoshop
spymaster is still recovering from his recent holiday… and now, from whatever he selfmedicated with while he was in pain.
cameo from part of my head in one of the pics ;)
Prompt: Northern Bobwhite perched on a piece of wood, facing left, head turned to the right, showing its side profile. The Northern Bobwhite has a brown body with a white throat and chest, and a black stripe running down its head. The background is blurred and consists of a green field. The lighting is natural and soft, casting a gentle shadow on the ground. The Bobwhite's feathers are detailed and textured, captures the Bobwhite in a natural setting. --ar 5:4 --profile 2wxm36j
Info: A bob-white ringing from a grassy field or piney woods has long been a characteristic sound of summers in the Eastern countryside. It’s quite a bit harder to spot a Northern Bobwhite, as the bird’s elegantly dappled plumage offers excellent camouflage. They forage in groups, scurrying between cover or bursting into flight if alarmed. Bobwhites have been in sharp decline throughout the past half-century, likely owing to habitat loss and changes in agriculture, and they are an increasingly high priority for conservation.
Digital fine art was created using Midjourney AI and Photoshop
There was very bright sunlight streaming into the window, and light filled the room. Fabulous shadows were created, but I was shocked that the photos have a nearly black background with so much light being present! I really enjoyed this prompt today!
Prompt: A photography of a small child gazes up at a massive Christmas tree, holding a sparkling star, her arm just shy of reaching the top. camera is looking the Christmas tree from below --v 6.1
surrealistic Perfect skull with horns, stunning Flowers, Surreal, Artwork, Highly detailed, Concept art, Surrealism, Surreal art, Fantasy, Artstation by Sill Scaroni, silver details, leaves, tree roots
www.flickr.com/groups/skullsskeletonsanatomy/discuss/7215...
prompt challenge
Ai Skulls,Clowns,Skeletons and Anatomy
surrealistic Perfect skull with horns, stunning Flowers, Surreal, Artwork, Highly detailed, Concept art, Surrealism, Surreal art, Fantasy, Artstation by Sill Scaroni, silver details, leaves, tree roots horror Gustave Doré Greg Rutkowski
nightcafe
prompt:
professional chef, cutting a steak with a damast chefs knife, wooden board, rustic, soft sidelight, cinematic, shot from far away, tele photo lense, Leica --chaos 30 --ar 3:2 --v 6.0 --repeat 6
Prompt: geometric; gel pens, felt tip pens, 3"x5" index card
Second pattern. Not sure which one I liked best so went with both :-) After a while, drawing lines became rather meditative.
Red chile ristras are the strung pods of dried red chiles that you see displayed near arches, doors, and windows all over New Mexico. Serving as a symbol of welcome, ristras are an iconic decoration in New Mexico, especially during the harvest months and holidays. In the Fall, you can buy ristras at farmer's markets and roadside stands. Ristras are sometimes used for decoration and are said to bring good health and good luck. More often, they are hung up to dry for later cooking and eating. The traditional method was to sun-dry the chiles by laying them out. However, contamination among birds and rodents prompted people to begin tying them together in strings and hanging them on a wall. As the ristras dry, they become a darker, subtle red color. At this point, they are ready to be used for cooking or displayed as decoration.
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Art of the day word is Prompt.
February's Drawing Per Day. A fifteen minute or less drawing of word of the day.
Festival Theatre, Edinburgh
The Edinburgh Festival Theatre (formerly Empire Palace Theatre) is a performing arts venue located on Nicolson Street in Edinburgh, Scotland used primarily for performances of opera and ballet, large-scale musical events, and touring groups. After its most recent renovation in 1994, it seats 1,915. It is one of the major venues of the annual summer Edinburgh International Festival and is the Edinburgh venue for the Scottish Opera and the Scottish Ballet.
The present theatre’s location is Edinburgh’s longest continuous theatre site, for there has been a theatre in that location since 1830. From being Dunedin Hall, the Royal Amphitheatre, Alhambra Music Hall, the Queen’s Theatre, Pablo Fanque's Amphitheatre, and Newsome’s Circus, the site became the Empire Palace Theatre, the first of the famous Moss Empires’ chain, opening on 7 November 1892. Designed by the great British theatre architect, Frank Matcham, (who built the London Coliseum, among others) its décor was lavish, with elephants with Nubian riders, nymphs and cherubs in abundance on the plasterwork, and it seated 3000 people on four levels.
For the following twenty years all the top artists of the day played at the Empire Palace until, on 9 May 1911, there was a disastrous fire on stage. While all 3000 theatre goers escaped safely (there were eleven backstage deaths and the death of a lion), the theatre reopened three months later. However, given the long term competition from the growth of film as a popular medium, the theatre was re-equipped to present bigger and more spectacular shows. Reusing some of Matcham’s original design concepts, the theatre reopened on 1 October 1928 with the musical Show Boat.
Between 1928 and 1963 the Empire was a variety, musical and opera house, often including ice shows. Big names like Harry Lauder, Charles Laughton, Fats Waller, Joe Loss, and Laurel and Hardy appeared, while English comedians Max Wall, Morecambe and Wise and Harry Worth established themselves at the Empire.
In addition to the music hall and popular entertainers who appeared at the Empire, the theatre became a principal venue of the Edinburgh International Festival between 1947 and 1963. It was particularly associated with international ballet and, during the first Festival in 1947, Margot Fonteyn danced in The Sleeping Beauty, while in subsequent years, performances by the Old Vic theatre company, the Royal Ballet and the Royal Opera were presented.
However, for nearly thirty years after 1963 the theatre became a bingo hall, only temporarily serving as a Festival venue. Finally, after its third major remodeling, the Empire Palace Theatre reopened in June 1994 with a glass-fronted structure for the new entrance (created by Law & Dunbar-Nasmith Architects), as the now-renamed Edinburgh Festival Theatre. In 1997, the distinguished theatre manager and artistic director Stephen Barry was appointed to shape the rejuvenated venue's future. With the restoration of the Empire Theatre’s former 1928 glory, plus a dramatic mix of art nouveau, beaux arts and neo-classicism, and including adequate acoustics, the new theatre serves all the artistic needs of the community.
The theatre is said to be haunted by a tall, dark stranger rumoured to be the famous illusionist Sigmund Neuberger, aka The Great Lafayette, who was one of those who burned to death in the fire at the Empire in 1911. [Wikipedia]
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There were a series of circuses and performance halls on this site from the 1820s (Ducrow’s, etc) and a music hall from about 1860 (Alhambra, Queen’s etc). Frank Matcham built the very first Moss Empire (the Empire Palace) here in 1892 and also carried out its reinstatement after a destructive fire in 1910. The 1892 theatre had a circus-theatre interior of almost barbaric magnificence. In 1928 the Matcham house was demolished and a new theatre built by W & T R Milburn, who were amongst the most competent theatre designers of their time (see e.g. London Dominion, Liverpool Empire and Southampton Mayflower). The Edinburgh auditorium is arguably their best surviving work. The subsequent transformation of the Empire into the Edinburgh Festival Theatre by Law & Dunbar-Nasmith (Colin Ross) completed in 1994 was (until the Royal Opera House reopening) perhaps the most radical make-over of an old theatre undertaken in Britain in modern times. Edinburgh’s long drawn-out quest for an opera house, which spawned a number of abortive new-build projects over the years, had become a standing joke by the 1980s. Theatre Projects Consultants with Law & Dunbar-Nasmith identified the Empire as a prime candidate for conversion for this purpose as early as 1975, but it was to be nearly twenty years before their sensible idea was followed up. When it was eventually done, there was no penny-pinching. The undistinguished façe and front of house were demolished and, with the acquisition of additional space, rebuilt on spacious modern lines, with a curved, transparent façe, visible distantly as a glowing landmark in Nicolson Street. The back of house, too, was totally demolished and a new stage house built, together with dressing rooms and a generous staircase, described as a ‘vertical green room’. The stage itself is immense at 25m x 18m (82ft x 59ft), plus huge wing space on stage left and a rear scene dock which can be opened up for deep vistas. The retained Milburn auditorium has become the splendid filling in a modern sandwich. Like most of the Milburns’ designs, it owes more to contemporary North American models than to the Matcham school. Two balconies with slips meeting a deep-splayed ante-proscenium with pairs of boxes stepping down on either side. Rectangular enriched proscenium frame with a flaming urn at the centre. Ceiling divided into panels with a central dome. Three forestage lifts. Sighting throughout is excellent. The stalls (altered for bingo) have been re-raked to work with the now flattened stage which has thereby been raised at the front edge and thus improved sightlines from the unaltered circles. Necessary changes of this kind have been easily absorbed. The architects did not lose their nerve (as so often happens with so-called restorations) over matters of detail. The seats, for example, are either 1928 originals or careful reproductions. The decorations are not an exact recreation of the Milburn scheme, which was rather skimped, but a convincing essay in the manner of the period with sensitively applied patina glazes to avoid an over-bright appearance. [Theatres Trust ]
Prompt: wide shot, full body view of a black and white rough pencil sketch of the Statue of Liberty from a slightly low angle, on Liberty Island, New York City skyline in the distant background, show rough pencil lines, --ar 4:5 --raw --v 7
Digital fine art created using Google ImageFX and Photoshop
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Prompt: A romantic and emotional scene showing a young couple standing together under a soft, glowing sunset, with the woman gently holding the man's hand. The atmosphere is filled with warmth and love, with vibrant colors of orange, pink, and purple filling the sky. The couple is surrounded by nature, with blooming flowers and soft grass beneath their feet, symbolizing beauty and peace. The overall scene has a dreamy, magical feel, capturing the essence of love and connection. Ultra-realistic textures, soft lighting, warm tones. --ar 11:14 --personalize bxqiizh --v 6.1
Prompt :
A surrealistic illustration depicts a contemplative clown positioned slightly to the right of center, captured in a side profile view. The clown's face is painted with traditional clown makeup, featuring a bright red, smooth-textured oval-shaped nose that stands out prominently against the white base. Bold black teardrop shapes extend from beneath his eyes towards his cheeks, while blue triangles are drawn around them, creating a striking contrast. His cheeks are shaded in red, forming a broad smile curved downward. He wears a large, intricately detailed top hat made of weathered wooden planks, adorned with twine and various antique objects. These include two round pocket watches - one mounted horizontally near the brim and another vertically on the front - showing different times (10:10 and 2:00). A small bell and a feather are also part of the ensemble, adding to its vintage aesthetic. The clown has wild, curly gray hair framing his face, giving him an aged appearance. He is dressed in a light-colored coat with visible buttons, pleats, and fabric folds, featuring a ruffled collar that adds texture to his attire. His hands are clasped together near his mouth, suggesting deep thought or melancholy, as he rests his chin on them. The background consists of a subtle grid pattern resembling a sketchboard, enhancing the artistic and contemplative mood of the piece. The overall color palette includes muted tones of beige, brown, and gray, with selective use of brighter colors like the red nose. The lighting is soft and even, casting gentle shadows that accentuate the textures and details of the clown's features, clothing, and accessories. The composition uses fine lines and shading to create depth and dimension, emphasizing the intricate details of the hat and the clown's facial expressions.
The Stockton and Darlington Railway arrived in Saltburn from Redcar on 17 August 1861, prompting a growth in day and holiday travellers.[3] Like many seaside resorts, this created a local business initiative, resulting in various pieces of construction, including the Saltburn Pier completed in 1869. Access to the pier from the town via the steep cliff top was difficult, so a solution was sought.
The Saltburn Pier company contracted John Anderson to engineer a solution, which was the wooden Cliff Hoist. Allowing up to 20 people to be placed in a wooden cage and then lowered by rope to beach level, it opened on 1 July 1870, some 14 months after the opening of the pier. Approached from the town by a narrow walkway, the passengers then descended 120 feet (37 m), after water had been added to or taken away from a counterbalance tank.[1]
Cliff lift 1884–present[edit]
After the pier company was sold to the Middlesbrough Estate in August 1883, the new owners had the Cliff Hoist inspected by independent engineers, who condemned it due to numerous rotten timbers.[3] The Cliff Hoist was therefore demolished in late 1883.[4]
They commissioned Sir Richard Tangye's company, who had built the two earlier vertically inclined water powered funicular railways in Scarborough, to build a replacement. Tangye had appointed George Croydon Marks head of the lift department, in which role he was in charge of the design and installation at Saltburn.[5] Marks designed and constructed a funicular with a height of 120 feet (37 m) and a track length of 207 feet (63 m), creating a 71% incline.[1]
Operational theory[edit]
The two 12-person cars are each fitted with a 350-imperial-gallon (1,600 L) water tank, and run on parallel standard gauge 4 ft 8 1⁄2 in (1,435 mm) funicular railway tracks. Double steel wire ropes are attached to both cars, controlled by a brakeman in the upper station. The car at the top has its water tank filled until its mass exceeds the mass of the car at the bottom. It then travels down the incline, counterbalanced by the mass of the other car, which travels to the top, with the brakeman controlling safety and the speed of travel. When the car reaches the bottom, its water is released thus reducing the mass of the lower car, and pumped back up to the top of the cliff.
Operations[edit]
It is believed that the Cliff Lift opened on Saturday 28 June 1884, but there was a period of inconsistent operation at the start. The opening of the Cliff Lift allowed the pier company to undertake an extension to that structure.[1]
The original cars, capable of seating 10–12 passengers, had stained-glass windows. But when the Cliff Lift was refurbished in 1955, the car bodies were replaced without these. The wholly new aluminium cars were introduced in 1979, modelled on the original design. The stained-glass windows were reinstated in 1991.[1] The wooden bodies of the passenger cars were fully refurbished and "victorianised" in 2011 by Stanegate Restorations of Haltwhistle, Northumberland.[6]
Owned since the Second World War by the local council,[2] Marks's design was so good that, beyond maintenance and refurbishment, little has changed since 1884.[4] In 1924 an electrically operated water pump was installed, and in 1998 the main winding wheel was replaced for the first time, together with the installation of a new hydraulic braking system.[1]
Prompt | Prompt | pretty young girl sniper wearing a camouflage cap aiming at target using a rifle with gun sight, ultra-realistic facial features, ultra-realistic skin texture and details,, blonde hair, like in the movie Sniper, ultra-realistic gun sight and rifle, an ultra wide angle view showing rifle barrel, cityscape background which is slightly out of focus, realistic light and shading, darker tones and cinematic, use a Nikon Z9, 16mm f/2.8 lens, photo-realistic, --ar 4:3 —v 5b
Prompt: a veterinarian with a small West Highland White Terrier, in a treatment room, behind them is a female translucent angel --v 6.1
Children are running off the School bus happy and ready to begin their new school year. The Westie is just as happy.
Prompt: In the style of Norman Rockwell painting a happy young girl in a school uniform with her Westie puppy dog, ears up, running towards the camera, with children playing on both sides of her and a yellow bus in the background, in the hyper realistic style.
comedy genre, cinematic, random scene, dramatic image, Hyper-realistic photograph taken with Canon EOS R5, photorealistic, real photo, moody photography, intricate details, sharp 8k, professional lighting, ultraHD, dynamic lighting, HDR
Prompt
A grand Pre-Raphaelite style painting with intricate details, rendered in stunning 8k resolution. In the center, a colossal troll tenderly presents a delicate pansy on his fingertip to a young boy, capturing a moment of unexpected tenderness in a mythical world. Rich colors, intricate brush strokes, and emotional expressions elevate the scene to a masterful work of art.
Prompt: colourful and coloured a cute cartoon hand drawn illustration of a young girl looking at an West Highland White Terrier, ears up, in the attic isolated on solid white background, vibrant doodle, in the style of a cute kawaii art, perfect for children book, adorable playful charm, meticulously detailed drawing, home theme --ar 1:1 --personalize mproq5y --v 6.1
Prompt: Two magpies, pink background of cherry blossoms, photo-realistic style, colorful birds, elegant and graceful posture, symmetrical composition, pink tone, natural environment, soft lighting, close-up shots. The two white black-billed magpies standing on the branch in full bloom with beautiful flowers is lifelike. They have red beaks, orange eyes, long tail feathers, delicate feather details, delicate skin texture, delicate feet, delicate tails, pink wings. It feels like they are real in the style of --ar 4:5 --stylize 750 --v 6.1
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Prompts: a woman working from home at a desk.
Created with #midjourney #photoshop
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Prompt:
Enhance the image of a historical book titled "Old Lübeck Hansestadt". The book is now open with elaborate 3D images dramatically leaping out of its pages, depicting vivid scenes from Old Lübeck, a notable Hanseatic city, with rich details and textures. The denser mist surrounding the emerging images adds to the mysterious and enchanting atmosphere. The background should be dark and moody, creating a sharp contrast with the illuminated pages and lifelike 3D images. Aim for an ultra-realistic composition, filled with finer details that offer an immersive historical experience, as if the city's rich past is coming to life before the viewer's eyes.
Prompt: A watercolor of a common merganser duck in flight, captured mid-flight with its wings spread wide. The duck has a distinctive orange-red bill and a mix of gray and white plumage. The water below reflects the duck's image, creating a mirrored effect. The background is a serene body of water with ripples and a blurred reflection of the surroundings. The lighting is natural and soft, highlighting the duck's features and the tranquil setting. The overall mood is peaceful and natural, showcasing the beauty of wildlife in its habitat. --ar 5:4 --v 6.1
Digital fine art created using Midjourney AI v 6.1 and Photoshop
The Red Fox (Vulpes vulpes) is a small canid native to much of North America and Eurasia, as well as northern Africa and pakistan. It is the most recognizable species of fox and in many areas it is referred to simply as "the fox". As its name suggests, its fur is predominantly reddish-brown, but there is a naturally occurring grey morph known as the “silver” fox; a strain of domesticated silver fox has been produced from these animals by systematic domestication.
The red fox is by far the most widespread and abundant species of fox, found in almost every single habitat in the Northern Hemisphere, from the coastal marshes of United States, to the alpine tundras of Tibetan Plateau. It was introduced into Australia in the 19th century.[2] It is capable of co-existing with more specialized species of foxes, such as Arctic fox, in the same habitat. The red fox can withstand and sometimes thrive in areas with heavy human disturbance. It is nowhere near extinction, and its amazing adaptiveness is driving many other less competent species into extinction.
The red fox is frequently featured in stories of many cultures, and is often portrayed as a sly animal.
Living as it does in a wide variety of habitats, the red fox displays a wide variety of behaviours. In Biology and Conservation of Wild Canids,[34] MacDonald and Sillero-Zubiri state that two populations of the red fox may be behaviourally as different as two species.
The red fox is primarily crepuscular with a tendency to becoming nocturnal in areas of great human interference (and artificial lighting); that is to say, it is most active at night and at twilight. It is generally a solitary hunter. If a fox catches more food than it can eat, it will bury the extra food (cache) to store it for later.
In general, each fox claims its own territory; it pairs up only in winter, foraging alone in the summer. Territories may be as large as 50 km² (19 square miles); ranges are much smaller (less than 12 km², 4.6 sq mi) in habitats with abundant food sources, however. Several dens are utilized within these territories; dens may be claimed from previous residents such as marmots, or dug anew. A larger main den is used for winter living, birthing and rearing of young; smaller dens are dispersed throughout the territory for emergency and food storage purposes. A series of tunnels often connects them with the main den. One fox may only need a square kilometre of land marked by recognition posts that are special smells that come from a scent gland located just above a fox's tail.
The scent from this gland is composed of or very closely related to the thiols and thioacetate derivatives used by skunks (most notably Mephitis mephitis) as a defensive weapon. This gives the red fox a skunklike scent detectable by humans at close proximity (about 2 to 3 meters or less) but which is not easily transferred to other animals or inanimate objects; so the concentrations secreted and/or produced by the gland must be very much less than that of the skunk. The red fox cannot spray the thiolates like the skunks and does not appear to use the secretion as a defense.
The red fox primarily forms monogamous pairs each winter, who cooperate to raise a litter of 4–6 kits (also called pups) each year. Young foxes disperse promptly on maturity (approx. 8–10 months).
Though usually monogamous, evidence for polygamy (polygyny and polyandry) exists, including males’ extraterritorial movements during breeding season (possibly searching for additional mates) and males’ home ranges overlapping two or more females’ home ranges. Such variability is thought to be linked to variation in the spatial availability of key resources such as food.[1]
The reason for this "group living" behaviour is not well understood; some researchers[who?] believe the non-breeders boost the survival rate of the litters while others[who?] believe there is no significant difference, and such arrangements are made spontaneously due to a resource surplus.
Socially, the fox communicates with body language and a variety of vocalizations. Its vocal range is quite large and its noises vary from a distinctive three-yip "lost call" to a shriek reminiscent of a human scream. It also communicates with scent, marking food and territorial boundary lines with urine and faeces.
John James Audubon noted that cross foxes tended to be shyer than their fully red counterparts. He conjectured that the reason was due to the greater commercial value its fur, thus forcing it to adopt a warier behaviour to evade hunters.[35]