View allAll Photos Tagged Prompting
Man I am terrible at these phone prompts. Yikes. I have such a patient husband to pour the coffee. Trying to catch the liquid coffee pouring out halfway between spout and cup with a phone camera (an older phone at that) was HARD! I set it to voice command and sports mode (android). Yes, I am still married. He loves me like that.
"My D Car" as listed on my negative card haha. I was working at the RE Office at Hamilton for 6 months and spotted this in my rambling so promptly bought it for a $1 or $10. Must have had discussions with the Rail Section gang at MOTAT and presume Dick Croker organised it to be spirited to MOTAT by road or rail. Fortunate we got it because by the October the sheds were all demolished by fire!!!!!!! Note in my photo that it had its own chassis with spring holders. The problem was going to be to find the extra long springs. The last time I saw it was about 1973 on blocks so dont know whats transpired since. I couldnt find any identity on it.
History of D Class carriage at MOTAT Western Springs with info from Clive Davis
-D17 Hurunui-Bluff Section carriage – built circa 1873-78
-D49 Renumbered and transferred to Wanganui Section (New Plymouth) in Jan1884
-D392 Renumbered in 1890
-K30 Reclassed, renumbered and converted to Sleeping Van pre1900
-E635 Reclassed, renumbered as Sleeping Van 1940/41. Body placed at Frankton Loco Depot 1951/52 then sold in Aug1970 for preservation at MOTAT Western Springs. Written off by NZR PE31Mar1972
Students at Perspectives/IIT Math & Science Academy watched for the first time the 30-minute documentary of "I Am For Peace."
The event was hosted at the Illinois Institute of Technology campus at Hermann Hall in Bronzeville. Prior to the screening, the entire student body marched from their campus at 3663 S. Wabash and promptly returned to school when the screening concluded to engage in critical conversations about the film in small groups.
Photo credit: David Terry
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Here it is pulled out...I used an envelope and letter that was posted from Hong Kong in the 1950s. The airplane was printed on the inside of the envelope! The card in the middle is the back of Andrea Joseph's postcard.
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Quite honestly I have really disliked all my pieces this week and have found it a bit discouraging. This one is my favorite of the three I worked on this week, but still I have issues with it. This is the one I consider "complete". I did try to keep my colors brighter this time. I added less white to the paint, and used more pastels. What I like - the splashes of purple, the vibrant red tones, and the idea of layering colors over the collage bits. What I don't like - the muddiness that many of the colors took, and the fact that it feels too busy to me.
In full disclosure I skipped the prompt this time to start a new board. Again it didn't pop up until I only had one last prompt left (use white paint) so I just skipped it.
Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam
Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.
The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.
The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.
Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.
Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.
Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta
A heavy thunder shower had just passed adding a dramatic sky to frame the lighthouse.
In a letter dated 5th November 1834 the Donaghadee Harbour Commissioners informed the Ballast Board that they were prepared to exhibit a light on the south pier and requested the Board to take it under their care. Trinity House were written to for their concurrence but they promptly declined to sanction, referring the Ballast Board to page 75 of a report from the Select Committee of the House of Commons in connection with light dues. Towards the end of the following year, 1835, the Treasury approached the Board about Donaghadee Lighthouse and the Treasury were informed that the Board was willing to take over the light on receiving a formal order to that effect from the Treasury. The latter replied on 11th January 1836 authorising the Ballast Board to take charge of the light, which they accordingly did, and the light was established later in 1836 with a fixed character, that is non flashing showing red mainly to seaward and white over the harbour and towards Belfast Lough.
The tower is built of cut limestone, fluted, and in its early days was unpainted in natural grey colour. Today the tower, including the lantern and dome, is painted white with a black plinth, a decision which was taken some time between 1869 and 1875.
A dwelling was suggested for the keeper in 1841 and land near the root of the pier was rented from the Board of Works, but the ground became a yard for maintenance of local Donaghadee Sound buoys and the dwelling was not built until 1864. In the mean time the keeper continued to live in a house in the town rented by the Ballast Board.
A serious fire damaged the optic and lantern on the 12th May 1900 and a temporary light had to be shown whilst a new optic was obtained and the damaged lantern repaired. This was completed by September of the same year.
Conversion to unwatched electric was effected from 2nd October 1934, Donaghadee thus having the distinction of being the first Irish Lighthouse to be converted to electric. Chaine Tower at Larne followed the next year and Tuskar in 1938.
The character of the new light was Isophase, white every four seconds and the red sector was discontinued. The power was considerably increased from less than 1,000 to 20,000 candelas.
A standby acetylene light was fitted to the lamp changer which would come into operation automatically if the lamp or electric supply should fail.
In April 1967 an automatic standby to mains generator was installed in the base of the tower, a red sector was re-established (326° to shore) and a new lamp changer with two electric lamps was fitted into the optic. The standby acetylene was discontinued. These alterations were in conjunction with the withdrawal of the Skulmartin lightvessel and establishment of a high focal plane buoy in its stead.
During 1950 the Ministry of Commerce approached the Commissioners for permission to erect a siren fog signal to be sounded when local, mainly fishing boats, would be returning to the harbour during fog. This was granted together with Board of Trade sanction and the siren was mounted on the lantern balcony railing. However it did not come into operation until 1953 and is controlled from the Harbour Board Office.
PROMPT (Panchromatic Robotic Optical Monitoring and Polarimetry Telescopes), GONG (Global Oscillation Network Group), the former 2MASS telescope, and Las Cumbres Observatory Global Telescope (under construction), Cerro Tololo Inter-American Observatory, Chile, 11 April 2011
Nikon D3s + 24-70mm f/2.8G | © 2011 José Francisco Salgado, PhD
When I read the prompt I knew exactly which photo I would like to use, the only problem was I didn't have a printed copy but I did have negatives. It was before my digital days so I trekked to the photo store to get a print and because I wanted matte, I couldn't get it until tomorrow. Too late for LOAD. So I switched gears and picked another photo--that I couldn't find. While I was looking for the second photo, I found the this one. Funny how things work out because this is truly my favorite photo and all the more precious because I know someday it will probably become faded. Glad to finally have it preserved so I can enjoy it while it lasts. I love LOAD!
For Kelly Kilmer's Prompt A Day on-line workshop. I am really enjoying this as far as working with multiple layers of color in the background. You never really know what the end effect will be - and I'm finding that the paper can make a difference as well as the amount of water you mix with the acrylic paint. It's interesting to see what each workshop participant posts, as we are using roughly the same color combinations for the background, and have general instructions on how to lay out the background papers and focal points.
I have a long standing love of striped socks. I actually like ANY patterned socks/stockings and they are such an easy way to give my attitude an adjustment. I also love red coats and am always drawn to them. I own three and have recently looked at another and wanted to buy it. They make me feel confident. I've always hated elastic bands around my arms, or anything too restrictive (as in: girdle.) Nail polish makes me antsy - I keep picking at it until it's off my fingernails. I always feel like I'm suffocating when I wear it. And makeup...well, I probably put it on about once every 10 years. I am so glad to live in a part of the country where the natural look is very acceptable.
Prompt: Which places would "McDonald's Worker" fall between? Assume an entry level McDonald's worker earning minimum wage.
*Note: image credit on bottom of image
PROMPT:
Capture the exquisite essence of a stunning 18 - year - old skinny girl as the photographer Evgeny Matveev will do it - in an award - winning, dramatic, and visually striking close - up photograph. She is a lovely nerdy girl with a cheeky sweet smile. Indoor scene - Another tent in the bedouin camp, showing two young touareg girls - girl talking. Donning a very worn blue second-hand mesh clothes with many holes and rather torn grunge-like style. I prefers using caramel, and also considers flint, pebble, white, corn and 'muted colors'. Please draw inspiration from the styles of Zdzisław Beksiński, as well as abstract expressionism. Each image should be of high quality and suitable for international art magazines.
The project is developed using various pre-set text-to-image models, processing text prompt inputs. On the borderline between sensitive content and an easy slip into topics of violence, this project visualizes the depths of the subconscious of these models, excavating the influences of media and online information exchange. The quantified traces of reality and collective histories allow algorithms to generate content that recycles the past – building the spine of quasi-historical narratives – often obfuscated with prejudice and misinformation, along with the author’s personal bias. Generated outputs are presented inside a hypertext object – a tent that the audience can enter, as it were.
Photo: Florian Voggeneder
The prompt from me was do something silly!
I took this to show the setup for many of the shots. The heating in Elona's new flat was broken so it was freezing. We took photos then thawed by electric fire, then did a few more.. until 2am.. hence the pink boots and pjs under the blue dress!
Lighting - SB600 into reflective umbrella on right on breakfast bar, lounge light on stand behind her.. as only had room for 1 flash in suitcase!
SOOC
Sallie Mae was a feral street cat in nearby Tarboro who was trapped, neutered and given to me under our local TNR (Trap, Neuter, Release) Program. She is part of their farm barn cat, country release efforts, for cats that neighborhoods don't want to have back. (Evidently, she and her sister (Bessie Mae, who also lives here now) loved to catch goldfish out of garden ponds! She was wild, but is now very tame and sweet, and loves to follow me around the yard and gardens and help with weeding. When I pull a weed up and throw it to the side, she promptly goes and gets it and brings it back to her new Dad! She and Bessie are also helping with the vole and mole problems in the yard and garden beds. In this photo, she is admiring the Red Volunteer daylilies and inspecting the mulch for young weeds that need to be removed.
Jenn - Slight mod to prompt set from 1 to add dark red lipstick
Ingrid Carpenter sits in an office conference room.
blonde Grand Duchess Marie lookalike
Modern (2024) makeup
dark lips
her hair hanging round her shoulders
she 27 years old
Grand Duchess Marie in modern form
blue eyed
long dark blonde hair is in a 2024 modern hairstyle and her makeup is subtle and classy but fashionable
her eyes have a tough, ruthless, bad girl, look
sophisticated glasses
dark red lipstick
©AVucha 2015
On August 18, at 8:31am the Richmond Township Fire Protection District responded to the area of Rt. 173 and Commercial St. after police reported a semi-truck leaking diesel fuel on the roadway. According to officials, the semi-truck and a minivan collided near the intersection of Route 173 and Route 12 causing the passenger side saddle tank on the truck to rupture. Neither drivers sustained injuries which prompted the truck to relocated onto Commercial St. where he lost between 75-100 gallons of fuel in a small ditch along the road. MABAS Box #5-1495 was activated for the HAZMAT incident which brought in fire department crews from across the county. The Illinois Environmental Protection Agency was requested along with an environmental cleanup crew. The full cleanup could take the remainder of the day.
This photograph is being made available only for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial material, advertisements, emails, products, promotions without the expressed consent of Alex Vucha. For inquiries: avuchanewsphotos@hotmail.com
Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam
Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.
The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.
The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.
Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.
Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.
Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta
Several of the armless construction on this street are prompted for being replaced as of..2008-2009 I'm guessing was when this was shot. This is one of the poles on the street that still have those smaller white porcelain insulators, once energized at 13.8kv if I'm correct.
I've always found it a real shame to see these particular constructions going extinct since I've always felt they added a unique variety to the CL&P lines.
Card I've made using a printable template.
The free template and a video tutorial are posted onCreativity Prompt.
Renault Avantime Dynamique (2001-03) Engine 1998cc S4 16v Production 8557
Registration Number NKM 133
RENAULT SET
www.flickr.com/photos/45676495@N05/sets/72157623690632985...
Described as a Grand Touring Coupe MPV and only sold as a three door. Styled by Patrick Le Quement and designed and manufactured by Matra. Intended to combine the space of an MPV and the qualities of a pillarless Coupe
Launched at the 1999 Geneva Motorshow as a concept called Coupespace, going into production two years later after re-engineering of the pillarless roof to meet safety standards. Sales were disappointing prompting Matra to pull out of automotive production and Renault to opt to discontinue the model.
Shot @ World Series Renault, Silverstone 17/18th Sept. 2010 Ref 64-071