View allAll Photos Tagged Prompting
Artwork created by Midjourney from a sequence of text.
PotatoChop was used to tweak the letters and remove frames and borders.
The prompt is a an exploration of a sacred container. My body is a sacred container for my essence, my heart, my soul, my mind, my being. This is what I am learning about presence and energy - having spent years spinning *ethereal magic* I am now understanding the importance of inviting energy into your physical self, of bringing it into daily life, of appreciating your physical self as a sacred container - appreciating all that your physical body does for you to allow you to do connect and create (and be) as you do. The selfie process has expanded my clarity about my physical self and my appreciation for my physical self - its like I can look in as an observer, an objective bystander and appreciate what world sees.
When I view my body as a sacred container - I respect it, I care for the energy in it, the energy surrounding it - where I vest presence, how I vest presence, and I move with ease and joy into spaces that enliven/enrich. It's life changing.
Prompt:
The image presents a surreal and dramatic scene, likely a digital composite or photo manipulation, depicting two figures partially submerged in a dark pool within a rocky, nest-like formation. The figures, seemingly a man and a woman, both wear crowns, although the crowns differ in style – one appears more traditional and gold, the other darker and more skeletal. The woman, whose face is pale and etched with dark lines like thorns or veins, wears the darker crown and has a large, dark shape over one eye, resembling a spider or insect. Her mouth is wide open in a scream or gasp. The man, beneath her, also has his mouth open in apparent distress. His crown is more conventional, and his skin tone is more natural.
The pool they are in is dark, almost black, with a slightly oily or viscous appearance. The rocky rim of the pool is composed of dark, irregular stones, some tinged with orange-red, and is interspersed with what looks like dried vines or roots. Small, green plants grow around the outer edge of the nest-like structure. The background features a bleak landscape, resembling a mudflat or tidal area under a cloudy sky. The overall impression is one of entrapment, struggle, and a dark, fantastical narrative. The image evokes themes of duality, possibly sacrifice or metamorphosis, and the clash between nature and the supernatural.
Prompt: psychedelic; gesso (because I got tired of the inks bleeding everywhere), markers, 3"x5" index card
"Color is everything, color is vibration like music; everything is vibration."
― Marc Chagall
Prompt -spirit. Acrylics over textured gesso. Dandelions stamped on. Step by step on my blog at: artygirl2010.blogspot.com/2015/04/textured-gesso-and-stam...
Day 15 - Ordinary Moment // Alright, so this is little prince (LP). And the prompt for today was ordinary moment. What is LP holding? A bathroom step stool for kids. This is a daily thing of LP running around the house with it and using it to get anywhere and everyone LP can't get to. The sink, the counter and even sometimes to rest LP's feet on when using the toilet. Isn't LP precious? LP has his own blog here if you want to check it out: adventureoflittleprince.blogspot.com/
Prompt in DALL-E
Enhance the image of a historical book titled "Old Paris - The Seine". The book is open with elaborate and intricate 3D images springing out from the pages, vividly depicting scenes of the Seine in old Paris, with rich details and textures. The emerging images are surrounded by a denser mist, contributing to a mysterious and enchanting atmosphere. The background is dark and moody, contrasting with the bright, lifelike 3D illustrations. The ultra-realistic overall composition is replete with fine details that offer an immersive glimpse into the historical life by the Seine.
Prompted by fellow oddperson, Kayakr (see Flickr search for details), I went along for a nosy. I have bought maps and shovels.
Artwork created by Midjourney from a sequence of text.
PotatoChop was used to tweak the letters and remove frames and borders.
Please allow me to try something new. Here's the prompt, at least that I started with - I lost my changes. This same prompt, with some adjusting was also used for the previous round of uploads that look similar.
Please let me know what you think. Image invites are welcomed. Comments and favs are appreciated.
Prompt:
a black and white photo of a woman with long hair, inspired by Ulrika Pasch, portrait of kim wexler, gorgeous face, style of angela deane, prideful look, square, waist - up, vivid, breathtaking look, a radiant, aesthetic shot
Built in 1929-1931, this Art Deco-style 25-story skyscraper was designed by the firm of Dietel, Wade and Jones to serve as the city hall for the city of Buffalo. Prior to the construction of city hall, the city government of Buffalo was housed in the County and City Hall, built 60 years prior. The city more than quadrupled in population from 125,000 to over 500,000 in the half-century between the 1870s and 1920s, which prompted the city government to start planning the construction of a dedicated, separate city hall building to house city offices and the city council. The west side of Niagara Square was chosen as the site for the building, necessitating the first major alteration to the city’s original street grid with the closure of the block of Court Street running west from the square. The site was previously home to the Greek Revival-style mansion of former Buffalo mayor Samuel Wilkeson, which had been demolished and replaced by a gas station in 1915, which itself was replaced by City Hall. By the time that City Hall was being constructed, Niagara Square had transitioned from a fashionable residential enclave lined with the mansions of the city’s elite to a major civic center and an extension of the city’s central business district, with the high-rise Statler Hotel and substantial Buffalo Athletic Club sitting on the north and south sides of the square. Shortly after the completion of city hall, two Stripped Classical-style federal office buildings were built on the east side of the square along Court Street, solidifying the area’s status as a major cultural and governmental center for the city. At the time of its construction, the 32-story 398-foot-tall city hall was one of the city’s tallest buildings, though the earlier Rand Tower at Lafayette square exceeded it in height. The building was finished at a transition point, as the Great Depression caused the city’s double-digit growth rate to slow to less than one percent in the 1930s, and then begin a long decline in the 1950s from nearly 600,000 people that would continue through the 2010s, when the city neared a population of 250,000. In the same time period, the metropolitan area around the city, following the trends of other struggling postindustrial cities in the Great Lakes and Rust Belt region, grew from under 1 million residents in the 1930s, to over 1.3 million in the 1970s, before declining to 1.1 million by the 2010s. Given when it was built, the building, like Buffalo Central Terminal, represents the city when it was nearing its peak, right before it began a cycle of decline that only ended in the past decade.
The building features an octagonal base three stories tall, with multiple places where the building’s tower features setbacks, giving it a distinctive Art Deco silhouette and meaning that, by the time the building reaches the top floor, the footprint of the floor is about 1/6 of that at ground level. The building is clad in Minnesota limestone and Amherst (Ohio) sandstone, with several courses of gray granite at the base. The building’s floors shrink as it rises, first setting back from South Elmwood Avenue to the rear, the chamfered corners at the diagonal radial avenues, and above the front portico at the third floor, before setting back further at the thirteenth floor, where the north and south wings terminate, and at the fifteenth floor, where the two wings immediately north and south of the portico that extend eastward towards Niagara Square terminate. The tops of each setback feature a low-slope roof enclosed by a sandstone parapet. Above this, the tower slowly transitions from a square footprint to an octagonal footprint, before ending in an octagonal roof with polychromatic decorative masonry, Iroquois busts at the corners, and ribs atop the roof. The building features many historic metal casement windows that open inward, making them easy to clean without the need for exterior window washers. Most window bays, except those on the fourth and thirteenth floors and outer bays of the taller setbacks and tower, feature decorative recessed spandrel panels in copper or stone, flanked by pilasters, which emphasize the building’s verticality. The front portico also emphasizes its verticality, featuring a cluster of fluted sandstone columns with decorative capitals supporting an architrave with a decorative carved relief that represents the city’s history and industrial prowess. The ceiling of the portico features recessed square and triangular patterns set at a 45-degree angle to the rest of the building, with decorative colorful circular trim pieces inside these recesses. Additionally, the entrance doors are on a recessed walls flanked by two concavely curved walls covered with flutes, and features decorative carved friezes on the stone spandrel panels over the doors. The rear facade, facing Court Street to the west at the exterior of the main Council Chamber, features a colonnade with engaged fluted columns flanking recessed windows and copper spandrel panels, with a large relief depicting the city’s history above. At the chamfered corners of the building, along the radial side streets, are two small plazas with statues of Grover Cleveland and Millard Fillmore, two former US Presidents whom lived in Buffalo.
The interior of the building is richly decorated with murals, bronze doors, decorative bronze panels, stone cladding, stone floors with brass inlays, fluted columns and pilasters, vaulted ceilings, decorative grilles, carved figurines, decorative tile ceilings, carved wooden doors, and a notable semi-circular stained glass skylight in the main council meeting chamber that depicts the sun. Many of the building’s murals were created by William de Leftwich Dodge, with sculptor Albert Stewart creating many of the friezes, and statues by Rene Paul Chambellan. A bronze tablet dedicated in honor of Mayor Roesch and installed in 1937 was created by William Ehrich. The building’s interior is cooled in the summer utilizing a system that catches breezes blowing in from the west off Lake Erie, channeling them into the basement for passive geothermal cooling, and then directed into the building’s air ventilation system. The top of the building features an open-air observation deck, which can be accessed via elevator, with a total of eight elevators serving the building on the lower floors, reducing in number for the smaller upper floors.
The building was listed on the National Register of Historic Places in 1999. It is one of the best examples of municipal Art Deco architecture in the world, and stands as a prominent symbol of the city of Buffalo, being one of the largest and tallest municipal buildings in the United States, and being prominently sited west of most of the skyscrapers in the city. The building helps create a major focal point on Niagara Square, and a sense of enclosure for the visual axis running west Court Street from Lafayette Square, located a few blocks to the east.
Prompted by a fine image from 1956 on gearlok's flickr page, here is an up-to-date shot, showing the now derelict Sheffield Road alongside Newton for Hyde station. The road has been cut in half by the M67 just beyond the trees, but still exists as a regular road on the other side of the carriageway. A gateway has been added to carve the area up into industrial units.
07/08/2012.
A reported brush fire came in at 13:10 prompting a 1st alarm response by LACoFD. Engine 77 first on scene, reported 4-6 acres in medium brush/grass moving at a moderate rate of spread. Due to steady on shore winds, the fire grew to approximately 100 acres burning between the Interstate 5 freeway and Gorman Post Road. Firefighters from LACoFD, KCFD and USFS Angeles Forest along with helicopters and tanker drops were able to contain the blaze by 1600 hours.