View allAll Photos Tagged REVEALING
……. Our Downy Birch in the front garden reared from a self setting seedling that I planted to replace a very old Birch we had to take down that was over 100 yrs old - pleased to say it’s doing OK but suffered as did many in the dry summer!!! Taken on my phone in Apple RAW & edited in Lightroom. Alan:-)……
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 126 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
Revealing yet another guilty pleasure of mine (I think I may ONLY like things that are guilty pleasures, haha)...
I love the tv show One Tree Hill. It's so bad. And so good. I'm totally hooked. I get lots of music from it, which is so random. Here's the newest one that I have on repeat.
(Used Mariah's Add Light & Pop actions on this.)
No matter how low the tide, one can never quite reach Cave Rock. Its massive shape looms heavily, adding magic to the tantalizing doorway, especially when the long light beams beckon. Stirring symbolism in nature is our true mother tongue that we all share.
Oregon’s rugged coast is undeveloped. This is partly due to the difficult terrain but also largely thanks to the bold Beach Bill of 1967 that declared all 363 miles of Oregon shoreline to be public land. Thus, when you stand on a wild and stormy beach in Oregon, you’re quite likely to find yourself alone with the raw sea in her purest form.
And the sea will ask you questions. Who are you when you’re alone with nothing but truth? Is your thinking large enough? Are you feeling deep enough?
I find that word roots are often revealing. “Develop” arose from “dis-envelop,” as in unwrap or unfold. In German, “entwickeln” also means the same, to unwrap. The original meaning becomes clearer when you envision man’s desire to unroll the scrolls where Mother Earth keeps her secrets. Now, after centuries of careless unwrapping, many of us dream of being deeply enfolded in nature’s arms once again.
Picked Hill, revealing itself with its triangulation point at the summit, through the early morning fog. Taken from Knapp Hill on the North Wiltshire Way just before sunrise. Canon EOS 6D, Canon EF 70-200mm f2.8L IS II USM with 2x extender at 400mm - ISO100/f16/1/15sec
This image was captured near Frome, after spending the night capturing the milky way.
On the way back home the mist and the early morning light was a pleasant surprise that I felt would be rude not to photograph.
Ironically at the location that I spent the night, I believe it was the mist helping to minimize the nearby light pollution.
In the end combining both the previous night and the following morning, it was a long day
On the last day of my autumn vacation in the Canadian Rockies in 2006, I hiked up the Berg Lake trail to a pebble beach on the south end of Kinney Lake. Arriving a little before sunrise, I saw that Kinney Lake was completely covered in fog. The fog wouldn't let me capture any golden hour light above Whitehorn Mountain, but I decided to stick around anyway and see what might happen. Fog can bring an eerie quietness to a wilderness location, so when I started hearing the rustling of bushes behind me I was suddenly on alert. Expecting to see hikers emerge from the same trail I had been on, I was instead astonished to find myself face-to-face with a huge, male moose. As this was the rutting season, it could easily have decided to charge me into the lake, but after a few blood-pounding seconds it turned to its right and followed the foggy shoreline until disappearing. I saw it silhouetted through the mist a few minutes later grazing in the shallows. Not long after that, the fog finally started to thin and pull back, revealing Whitehorn Mountain and a deep blue sky above it. My image captured the scene with the remains of the fog forming a line of white along the north end of Kinney Lake.
Philip Mould:
The portrait of King James of Scotland by Vanson is an important and revealing glimpse of the monarch before his accession to the throne of England and the consequent union of the crowns, and it provides perhaps the last suggestion of the private man before his transformation in the more majestic and iconic images painted after 1603. The diffident, hesitant character, combined with a hint of shrewdness, suggested by Vanson's portrait would seem from the record to be an honest reflection of that monarch's temperament, and a product of his experience.
When his mother Mary Stuart abdicated in July 1567 the new King was barely one year old. His minority was marked by the ceaseless plotting of competing noble factions, and the conflicting interests of pro-French and pro-English parties. As a result, James's principal aim was always to steer a middle course between the extremes that were presented to him. He tried to avoid taking sides with France or with England, and saw himself as a mediator between the violent and self-interested Scottish nobility and the political encroachments of the puritan clergy. In 1586 by the Treaty of Berwick he was forced at least to appear to favour the cause of England and Queen Elizabeth, and was had to accept the fact of his mother''s death sentence later in the year. Throughout his reign in both countries he remained true to his chosen motto beati pacifici ''Blessed are the peacemakers.''
In any case, he could afford to play a waiting game. The throne of England would be his eventually, despite Elizabeth's refusal to name him or anyone as her heir, and when he acceded he could then enjoy the wealth and liberty that had been lacking in Scotland. He was able to play a part on the world stage, and again through making peace with Spain in 1622 whilst also favouring his son-in-law the protestant Elector Palatine he imagined that he was Europe's mediator. His reputation was damaged by his celebrated dependency on and devotion to his favourites (although this was not unusual in the European courts of the early seventeenth century) and by the repugnance of his new subjects for the Spanish whom they had demonised for over half a century. His foreign policy fell apart with the beginning of the Thirty Years War, when the Elector's claimed the throne of Bohemia leading to renewed war with Spain. Yet it is worth noting that many of the tensions that were to lead to the Civil War in 1642 were already present in Jacobean England, and that the King - perhaps more prudent, certainly more cautious, than his son and reluctant to be seen to champion any party - stifled them to some degree.
This likeness is dated to 1595, on the evidence of two portraits attributed to Vanson in the collection of the Scottish National Portrait Gallery, Edinburgh. It broadly repeats the composition of PG 156, in which the King is shown at half-length wearing a fur-trimmed cloak and tall hat slanting at an angle into the left of the picture. A small tondo (PG 1109), paired with a portrait of the Queen, places the king more centrally - losing something of the drama created by the diagonal within the rectangle of this composition - but agrees in all the principal details. Each is dated in an inscription to 1595, which accords with the sitter's apparent age (twenty nine) and a terminus post quem is provided by the King''s jewelled hat badge in the form of a crowned ''A'', which refers to Anne of Denmark whom he married in 1589 by proxy and then in person in the following year. The magnificence of this jewel indicates a love of such objects on the King's part, which we may take as a true representation of his taste. The later portraits of c.1608 by John de Critz (example: Dulwich Picture Gallery, London) famously show a different and even larger jewel worn in the King''s hat.
Adrian Vanson had arrived in Scotland by 1584, and succeeded his fellow Netherlander Arnold Brockorst as painter to the King. Bronckorst had been the king's painter since the monarch's minority, and had painted the famous portrait of the child-king James VI holding a small hawk. The selection of this earlier Dutchman as King''s painter is highly significant, therefore: he could not have been chosen by the King himself, but rather by his regents, and it is symptomatic of the extraordinary change of direction in the Scottish state and religion after the flight and abdication of Mary Stuart in 1567. Previously Scotland's ties had always been with Catholic France, and it was to French art that Scottish painting in the sixteenth century looked for inspiration. Just as the country's religion was reformed after Mary, so its art also took on a decidedly protestant character, and it was natural that James's court should employ painters from militantly Protestant Holland.
It is suggested that Vanson may have entered Scottish court circles in the retinue of George 5th Lord Seton1, who travelled extensively in protestant Europe and is known to have employed a continental painter who supplied images for James's coinage in 1575 and 1582. The similarity of these likenesses to Vanson's portraits of James VI and John Knox (now known only from their engravings in that writer's Icones of 1580), which were sent to the Calvinist reformer Theodore Beza in Geneva, makes it possible that Vanson and Lord Seton's painter are one and the same person. Certainly Vanson painted Lord Seton in a portrait now in the collection of the Scottish National Gallery. The two portraits sent to Geneva, for which the painter received payment in June 1581, are his earliest certain works in Scotland. Their subject matter and use is entirely compatible with the aggressive programme of cultural reformation that was taking place at the Scottish court at his time. Subsequently Vanson's name appears regularly in the royal accounts, and in 1594 he was presented with a medal by the King, which refers to him as ''Our painter.''2 Like other court painters at this period his duties extended beyond the execution of scale-of-life portraits. He also painted miniatures and was responsible for the visual effect of temporary spectacle. In 1590 he produced the trumpeters' banners used at the coronation of Queen Anne of Denmark.
Although he was made a free burgess of the city of Edinburgh with the intention of founding an academy to train painters the development of a Scottish school was hampered by the removal of the court to London in 1603. Vanson is last mentioned in records as attending a Christening in 1602. His son Adam (fl.1622 - 1628) - who took his mother's name of de Colone - was also a court painter, producing a number of portraits of King James VI and I.
1. Duncan Thomson Adrian Vanson in The Grove Dictionary of Art Online, ed. L. Macy
2. Tabitha Barber in Karen Hearn Dynasties Tate Gallery Exhibition catalogue 1995. p.172
This image was captured during an opportunity to explore a local woodland with the mist creating the soft light.
For this image I captured two frames to create the single image you see here. I wanted to help depict a scene with the gate being revealed by the soft morning light and the woodland still waiting to be revealed. The balance of light and dark.
After looking at this for awhile, I'm struck by the slight resemblance this has to the way lightning sometimes lights up the inside a thunderstorm. Anyone else see that?
Just in case anyone was wondering... that's sunlight - not a lamp.
NASA’s James Webb Space Telescope has peered into the chaos of the Cartwheel Galaxy, revealing new details about star formation and the galaxy’s central black hole. Webb’s powerful infrared gaze produced this detailed image of the Cartwheel and two smaller companion galaxies against a backdrop of many other galaxies. This image provides a new view of how the Cartwheel Galaxy has changed over billions of years.
The Cartwheel Galaxy, located about 500 million light-years away in the Sculptor constellation, is a rare sight. Its appearance, much like that of the wheel of a wagon, is the result of an intense event – a high-speed collision between a large spiral galaxy and a smaller galaxy not visible in this image. Collisions of galactic proportions cause a cascade of different, smaller events between the galaxies involved; the Cartwheel is no exception.
The collision most notably affected the galaxy’s shape and structure. The Cartwheel Galaxy sports two rings — a bright inner ring and a surrounding, colorful ring. These two rings expand outwards from the center of the collision, like ripples in a pond after a stone is tossed into it. Because of these distinctive features, astronomers call this a “ring galaxy,” a structure less common than spiral galaxies like our Milky Way.
The bright core contains a tremendous amount of hot dust with the brightest areas being the home to gigantic young star clusters. On the other hand, the outer ring, which has expanded for about 440 million years, is dominated by star formation and supernovas. As this ring expands, it plows into surrounding gas and triggers star formation.
Other telescopes, including the Hubble Space Telescope, have previously examined the Cartwheel. But the dramatic galaxy has been shrouded in mystery – perhaps literally, given the amount of dust that obscures the view. Webb, with its ability to detect infrared light, now uncovers new insights into the nature of the Cartwheel.
Image credit: NASA, ESA, CSA, STScI
#NASA #STScI #SpaceTelescopeScienceInstitute #jwst #jameswebbspacetelescope #GoddardSpaceFlightCenter #Goddard #GSFC #marshallspaceflightcenter #msfc #marshall #galaxy
I miss the vast rhodiescapes in Berlin's Tiergarten a bit but hope Achim took the time to explore them while I watered my mini-Tiergarten...
Revealing secrets can bring us pain or get us into trouble, but worse pain and worse trouble await us if we keep silent. We become habitually untruthful. The door to our creativity closes.
Eric Maisel
Clouds pass quickly overhead revealing the Milky Way skies above. In this image taken from the Mount Evans Observatory (elevation 14,148 feet), city lights from Denver show the reach of their illumination from 50 or so miles away as the observatory and clouds overhead glow brightly without any assistance from light painting. I liked how layer of clouds added some interest as it plays a little hide & seek with the stars above (even if it does add a little noise too).
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Over the past few months, I've taken a good look at opening the door to offering some instructional training on night photography. I've done some research on what it would take to be ready for workshops (which are coming soon) but I've found that the demand for classroom training to even stronger than I had expected. When asked a few months ago, I agreed to do a series of classes for a local photography group and found such a strong response that all the classes filled up and went onto a waiting list within just a few hours of being announced. This image was taken as part of a meetup we sandwiched in between two of the classes. Now that this initial series is complete and I know a little more about the demand, I decided to do a little more.
So I've lined up an all-day training event called "Capturing The Dark Side" - set to take place on Saturday, October 27th in Lone Tree, Colorado. With a whole lot of great content, we cover everything from the planning and the shooting technique to the post-processing. With details at meetu.ps/kt4ZP, last I checked, the class is all fillled up (I'm happy to say).
Beyond the instructional training, I've also been working hard on building a new website to replace what is currently showing at www.coloradocaptures.com. I'm excited and hopeful this will allow Colorado Captures to take a big step forward. For now, it's just my excuse for not posting many images. :-)
As can probably be surmised from many of my pictures, one of my favourite colours is orange! These latest Legal Insanity capri pants with the orange stripes set me off to discover my inner Nemo! Lo and behold these boots from Livalle (Also at Fameshed this round) gave me the inspiration for this outfit and scene. Teamed with a vintage orange crop top from RGDW, some vintage steam punk goggles and a set of arm bands... my dream of a Nemo fancy dress outfit is complete!
Wearing:
Action Inkubator HAIR Tom + Fading Foliage (Hornbeam)
AESTHETIC - [Mesh Body]
Belle Belle Steampunk Goggles
CATWA HEAD Daniel [NIRAMYTH] v3.0
Legal Insanity - Leon capris sweats Aesthetic Enzo
Mesh_Swimming Armfloats
RGDW - Crop T Shirt for Aesthetic - Fitmesh - Vintage Orange
{Livalle} Payne - Combat Boots
Backdrop & Furniture:
Serenity Style- ChoiBoi Cloudy Backdrop
Trompe Loeil - Sedgewick Chair PG
{anc} colorful rain (clearlysky) [wide]
Pose:
WRONG & The Owl. bento Static Male Poses 23/3
Morning sunlight kissing the eastern slopes of the Great Smoky Mountains and revealing subtle autumn woodland textures.
This image was captured recently whilst exploring a local woodland.
I arrived at the location just before sun rise. The aim was to continue capturing the changes of the woodland. The last two visits the light was flat. This time the light was beginning to break through the trees and slowly reveal the woodland.
The last few autumns I have been photographing a particular area, capturing the gradual transformation from summer to autumn.
The wind does blow, natures lips they open
Softness found, exposed and woken
Inviting fingers, to invade and slide
Feel the sap that flows inside
Feel it seep from deep within
Covering slowly the invading skin
As it caresses and it makes
Wildness flow, when the wood it shakes
…find freedom, aliveness, and power not from what contains, locates, or protects us, but from what dissolves, reveals, and expands us.
~ Eve Ensler, Insecure at Last: Losing it in Our Security-Obsessed World
NASA's Hubble Space Telescope has revisited the famous Pillars of Creation, revealing a sharper and wider view of the structures in this visible-light image.
Astronomers combined several Hubble exposures to assemble the wider view. The towering pillars are about 5 light-years tall. The dark, finger-like feature at bottom right may be a smaller version of the giant pillars. The new image was taken with Hubble's versatile and sharp-eyed Wide Field Camera 3.
The pillars are bathed in the blistering ultraviolet light from a grouping of young, massive stars located off the top of the image. Streamers of gas can be seen bleeding off the pillars as the intense radiation heats and evaporates it into space. Denser regions of the pillars are shadowing material beneath them from the powerful radiation. Stars are being born deep inside the pillars, which are made of cold hydrogen gas laced with dust. The pillars are part of a small region of the Eagle Nebula, a vast star-forming region 6,500 light-years from Earth.
The colors in the image highlight emission from several chemical elements. Oxygen emission is blue, sulfur is orange, and hydrogen and nitrogen are green.
Credit: NASA, ESA, and the Hubble Heritage Team (STScI/AURA)
Read more: 1.usa.gov/1HGfkqr
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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