Coma-Ruga (Espagne) - Faute de sujet plus intéressant, j’ai réalisé une petite série sur la station balnéaire de Coma-Ruga, à la morte-saison. Cette scène sans âme qui vive, en est la photo d’ouverture et illustre de façon évidente le sujet. J’aurais pu photographier un cimetière, mais de cet endroit, la plage n’était pas visible et limitait la lisibilité du propos.

Off-season

Coma-Ruga (Spain) - For lack of a more interesting subject, I created a short series of photographs of the seaside resort of Coma-Ruga during the off-season. This scene, devoid of any living beings, is the opening photograph and clearly illustrates the subject. I could also have photographed a cemetery, but from this location, the beach was not visible and limited the readability of the subject.

Hemis (Indes) - Rien n'est plus difficile que de photographier des danseurs amateurs et désordonnés. Ces moines du monastère d'Hemis répètent une danse pour un spectacle qu'ils donneront d'ici une heure, lorsque les touristes attendus arriverons. Le rythme est lent et les religieux n'ont pas l'agilité des "Petits rats de l'Opéra de Paris".

La plupart du temps ils évoluaient groupés empêchant la réalisation d'une photo fluide et lisible. A un moment j'ai eu une fenêtre de tir où la chorégraphie ressemblait moins à une photo de groupe. J'ai pu faire une photo. Pas deux. La chorégraphie est aussitôt redevenue confuse.

Hemis (India) - Nothing is more difficult than photographing amateur and messy dancers. These monks from Hemis Monastery are rehearsing a dance for a show they will be giving within an hour, when the expected tourists arrive. The pace is slow and the religious do not have the agility of the "Little rats of the Paris Opera".

Most of the time they evolved grouped preventing the realization of a fluid and readable photo. At one point I had a shooting window where the choreography looked less like a group photo. I was able to take a photo. Not two. The choreography immediately became muddled again.

Bodnath (Népal) - 3.200 iso au 1/60é de seconde à pleine ouverture (f : 2,8) c’est la limite autorisée avec le Nikon D300 pour qu’une photo en basse lumière, ressemble encore à quelque chose. En tout cas pour moi qui déteste le grain (bruit numérique).

Les bouddhistes sont conciliants. Ils m’ont autorisé à faire des photos de très près. J’ai pu utiliser la focale la plus courte (équivalent 25 mm), offrant une netteté de 0,60 mètre à l’infini, Même à pleine ouverture, pour peu que l’on sache où faire la mise au point pour optimiser la plage de netteté (hyperfocale).

C'est le moine au fond à gauche de l'image qui m'intéressait. Mais il fallait que je le mette en perspective avec un premier plan qui pourrait situer la scène et rendre la photo lisible au premier coup d’oeil.

Pour cette photo, j’étais à moins d’un mètre du premier moine. Bien entendu, je me déplaçais à genoux pour me faire le plus discret possible. Une autorisation ne veut pas dire que l’on peut faire n’importe quoi et perturber la sérénité du lieu.

Stay zen !

Bodnath (Nepal) - 3,200 iso at 1 / 60th of a second at full aperture (f: 2.8) This is the limit allowed with the Nikon D300 for a low light photo to still look something. In any case for me who hates the grain (digital noise).

Buddhists are conciliatory. They allowed me to take pictures very closely. I was able to use the shortest focal length (25mm equivalent), offering a sharpness of 0.60 meters to infinity, Even at full aperture, as long as we know where to focus to optimize the sharpness range (hyperfocal).

It is the monk at the bottom left of the image that interested me. But I had to put it in perspective with a foreground that could situate the scene and make the photo readable at first glance.

For this photo, I was less than a yard from the first monk. Of course, I moved on my knees to make myself as discreet as possible. An authorization does not mean that you can do just anything and disturb the serenity of the place.

ENG: The futuristic suburban train station „Wilhelm-Leuschner-Platz“ on the edge of the beautiful Leipzig city centre. It also bears the nickname "Square of the Peaceful Revolution" and is intended to commemorate the historical events of 1989. It was built as part of the Leipzig City Tunnel project and opened on 15 December 2013, enabling passengers to travel directly by rail from Leipzig Hauptbahnhof to the city centre.

The station Leipzig Wilhelm-Leuschner-Platz is about 20 m underground and has a 140 m long island platform. There are two entrances, north and south of the Martin-Luther-Ring. The staircases, escalators and the two elevators create a dense structure. So that the transparent S-Bahn station with the tidy platform speaks a clear design language. Methodically important part of this station is the extensive restraint in the use of simple, clearly readable elements as well as the glass bricks in the walls and ceilings of the prefabricated elements.

GER: Der futuristische S-Bahnhof "Wilhelm-Leuschner-Platz" am Rande der schönen Leipziger Innenstadt. Dieser trägt auch den Beinamen „Platz der friedlichen Revolution“ und soll damit an die historischen Ereignisse des Jahres 1989 erinnern. Er wurde im Rahmen des Projekts Leipziger Stadt Tunnel gebaut und am 15. Dezember 2013 eröffnet, so dass die Fahrgäste direkt mit der Bahn vom Leipziger Hauptbahnhof in die Innenstadt fahren können.

Der Bahnhof Leipzig Wilhelm-Leuschner-Platz liegt etwa 20 m unter der Erde und verfügt über einen 140 m lange Insel-Bahnsteig. Es gibt zwei Eingänge, nördlich und südlich des Martin-Luther-Rings. Durch die Treppenanlagen, Rolltreppen und den beiden Aufzügen wird ein verdichtetes Bauwerk erstellt. So das die transparente S-Bahn Station mit dem aufgeräumten Bahnsteig eine klare Design Sprache spricht. Methodisch wichtiger Teil dieser Station ist die weitgehende Zurückhaltung in der Verwendung einfacher, klar ablesbarer Elemente sowie die Glasbausteinen in den Wänden und Decken der Fertigteilelemente.

Macro Mondays this week falls on January 25, the birthday of the Scottish poet Robert Burns. Normally this is a cause for celebration as Burns Night, with much music, dancing and whisky - but sadly not this year due to the COVID restrictions. But I wanted to try and incorporate Robbie Burns into my image for this week's theme 'Lockdown Song'.

Burns was a regular visitor to Edinburgh, and while there he had a platonic relationship with Mrs Agnes Maclehose. Burns wrote Ae Fond Kiss after their final meeting in 1791 before she departed Edinburgh to be with her estranged husband.

Ae Fond Kiss seems like a very suitable lockdown song, for those who have had to be away from family, friends and lovers due to the COVID restrictions on travel and meeting others. The first eight lines are as follows:

Ae fond kiss, and then we sever;

Ae fareweel, alas, for ever!

Deep in heart-wrung tears I'll pledge thee,

Warring sighs and groans I'll wage thee!

Who shall say that Fortune grieves him

While the star of hope she leaves him?

Me, nae cheerfu' twinkle lights me,

Dark despair around benights me.

It is Burns' most recorded love song, and a wonderful version was recorded by the late Andy M Stewart www.youtube.com/watch?v=SXWnuEbwlGA

As always when photographing snails, I set up the shot first, taking care to keep within the size limit and to do test shots to determine the most suitable exposure and depth of field in order to minimise the photoshoot time. The image shows bagpipe music for Ae Fond Kiss and the end of my Scottish smallpipe chanter.

Clearly, two snails were going to be required but getting two snails in adequate focus is difficult, but as I was using f9 (to ensure the title was in soft focus but still readable) I thought it could be done. I went to get the snails, and I found these two youngsters snuggled up together! When I placed them on the chanter, they immediately moved towards each other and displayed this behaviour - it's difficult to avoid anthropomorphising, but this might be interpreted as affection! In all my years as a student of snail behaviour, I have never seen this before, but it has been well described previously (Love, M.L. (2001) Proc. Natl. Acad. Gastropod Sci., Vol. 23, 37-42 ).

The day was fairly dull, but brightened up a little while later, so thought to try this again with better light - but the two snails must have satisfied their lust in the meantime and showed no interest in each other, in fact crawling off in opposite directions (we've all been there...).

No snails were harmed in the making of this photograph.

2nd picture from a visit last month to Enniskeen Graveyard on a foggy morning. Its a very old and overgrown graveyard, oldest grave with a readable date is dated 1671. The graveyard is allot older than that though.

kingscourtparish.ie/phooriss/2011/05/Enniskeen-Church-and...

Taken on the Hasselblad, 80mm, Foma100 devd in Rodinal. Paper is Ilford MG Fibre devd in Moersch 4812, Moersch selenium.

On the Internet, you can find information that this address is the Corporate Center of the Donbas Industrial Union Corporation in Kyiv.

On the wall near the door, you can see (only by increasing the size of the photo, the text is not readable from the street) a board with the inscription "Public Reception of the People's Deputy of Ukraine."

The entire courtyard of the estate is separated from the street by a high cast-iron grate, which also separates the building at Yaroslavov Val, 3 (the former house of Baron Steingel) from the sidewalk - and this is the residence of the Indian ambassador. I generally believed, until today, that this is a single territory whose resident is India and the sculptures are related to Indian culture.

Ідея скульптора, як і місце розташування скульптури, залишаються загадкою. Флігель, XIX ст.; 2004—2005 (реконструкція). Київ, вул. Ярославів Вал, 3-А

В інтернеті можна знайти інформацію, що за цією адресою знаходиться Корпоративний центр корпорації «Індустріальна спілка Донбасу» у Києві.

На стіні біля дверей можна розгледіти (лише збільшивши розмір фото, з вулиці текст не читається) дошку з написом «Громадська приймальня Народного депутата Украіни» (прізвище депутата відсутнє).

Все подвірʼя садиби від вулиці відділяє висока чавунна решітка, яка також відділяє від тротуару будівлю Ярославів Вал, 3 (колишній будинок барона Штейнгеля) - а це вже резиденція посла Індії. Я взагалі вважав, до сьогодні, що це цілісна територія резидентом якої є Індія і скульптури мають відношення до індійської культури.

Ліворуч від цієї будівлі знаходиться особняк 1861 року, який було побудовано на замовлення Сергія Петровича Алферєва, лікаря-тарапевта, професора Київського університету. Автор проекту - Федір Федорович Голованов.

1877 року професор продає садибу барону Магнусу Штейнгелю. І на замовлення барона архітектор Олександр Шіле переробляє парковий фасад будинку. Також прибудовується одноповерхова крамниця, в якій відкривається винний магазин Штейнгеля.

ENG: The futuristic suburban train station „Wilhelm-Leuschner-Platz“ on the edge of the beautiful Leipzig city centre. It also bears the nickname "Square of the Peaceful Revolution" and is intended to commemorate the historical events of 1989. It was built as part of the Leipzig City Tunnel project and opened on 15 December 2013, enabling passengers to travel directly by rail from Leipzig Hauptbahnhof to the city centre.

The station Leipzig Wilhelm-Leuschner-Platz is about 20 m underground and has a 140 m long island platform. There are two entrances, north and south of the Martin-Luther-Ring. The staircases, escalators and the two elevators create a dense structure. So that the transparent S-Bahn station with the tidy platform speaks a clear design language. Methodically important part of this station is the extensive restraint in the use of simple, clearly readable elements as well as the glass bricks in the walls and ceilings of the prefabricated elements.

GER: Der futuristische S-Bahnhof "Wilhelm-Leuschner-Platz" am Rande der schönen Leipziger Innenstadt. Dieser trägt auch den Beinamen „Platz der friedlichen Revolution“ und soll damit an die historischen Ereignisse des Jahres 1989 erinnern. Er wurde im Rahmen des Projekts Leipziger Stadt Tunnel gebaut und am 15. Dezember 2013 eröffnet, so dass die Fahrgäste direkt mit der Bahn vom Leipziger Hauptbahnhof in die Innenstadt fahren können.

Der Bahnhof Leipzig Wilhelm-Leuschner-Platz liegt etwa 20 m unter der Erde und verfügt über einen 140 m lange Insel-Bahnsteig. Es gibt zwei Eingänge, nördlich und südlich des Martin-Luther-Rings. Durch die Treppenanlagen, Rolltreppen und den beiden Aufzügen wird ein verdichtetes Bauwerk erstellt. So das die transparente S-Bahn Station mit dem aufgeräumten Bahnsteig eine klare Design Sprache spricht. Methodisch wichtiger Teil dieser Station ist die weitgehende Zurückhaltung in der Verwendung einfacher, klar ablesbarer Elemente sowie die Glasbausteinen in den Wänden und Decken der Fertigteilelemente.

28.9.2018, Pointe du Grouin, Bretagne, Frankreich.

21x30 cm, Bleistift, Wasserfarben, Acryl auf Papier.

Malerei aus der Palette, MadP.

28.9.2018, Pointe du Grouin, Bretagne, France.

8x12 inch, pencil, watercolor, acrylic on paper.

Painting from the palette, MadP.

Mein besonderes Anliegen beim Malen ist eher nicht nur die Darstellung einer vorgefundenen, wiedererkennbaren Stelle, sondern auch die Bildgestaltung, das Aufzeigen der Farbwahl und des Malvorganges, der in der integrierten Palette etwas ablesbar bleibt - Malerei aus der Palette.

My main concern in painting is not only the representation of a found, recognizable place, but also the image design, showing the choice of color and the painting process, which remains in the integrated palette something readable - painting from the palette.

Fingertips for MacroMondays, and a wonderful tool for putting thoughts on paper. I wanted to use the opportunity to combine two passions of mine for this task on MacroMondays

Collecting pens (and using them) became for me, like photography, a passionate hobby. While a picture seen through my eyes gives another take on the world and on my surroundings, the pen, gives my thoughts a shape, a code, readable and understandable for the rest of the world. I think, both activities involve some kind of every-day-magic, we rarely think about.

Always such a tedious holiday to me, always with the spending time with relatives I can't stand and the ridiculous amounts of food I don't much care for.

Best viewed at full size so the mug is readable.

Not long after sunset a great horned owl glided over the sand dunes below our Crescent Beach, Fla., condo and settled onto the walkway that leads to the beach. For the next 10 or 15 minutes it paced up and down the deck and railings, looking over the sides for prey on the ground. Eventually it swooped into the dunes. The light was very dim, and I was shooting a 500mm lens with a max aperture of f/5.6. The ISO was 3200 and the shutter speed was as long as a half-second. Did I mention I had no tripod but just a railing to rest the lens on? For all the obstacles, I got a few readable images. c.2021 John M. Hudson | jmhudson1.com

Ook voor de volgende naar Lindau sporende trein, werd een Regioshuttle gebruikt, meer bepaald de 650 117. Het stelletje is hier onderweg als RB 93 van Friedrichshafen Stadt naar Lindau Insel. Ten opzichte van de trein van een half uur eerder stopt deze wel op alle stations, dus ook in Friedrichshafen Ost, waardoor deze onder RB en niet RE gecatalogeerd wordt.

Net zoals bij de RE trein naar Stuttgart, werd deze foto gemaakt vanaf het uitzichtpunt aan het hotel Sonnenhof te Retterschen, met dat verschil dat de Zwitserse bergen hier minder te zien zijn, de oever daarentegen wel - wie goed kijkt ziet namelijk de stad Romanshorn liggen.

Oh ja, mocht iemand zich afvragen hoe het komt dat ik de nummers van de treinstellen en locomotieven bij de treinen kon plaatsen, wel dit komt omdat ik dit jaar een tip gekregen heb om deze website te gebruiken: dbf.finalrewind.org

Deze site geeft namelijk haarfijn aan welk materieel er gebruikt wordt voor de meeste DB Regio treinen. Jullie zullen nog merken dat dat mij ook een leuke extra heeft opgeleverd tijdens mijn verblijf aan de Bodensee ;-)

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Let’s go back to the Sonnenhof for the second Lindau bounded train that I’ve got photograph on the sunny morning of the 13th of July 2022. Once again we see a single Regioshuttle - half an hour after the one I’ve spotted in Gohren - as local train passing the Lake of Constance between Kressbronn and Nonnenhorn. Thanks to dbf.finalrewind.org I already knew that this short DMU would show up instead of an EMU Class 425, I even had the number of the DMU (a good thing as it wasn’t readable from up here).

One can see still in the background of this photo the Swiss shore of the Lake of Constance, although there are less high mountains visible when one looks in the direction of the city of Romanshorn.

-----------

Kressbronn, 13/07/2022

DB 650 117

RB 93 17745 Friedrichshafen Stadt - Lindau Insel

Ty42-107 crosses the Mszanka river on its way to Kasina Wielka. Weather that day was terrible: not very cloudy, no rain, no bright sun. The light was pale and dispersed, so I decided to shoot a silhouette as the most "readable" idea for a picture.

Excerpt from www.thoroldtourism.com/thorold-1788/wp-content/uploads/20...:

Old Beaverdams Burying Ground (Smith Cemetery) c.1801, Beaverdams Road, Thorold:

Located at the intersection of two ancient indigenous trails that were part of a network that crisscrossed the Niagara Region for millennia, this is one of the oldest cemeteries in Niagara. Tall white marble slabs and polished stones display the names of many of Thorold’s founding families. The oldest readable stone is 1805; the first recorded burial was 1801.

This has been scanned from an undated print and I'm guessing it is from @1982. The number on the loco is not readable but it looks like a class 40 to me. Any additional information/corrections appreciated.

Orchhâ (Inde) - Contrairement à e que l’on pense, il est très difficile de photographier un marché coloré en plein soleil. Quand on assiste à une scène comme celle représentée sur la photo ci-dessus, on a tendance à se dire « chic, il suffit de viser et de déclencher ». Erreur ! Si on ne réfléchit pas un instant et qu’on n’attend pas que le cahot de la scène s’organise un tant soit peu dans son viseur, la photo sera immanquablement ratée. On ne peut pas toujours s’en remettre à la chance.

Sans se lancer dans un décryptage de cette photo qui illustre une scène anarchique, je pense qu’elle dispose d’un minimum de lisibilité. Les nombreux acteurs de cette scène sont parvenus malgré eux, à s’organiser dans mon cadre. Mais il a fallu que je me fasse oublier et être un peu patient.

Elle est un peu contrastée à mon goût, mais le soleil était assez haut dans le ciel. Certains n’y verront que les couleurs qui caractérisent l’Inde, mais pour moi elle traduit surtout une certaine harmonie dans l’agitation.

Market in Orchhâ

Orchha (India) - Contrary to popular belief, it is very difficult to photograph a colorful market in bright sunlight. When we witness a scene like the one shown in the photo above, we tend to think “chic, just aim and shoot”. Fault ! If you don't think for a moment and wait for the jolt of the scene to organize itself a bit in your viewfinder, the shot will inevitably be missed. You can't always leave it to luck.

Without going into a decryption of this photo which illustrates an anarchic scene, I think it has a minimum of readability. The many actors in this scene, despite themselves, managed to organize themselves into my setting. But I had to let myself be forgotten and be a little patient.

It is a little contrasted for my taste, but the sun was quite high in the sky. Some will see only the colors that characterize India, but for me it mainly reflects a certain harmony in the bustle.

With fresh paint and a new nice readable number board on the right side CP SD40 5544 leads a pair of MLW M636 brothers 4727 and 4719 up grade on an extra west out of Woodstock, Ontario on October 3, 1976.

Great Egret on approach, over a pond near Berlin, Maryland.

This Great Egret, is banded and the left leg band is readable. So the two bands' info (alpha-numeric and colors) were reported to the US Geological Survey.

The Certificate from USGS says this Egret was banded in southern New Jersey, Stone Harbor - northeast of Cape May, four months prior to this photo.

www.pwrc.usgs.gov/BBL/bblretrv/

The Gyrfalcon season is over for this year. This Gyrfalcon has left us for her breeding ground far to the north of Edmonton; perhaps as far as the Arctic tundra. We don't know.

We do know the following about this particular Gyrfalcon.

She has a distinctive tail feather configuration. The two central tail feathers are narrow and truncated which gives the appearance of a notch in her tail if we see it fanned.

She also has a band on her left leg. This is the same Gyr that has dominated the space for the past two years.

Two local photographers captured images of her in February this year such that six of the numbers on the band were readable.

We now know that she was captured and banded five years ago as a juvenile female after migrating from the north in fall and not far from the terminal location. Good work Keith and Gerald!

We wish her well on her journey north and hope to see her again in November.

Taken on: Yellowknife, Northwest Territories, Canada. (1972)

The original image was shot on Kodachrome ll colour slide film (ASA 25), with Nikon F camera, Nikkor 50mm f2.0 lens. The 50 year old slide had collected a lot of dust and dirt as you can see. The note that I wrote on the slide mount is barely readable: 11.30pm, June 21, 1972. Yes, it was the Summer Solstice, the longest day of the year.

It was during the summer break back in 1972 in my first year of university. I took a train across Canada (Montreal to Vancouver), travelled north to the Northwest Territories, and got a summer labourer job in the capital city.

Yellowknife is situated on the northern shore of the Great Slave Lake, about 400km (250 mi) south of the Arctic Circle.

The sunset picture was taken from the shore of Frame Lake, just behind the City's Hockey Arena and Community Hall. Even after the sun had set, the sky never got dark, and the sun would come back up three hours later. On this day, the City was like no other. It was a time to come out to celebrate. You could go shopping all day. Imagine going fishing at midnight, and hearing the birds chirp and loons call! The highlight of the day, of course, was the midnight Golf Tournament, which teed off at 11.59 pm! Yes, you read it right: 11.59pm.

This image is a 2nd generation copy. I converted the original slide image to digital image using an old 10 megapixel Nikon D200 DSLR, and a 55mm f2.8 manual focus Micro-Nikkor lens mounted on a Nikon bellows and a slide holder.

All rights reserved. No unauthorized use.

New MMC for Abellio seen on the M1..for some reason an attempt has been made to obscure the reg. plate but it is still easily readable (YY16 VKN)...Aug 4 2016.

Clet is an artist who alters street signs as his art form. Clet said that he suddenly saw the overwhelming banality and primitiveness of the ubiquitous municipal signs that rule our lives. He wanted to give them another meaning — a political, religious and philosophic interpretation — without obscuring the readability of the underlying sign.

This is just one of his many different signs in Florence that he has applied his art to. It was fun to look for his signs and make a photographic record of them.

Visited Enniskeen Graveyard recently on a foggy morning. Its a very old and overgrown graveyard, oldest headstone with a readable date is dated 1671. The graveyard is allot older than that though.

kingscourtparish.ie/phooriss/2011/05/Enniskeen-Church-and...

Taken on the Hasselblad, 80mm, Foma100 devd in Rodinal. Paper is Ilford MG Fibre devd in Moersch 4812, Moersch selenium, Moersch Siena, Sodium sulfite.

Sometime in the late 1970s, a photographer was greeted with perfect weather and a well positioned line up of locomotives at Haymarket depot in Scotland.

From left to right, locomotives visible are a class 08, a class 47, 55021, 55004, a class 101 DMU, another class 47, 55022, another class 47 and a class 25.

No locomotive numbers are readable but sleuths on Facebook (and Steve McFarlane , see below) were able to identify the identities of the Deltics.

Photograph by an unknown photographer, now part of my collection.

I apologise cap in hand, for another 'old shot'. I did take a lot of shots at the time, and this was one. My BLOG is fairly readable,

zondaswildlifephotoblog.blogspot.co.uk/

An abandoned gas station along Route 66. A bonus bill board advertising rooms at the Flamingo for only $29.00.

Had to saturate that sign so it is readable. Happy Saturated Saturday!

Cai Bé (Vietnam) Une photo qui n’est pas immédiatement lisible au premier coup d’œil. Elle illustre pourtant l’intensité du trafic sur le Mékong et ses innombrables canaux. C’est par la voie fluviale que toutes les marchandises agricoles ou manufacturées transitent. Sur la photo, nous sommes sur l’un des bras du Mékong où de nombreuses coopératives agricoles se sont regroupées, afin de facilité la logistique. Il en résulte un ballet incessant de péniches et barges venues charger ou décharger leur cargaison. De façon moins intense, la nuit, et même le week-end, le trafic continue.

J’ai choisi cette photo en raison des yeux peints sur la proue des péniches et des barges. Toutes les embarcations de fret en sont pourvues. La raison ? Conjurer le mauvais œil. Une façon de traiter le mal par le mal.

Intense river traffic

Cai Bé (Vietnam) A photo that is not immediately readable at first glance. However, it illustrates the intensity of traffic on the Mekong and its countless canals. It is by waterway that all agricultural or manufactured goods pass. In the photo, we are on one of the branches of the Mekong, where numerous agricultural cooperatives have grouped together to facilitate logistics. The result is a constant stream of barges loading and unloading their cargo. Less intensely, at night, and even on weekends, the traffic continues.

I chose this photo because of the eyes painted on the bows of the barges. All freight vessels are equipped with them. The reason? To ward off the evil eye. A way of treating evil with evil.

I had an interview recently with the website kwerfeldein.de

You can read the article and also see a few photos here, but it's only in German.

Halfway readable English translation

Hello to all the new contacts I've acquired as a result of that interview.

ENG: The futuristic suburban train station „Wilhelm-Leuschner-Platz“ on the edge of the beautiful Leipzig city centre. It also bears the nickname "Square of the Peaceful Revolution" and is intended to commemorate the historical events of 1989. It was built as part of the Leipzig City Tunnel project and opened on 15 December 2013, enabling passengers to travel directly by rail from Leipzig Hauptbahnhof to the city centre.

The station Leipzig Wilhelm-Leuschner-Platz is about 20 m underground and has a 140 m long island platform. There are two entrances, north and south of the Martin-Luther-Ring. The staircases, escalators and the two elevators create a dense structure. So that the transparent S-Bahn station with the tidy platform speaks a clear design language. Methodically important part of this station is the extensive restraint in the use of simple, clearly readable elements as well as the glass bricks in the walls and ceilings of the prefabricated elements.

GER: Der futuristische S-Bahnhof "Wilhelm-Leuschner-Platz" am Rande der schönen Leipziger Innenstadt. Dieser trägt auch den Beinamen „Platz der friedlichen Revolution“ und soll damit an die historischen Ereignisse des Jahres 1989 erinnern. Er wurde im Rahmen des Projekts Leipziger Stadt Tunnel gebaut und am 15. Dezember 2013 eröffnet, so dass die Fahrgäste direkt mit der Bahn vom Leipziger Hauptbahnhof in die Innenstadt fahren können.

Der Bahnhof Leipzig Wilhelm-Leuschner-Platz liegt etwa 20 m unter der Erde und verfügt über einen 140 m lange Insel-Bahnsteig. Es gibt zwei Eingänge, nördlich und südlich des Martin-Luther-Rings. Durch die Treppenanlagen, Rolltreppen und den beiden Aufzügen wird ein verdichtetes Bauwerk erstellt. So das die transparente S-Bahn Station mit dem aufgeräumten Bahnsteig eine klare Design Sprache spricht. Methodisch wichtiger Teil dieser Station ist die weitgehende Zurückhaltung in der Verwendung einfacher, klar ablesbarer Elemente sowie die Glasbausteinen in den Wänden und Decken der Fertigteilelemente.

25.9.2018, Pointe du Grouin, Bretagne, Frankreich.

21x30 cm, Bleistift, Wasserfarben, Acryl auf Papier.

Malerei aus der Palette, MadP.

25.9.2018, Pointe du Grouin, Bretagne, France.

8x12 inch, pencil, watercolor, acrylic on paper.

Painting from the palette, MadP.

Mein besonderes Anliegen beim Malen ist eher nicht nur die Darstellung einer vorgefundenen, wiedererkennbaren Stelle, sondern auch die Bildgestaltung, das Aufzeigen der Farbwahl und des Malvorganges, der in der integrierten Palette etwas ablesbar bleibt - Malerei aus der Palette.

My main concern in painting is not only the representation of a found, recognizable place, but also the image design, showing the choice of color and the painting process, which remains in the integrated palette something readable - painting from the palette.

Little Pied Cormorant

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Ring the alarum-bell!—Blow, wind! Come, wrack!

Macbeth: Shakespeare

I found a new "readable version' of said play. Sadly the harmonic, the repitition and the rythmic cadence was lost to making the plot simpler for modern ears.

The incredible Beauchamp Chapel was completed in 1464, commissioned by Richard Beauchamp, the 13th Earl of Warwick who had died two decades earlier and who had been one of the most powerful men of medieval England...hence the nearby castle!

It contains his tomb and effigy but also those of Ambrose Dudley, 3rd Earl of Warwick; and Robert Dudley, 1st Earl of Leicester.

The latter was Elizabeth I favourite and, desperate to marry her, was responsible for the Elizabethan wing of nearby Kenilworth Castle and the incredible pageants he put on to impress her. ( I have a Kenilworth Castle album for those interested)

The history and richness of this modestly sized chapel is incredible, and the fact it largely survived the Reformation and Puritan love of destruction makes it especially evocative.

There is a very readable and detailed article about it below, taken I think from a book.

thetudortravelguide.com/the-beauchamp-chapel-st-marys-chu...

Photoshop assembly. Almost nobody notices what's wrong with the pic, so take a better look.

Dutch word 'Spiegelschrift' means 'mirror writing'.

But in the mirror it's readable, and in the real space it's written in mirror writing!

Some still doesn't understand it ...

,

The 'painting' on the wall is Ben_Paul_M237 Mondriaans Mirror.

www.flickr.com/photos/193006463@N04/51189452551/in/photol...

There are many more graves with wooden markers, none readable.

This cemetery was used for a while and then the town cemetery was moved elsewhere - where the road didn't wash out every time it rained.

Had the EF24-70f2.8L on a rental, loved the lens but it was incredibly heavy - a real arm-stretcher.

El Beso de Muerte (El petó de la mort en catalán) es una escultura de mármol que se encuentra en el Cementerio de Poblenou, en Barcelona. La escultura ha sido atribuida a Jaume Barba, aunque otros la atribuyen a Joan Fontbernat. La escultra muestra a la muerte en forma de un esqueleto alado dando un beso a un joven. La escultura sugiere varias interpretaciones a quienes la ven: ¿es éxtasis o resignación lo legible en la cara del hombre?

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The Kiss of Death (The petó de la mort in Catalan) is a marble sculpture found in the Cemetery of Poblenou, in Barcelona. The sculpture has been attributed to Jaume Barba, although others attribute it to Joan Fontbernat. The sculptress shows death in the form of a winged skeleton giving a kiss to a young man. The sculpture suggests several interpretations to those who see it: is it ecstasy or resignation that is readable on the face of man?

es.wikipedia.org/wiki/El_Beso_de_la_Muerte

Explore: August 2, 2020.

After a 15 year hiatus ( 2005-2020 ) I've returned to painting. This is a beautifully, more 'right brained' approach to Art making that has re-captured my interest and is now fulfilling me enormously.

While I consciously and carefully choose the colours and the format of the painting ( Circle or Diamond ), after that what happens is almost entirely improvised. I never know how these things are going to turn out. And that to me, is tremendously attractive.

The title refers to the Egyptian gods, Horus and Thoth, both of whom lie embedded in the suggestive shapes within the image. But everyone is welcome to see what they see. It's precisely the fluid, improvised and free-floating readability of purely abstract work that makes this process such a pure way of making, what I might call, more "Participative Art".

Because I used a mix of pure and metallic colours, these paintings are extremely hard to photograph. The metallic pigments having a lot of reflective properties, often show up in photographs as glare or as white. One want the highlights, yes, but attenuating them down also muddies the darker areas. So I have to settle for a compromise. This does work in favour of my general approach to Art, which is that no one view of an image gives you the full picture. As you walk around these paintings they "shift" or "change" as the light hits them differently from different angles. So really, each piece is several in one.

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© 2020, Richard S Warner. All Rights Reserved. Neither this image or any part of it is to be used or copied in any way without the express written consent of the Artist.

Poor Rex - he only wanted to read books where the dinosaur didn't die at the end. I'm the same way - I won't read a book or see a movie when I know the dog is not going to make it to the end - I was terribly traumatised when I read Old Yeller as a child...

One of my wackier contributions to Macro Mondays, for the theme 'Bookmark'. This dinosaur bookmark (complete with its green tassel) has a long history - my mother gave it to me decades ago, but I found it easily in one of my science books.

This shot was very fiddly to set up (working with even a badly-behaved snail would have been easier). I needed to carefully adjust the positions of the books in the background to get all the relevant titles in view, and still readable using f18.

No dinosaurs were harmed in the making of this photograph.

Sponsors: {The Spot} Single Female Pose 18 // -:zk:- Brianna Lingerie FATPACK-Add me

Music: www.youtube.com/watch?v=0Bvm9yG4cvs

Details limaginariumphotography.wordpress.com

Varanasi (Inde) - Ce n’est pas parce que les plans serrés facilitent la lisibilité qu’il faut s’interdire les plans larges… Très larges.

Je suis sur une barque, mais proche de la rive opposée, équipé d’un zoom 24-70 mm. Mais j’ai opté pour la focale de 70 mm. Si j’avais utilisé un grand angle, on n’aurait rien vu sur la photo. En paysage, il ne faut pas hésiter recourir aux moyennes et longues focales. C’est ce que je fais également en montagne.

Between sky and river

Varanasi (India) - Just because tight shots facilitate readability doesn't mean we should refrain from wide shots ... Very wide.

I’m on a boat, but close to the opposite shore, equipped with a 24-70 mm zoom. But I opted for the 70mm focal length. If I had used a wide angle, you wouldn't have seen anything in the photo. In landscape, do not hesitate to resort to medium and long focal lengths. This is what I also do in the mountains.

25.9.2018, Pointe du Grouin, Bretagne, Frankreich.

21x30 cm, Bleistift, Wasserfarben, Acryl auf Papier.

Malerei aus der Palette, MadP.

25.9.2018, Pointe du Grouin, Bretagne, France.

8x12 inch, pencil, watercolor, acrylic on paper.

Painting from the palette, MadP.

Mein besonderes Anliegen beim Malen ist eher nicht nur die Darstellung einer vorgefundenen, wiedererkennbaren Stelle, sondern auch die Bildgestaltung, das Aufzeigen der Farbwahl und des Malvorganges, der in der integrierten Palette etwas ablesbar bleibt - Malerei aus der Palette.

My main concern in painting is not only the representation of a found, recognizable place, but also the image design, showing the choice of color and the painting process, which remains in the integrated palette something readable - painting from the palette.

A Sword “Unmatched by Precedent” (Unlikely to Be Found):

Let us quote exactly what Tahsin Öz, the former museum director, wrote about the sword and its epitaph on pages 38 and 39 of this book:

“At the time this sword was opened for inventory, the sword had a thicker layer of rust than other swords. When it was cleaned, human images and writings were found on it, and it appeared that these were real.

The hilt of the sword is covered with black leather on wood and the cross guard is made of iron. Its length is 101 inches. The base is wide and the two edges are sharp and the tip is pointed. There is a picture of a person near the hilt of the base, holding a sword in one hand and a head in the other. There is an Arabic line under it, which is well deserved, and among the writings there is another type of writing (perhaps Nabati) whose type we cannot determine. In the last line, the names of David, Solomon, Musa, Harun, Joshua, Zekeriyya, Yahya, Isa, Muhammad can be read.

The iron of this sword is made of white metal, and it is extremely sharp and has a characteristic that cannot be matched. However, it was impossible to determine its nature from the partially readable writings on it. After a while, while the works in the palace’s warehouse called the Emanrt Treasure were being classified, a copper inscription caught our attention. Because it had the same pictures on the sword. One side of this inscription was in Arabic with 32 lines and 28 lines on the other side were in the aforementioned font. The picture here was more obvious than the sword.

Head of the Inscription of the Sword

After giving this technical information about the sword and its inscription, Tahsin Öz goes to the summary of the inscription. This is where the real oddities come together.

On one side of this strange inscription, there is a figure holding a sword in one hand and a severed head in the other hand, similar to the sword (as seen in the picture); However, there are major differences between them that seem small. It is as follows: The picture of the man with the sword -it is understood that this picture represents Prophet David – has a funnel-shaped cone on his head, while the figure in the inscription has two horns on his head. When this situation is evaluated together with the feet of the figure, it is clearly understood that this picture represents a genie. Because the two figures that look like the feet of the demon (that is, for show) are not actually feet, but the letter ط (Tı) in Arabic. When the letters ط (Tı) are excluded from the picture, the genie’s legs are bent backwards. The picture looks like a talisman when evaluated together with the vefks below. Perhaps the sword was made as a protective talisman.

Pictorial Part of the Sword

The figure holding a sword in one hand and a severed head in the other (the cut head is slightly faint) and depicting the event of Prophet David killing Goliath is depicted on the sword.

On the face of the copper inscription with a genie picture, a text that cannot be understood in which language and alphabet draws attention. Anyone familiar with occult sciences can understand that these writings, which Tahsin Bey, the former director of the museum, said “may be Nabataean”, are talismanic writings about demons. Historians are well aware of the genie issue. Therefore, Tahsin Bey may have guessed that these writings were jinn, but he did not want to express it from his book, which he wrote in an academic and official style, because this is a metaphysical issue..(?)

Jinn can be written in many different secret alphabets; We can see the common vefk characters here both on the sword and in the inscription.

The story of Talut and Goliath described in Surah Baccarat and the depictions on the sword and inscription in the Topkapı Palace Museum draw attention to the same event. And in the inscription of the sword, it is written that the sword will be delivered to the Mahdi. The relevant sections in the book are as follows.

“Ali says; I found this sword and plate in the treasury of Melik Mukavkis, the owner of Egypt. He had a narration from Prophet David in Syriac and Hebrew. He says; When Goliath became hostile to me, I made a sword and an arrow as my Lord had taught me. And after the galabeh, God made me victorious. One of the signs of this sword is that; On one side, there is a person with a sword and a head in his hand, and on the other side, a person sitting on the pulpit of the country. That severed head expresses my killing of Goliath, and the one sitting on the pulpit expresses his judgment on Solomon and everything. This blessed sword will reach Prophet Yusuf… After that, Hazrat. It reaches Zechariah, then Yahya, and then Jesus. Then it is presented to the Prophet Muhammad. After his death, he reaches Hazrat Abu Bakr. Then he inherited his son Muhammad. Ali bin Abu Talib appoints Muhammad as governor of Egypt. Then he dies. And the sword returns to the treasure of Prophet Yusuf. Then it remains hidden until the 880th year of the Hijra. Elif will be transferred to Egypt. After the Ottomans state is complete, they will fight until the time of Kuffar Mahdi. God bless them. Then the sword will pass to the Mahdi, the owner of the time, and it will reach the Prophet Jesus. With him, the one-eyed hypocrite ibn-i siyat will murder the Dajjal. Allah and His Messenger reported them as secret sciences.”

The strangeness in the copper inscription continues.

There is an Arabic text on the back of the inscription (Image above) and what is described in this text contains information that seems contradictory at first glance. The mystery of the text, which includes some of the prophecies that have come true, is knotted in a picture of a ship encrypted with the science of cifir. But before that, the point that draws our attention is that; There is something strange about saying that Prophet David’s sword will reach Prophet Yusuf. Because Prophet Yusuf lived and died centuries before Prophet David. How is it that the sword reaches other prophets after Prophet Yusuf and returns to Yusuf’s treasury this time. It’s like talking about a time spiral. The strangeness of the chronology given in this inscription, which was preserved and preserved by the Ottomans for centuries, must have been noticed by the Ottomans immediately, because the tradition of religious sciences was always very widespread and developed in the Ottoman Empire. Therefore, it is almost impossible that they did not notice this strangeness. Moreover, the inscription mentions the “Completion of the Ottoman Empire”, that is, the collapse of the state. At that time, even if anyone said such a thing, it would probably result in my extradition. So why did the Ottoman state preserve and protect these pieces for centuries? That is a separate question that remains a mystery.

On the same day, on my way back to the folks' place near Chicago (and back to Tulsa to continue school), I found a C&NW switcher of Fairbanks Morse heritage (1064 is barely readable on the flanks) pulling or pushing a cut of cars over Scott Street. The Soo Line is in the foreground. At this time the FM locos of the NorthWestern seemed to have found a home on the lines north of Fond du Lac. The builder's plate is still intact on the 1064's nose. Grungy as it looks here, I had just left Green Bay in a heavy snowstorm, but also having had my first look at GB&W. Soon after returning to Chicago, I'd board the Santa Fe's #23, the remnants of the Chicago - L.A. "Grand Canyon", and after riding it to Kansas City I would board #211 from KC to Tulsa. The next day in Tulsa was, I recall, about 60 degrees and sunny.

#MacroMonday

#Reflection

So I seriously debated with myself if I could / should upload this or rather skip... It's the typical "I wasted a sunny Sunday (and half of a free and equally sunny Monday) at home trying to get my MM shot right capture" (arrrrghrrrrrrrr!)...;-) My idea behind this was that there are two sides to every coin, thing, debate, person... The side everyone sees, and, at least when it comes to a person, a more private, sometimes even hidden side. So you see I was getting very philosophical with this - when everything could have been so easy, simple and straightforward. But just like it is with so many other things: they are easy when they aren't required (and I have quite a few nice and easy reflections in my MM gallery). But when they are... I started off with a very simple take on my idea, the "Sun" and "Moon" cards of my tiny Tarot deck of cards (I Tarocchi Più Piccoli del Mondo - The Smallest Tarot in the World by artist Antonio Lupatelli) glued together back to back with modeling clay and then fixated on a small black tile with modeling clay as well at an angle that would allow a nice reflection. So far, so good - or not. The image turned out well, but of course the "La Luna" print on the "dark side" of the card was, you've guessed it, mirror-inverted. Not exactly unexpected, but I think the image didn't work with the "La Luna" label the wrong side round. So what to do? The easy thing would have been to rotate and flip that part of the card in Photoshop back to a readable "La Luna". But that would have been cheating. So I decided to add another reflective surface (an old, scratched pocket mirror - that ugly "line" you can see is the edge of the mirror) and re-reflect the "La Luna" - and by doing so also mirror the "Il Sole". Four sides of a coin, if you like. Before all of it gets too confusing, I'd rather stop (and have I mentioned the dust? I'd rather not...). I don't recall the processing steps, but there were many, because I did a manual focus stack to get both the Sun and reflected Moon card sharp and sort of equally well exposed (which wasn't easy, because the Moon card, reflected by the black tile, was always either too dark or the rest of that single shot was far too bright). One thing: I took the focus-stacked image into Analog Efex and added a very big, dark vignette. I realise that this would have been perfect for Sliders Sunday as well ;-)

For size, please check the image in the second comment. I'd already used these tiny tarot cards for two other MM themes, and in that image you can see how small the cards really are.

Thank you most sincerely for viewing and reading, a Happy Macro Monday, Everyone, and have a relaxed week ahead!

Liebe Flickr-Freunde, da ich mal wieder sehr spät dran bin, würde ich Euch bitten, Euch den obigen Text in DeepL übersetzen zu lassen, falls Interesse besteht. Ich wünsche Euch eine schöne Woche :-)

Community design is so important to the quality of life of its members. For the last hundred years or so we have enslaved ourselves to the automobile. We have grown our cities so that we must have automobiles to accomplish the simplest of tasks: shopping, sending our children off to school, going to the work place. The 15 minute city is a concept popularized by Carlos Moreno which suggests that we should reform our communities so that we can walk or bicycle for the majority of our needs. Moreno's book on the subject "The 15 Minute City" unfortunately is hardly readable being aimed at intellectuals who no doubt already agree with him. It would have been a much better book if he had written it for the common man.

HMS Duke of Wellington firing a Royal salute as Flagship in Portsmouth Harbour in (prob.) the 1880s. My colorization of an image in the Wikimedia Commons.

From my Finnish point of view the sail/steam powered HMS Duke of Wellington, which, when it was completed in 1853, was called "the most powerful warship in the world", is of particular interest. It was Vice-Admiral Sir Charles Napiers´ flagship in the British naval assault on Finland (then part of the Russian Empire as a Grand Duchy), which began the conflict between Britain and Russia in 1854-1856, known as the Crimean War.

(The eminent British maritime historians Basil Greenhill and Ann Gifford wrote a book, "The British Assault on Finland, 1854-1855, A Forgotten Naval War" (Conway Maritime Press), which tells the story of the Baltic Fleet. A very readable book for those interested in maritime history or history in general.

Greenhill and Gifford write in the blurb:

"The principal target of the Baltic Fleet were the Finns - ironically, less than happy subjects of the Tsar, but the owners of the largest proportion of Russian-flag shipping. The attacks on an almost undefended coastline and merchant marine had far reaching effects on both the Finns and the Russians, and helped to determine the development of the prosperous independent Finland of today." --

"This book describes, what at first sight seems an obscure campaign of the Royal Navy, but its significance has been greatly underestimated since it was the first time in history that a steam battlefleet went to war." )

A stunning display in perfect weather. Old Warden can be far better than nearby Duxford for photography, as the crowd line doesn't face into the sun. The image is reasonably well resolved, although the smallest stencilled lettering on the aircraft isn't really readable - which is strange as the smaller rivets can clearly be made out. I have noticed this before, digital imaging isn't all that great with (small) lettering. Oh well, only 5 months to go until the new airshow season starts, and I can try again.....

When I picked up this small folded leather item and opened it

I knew immediately... I wanted to do a spread with it. I spend

quite some time trying to research it as a soldier’s last rites

item...not really knowing what it was called..then , there it was

and it was called a Catholic Pocket Shrine. I know this one

I picked up at a tag sale long ago, is quite vintage as the crucifix

will crumble easily. The little paper is barely readable, but

does ask that a priest be called etc. The beads I added last

are of a rugged rosary design..if you’re interested in these

unique “ manly” beads--just go to the

Rugged Rosaries site.

I surely will never know why this was worn

so much that the inside now has a sort

of imprint on the outside...all I could

imagine (for a story) is that a soldier wore

it inside his boot as he had to

keep it hidden.