Sponsored images from 
View allAll Photos Tagged Sensitive
i appreciate notes! :)
find me on holunder.deviantart.com
©All rights reserved by Hannah H. .Do not use my images without my permission.
Three Corner Milkvetch - Astragalus geyeri var. triquertus. Rare plant and listed sensitive species in the Pea family (Fabaceae)
History of the Vienna State Opera
132 years house on the Ring
(you can see pictures by clicking on the link at the end of page!)
State Opera (K.K. Court Opera) 1901
About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.
The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .
State Opera (K.K. Court Opera) 1903
The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.
1869 - 1955
On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.
However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.
In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.
Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.
Technique: Lithography
from www.aeiou.at
In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.
staatsoper_81.jpg (28138 bytes)
The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.
The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.
But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.
staatsoper_84.jpg (14707 bytes)
Visitors flock to the opera. Reopening on 5th November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.
staatsoper_83.jpg (33866 bytes)
State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak
1955 to 1992
The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:
staatsoper_82.jpg (13379 bytes)
Performance for the reopening of the Vienna State Opera on 5 November, 1955.
Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher
After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.
It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.
The era Ioan Holender (1992 to 2010)
After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.
His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.
State Opera - © Oliver Thomann - FOTOLIA
Image : Vienna State Opera
In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).
Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).
At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.
more...
Directors since 1869
Franz von Dingelstedt 07/01/1867 - 18/12/1870
Opening 5/25/1869
Johann von Herbeck 12/19/1870 - 30/04/1875
Franz von Jauner 01/05/1875 - 18/06/1880
Director College:
Karl Mayerhofer, Gustav Walter and
Emil Scaria 19.06.1880 - 31.12.1880
Wilhelm Jahn 01.01.1881 - 10.14.1897
Gustav Mahler 10/15/1897 - 31/12/1907
Felix Weingartner 01.01.1908 - 28.02.1911
Hans Gregor 01.03.1911 - 14.11.1918
Franz Schalk 15.11.1918 - 08.15.1919
Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924
Franz Schalk 1/11/1924 - 8/31/1929
Clemens Krauss 01/09/1929 - 15/12/1934
Felix Weingartner, 01.01.1935 - 08.31.1936
Erwin Kerber 09/01/1936 - 08/31/1940
Henry K. Strohm 09.01.1940 - 19.04.1941
Walter Thomas 02.01.1941 - 19.04.1941
Ernst August Schneider 04/20/1941 - 02/28/1943
Karl Böhm 03.01.1943 - 30.04.1945
Alfred Jerger,
State Opera in the Volksoper 01.05.1945 - 14.06.1945
Franz Salmhofer,
State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955
Karl Böhm 01.09.1954 - 31.08.1956
Herbert von Karajan 01.09.1956 - 31.03.1962
Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963
Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964
Egon Hilbert 01.09.1964 - 18.01.1968
Heinrich Reif- Gintl 19.01.1968 - 31.08.1972
Rudolf Gamsjager 01.09.1972 - 31.08.1976
Egon Seefehlner 01.09.1976 - 31.08.1982
Lorin Maazel 01.09.1982 - 31.08.1984
Egon Seefehlner 01.09.1984 - 31.08.1986
Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991
Eberhard Waechter 01.09.1991 - 29.03.1992
Ioan Holender 01.04.1992 - 31.08.2010
Dominique Meyer since 01/09/2010
Opera world premieres
Abbreviations:
Od = the Odeon
Ron = Ronacher
TW = the Theater an der Wien
1875 10:03. Goldmark The Queen of Sheba
1877 04:10. Brüller Der Landfriede
1880 26.05. Riedel The Accolade
15.12. Brüller Bianca
1883 04.01. Leschetitzky The first fold
21.02. Bachrich Muzzedin
1884 26.03. Bachrich Heini of Styria
1886 30.03. Hellmesberger jun. Fata Morgana
4:10 . Hager Marffa
19.11. Goldmark Merlin
1887 03:04. Harold pepper
1889 27.03. Fox The Bride King
4:10. Smareglia The vassal of Szigeth
1891 19:02. Mader Refugees
1892 01.01. J. Strauss Ritter Pasman
16.02. Massenet Werther
19.11. Bulk Signor Formica
1894 20.01. Heuberger Miriam
1896 21.03. Goldmark The Cricket on the Hearth
1899 17:01. The Goldmark prisoners of war
1900 22:01. Zemlinsky It was once
1902 28.02. Forster The dot mon
1904 18:02. Wolf The Corregidor
1908 02.01. Goldmark The Winter's Tale
1910 12:04. The musician Bittner
18.05. Goldmark Götz von Berlichingen
1911 09:11. Bittner The mountain lake
1912 16.03. Oberleithner Aphrodite
1913 15.03. Schreker The game works and the Princess
1914 01.04. Schmidt Notre Dame
1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)
1917 23.11. Zaiszek-Blankenau Ferdinand and Luise
1919 10.10. R. Strauss Die Frau ohne Schatten
1920 13.05. Weingartner Champion Andrea/The Village School
1921 09.04. The Bittner Kohlhaymerin
1924 20.09. Beethoven/R. Strauss The Ruins of Athens
1925 24.02. Kienzl Sanctissimum
27.03. Frank The image of the Madonna
1931 20.06. Wellesz The Bacchae
1932 10:11. Heger The beggar Nameless
1934 20.01. Lehár Giuditta
08.12. Bittner The violet
1935 26.12. Salmhofer lady in dream
1937 06.02. Wenzl - Traun rock the atonement
17.04. Frank The strange woman
18.11. Weinberger Wallenstein
1938 09.03. Salmhofer Ivan Tarasenko
1939 02:02. Will King ballad
1941 04:04. Wagner Régeny Johanna Balk
1956 17.06. Martin The Storm
1971 23.05. The visit of an old lady
1976 17.12. A Love and Intrigue
1989 25.11. The blind Furrer (OD)
1990 06:12. Krenek last dance at St. Stephen's (Ron)
1995 20.05. Hölszky The walls (TW)
26.05. Schnittke Gesualdo
2002 15.06. Cerha Der Riese vom Steinfeld
2007 15:04 Naske The Omama in the apple tree
2010 28.02. Reimann Medea
2010 10:05. Eröd dots and Anton
Testing Svema Blue Sensitive 35mm film - ISO 1.5.
This blue-sensitive* black-and-white film has very high resolution and incorporates a yellow dye, which is removed during processing, to provide very high sharpness.
There is no rem jet associated with this film (like the color motion picture stocks) and can be developed in chemistry like Kodak D76, HC-110, Ektol and others. This film can also be commercially processed by The Darkroom and other commercial labs that process black and white film.
How do I meter for asa 1.5? You must dial the iso manually into your camera or meter (or download light meter app on smart phone). You can dial in iso 25 and open 4-stops (or shutter speeds).25 ISO with a +1 correction would be 12 ISO.25 ISO with +2 is 6 ISO.25 ISO with +3 is 3 ISO.25 ISO with +4 is 1.5 ISO.
* Blue Sensitive films need to be shot in daylight or using a flash/strobe. Avoid using a yellow filter or shooting in tungsten (indoor) light.
Image © 2015 Michael Raso / Image shot 1/3th sec - f 2.8 with Canon FTb / Canon FD 20mm f/2.8 lens / processed in Kodak D76 (Stock solution 8 min)
FPP Hand-Rolled 35mm Film at The FPP
Svema Blue Sensitive exposed at ISO 6, developed in Photographers Formulary TD-3, 15 minutes, Agitation A, at 68F. Negs look low contrast but are pretty high contrast at scan. If I were going to vary my development time, I'd pull in 30 second increments.
St Katherine Coleman, Fenchurch Street, London
Photogravure by Donald Macleish from Wonderful London by St John Adcock, 1927.
The population of the City declined drastically in the second half of the 19th Century, as the middle classes fled to the new pleasant suburbs to the north and east. The New railways opened up the south of the City to the workers of the Square Mile, and so by the start of the 20th Century there were parishes with little or no resident population. The Diocese of London's City of London Churches Commission in 1919 decided that nineteen churches should be demolished and the land sold off, the money raised used to build new churches out in the suburbs. The list of doomed churches makes interesting reading, including as it did St Botolph Aldersgate, St Botolph Aldgate, St Dunstan in the East, St Dunstan in the West, St Magnus Martyr, St Mary at Hill, St Mary Woolnoth (!) and St Vedast alias Foster. It was planned that the towers of some would be kept. In the event, only two of the churches on the list were demolished before the Second World War intervened, and one of them was St Katherine Coleman.
The church stood immediately to the east of Fenchurch Street station. The dedication differentiated it from St Katherine Cree, about a hundred metres to the north-west, and probably came from the name of a nearby yard. It was a small, late medieval church, rebuilt in the early 18th Century. No one seems to have had an enthusiastic word to say for it, and the early 20th Century guidebooks dismiss it as an uninteresting preaching box. In any event, it had more or less fallen into disuse by the 1880s, and only the burial ground was in regular use. Herbert Reynolds recalled that a final service was held on the evening of Sunday 20th November 1921 and the church was demolished soon afterwards. The money raised by the sale of the site was used to build a new church in Fulham. There was a certain amount of outcry, because we had become more antiquarian-minded since the last huge wave of demolitions by the Diocese in the mid-19th Century. Perhaps that's what staved off the destruction of some of the other churches on the list. It would be nice to think so.
The church is now the site of the 14 storey Lloyds Registry Building, opened in 2000. But a surprising amount of evidence of the earlier use of the space survives. The churchyard wall and railings on St Katherine's Row are apparently still those shown in photographs of the early 20th Century. There are grave markers beyond in the garden which was laid out sensitively in the 1990s by Richard Rogers for Lloyds.
(c) SImon Knott, December 2015
Green scales blown out, they are so sensitive.
Camera and Equipment:
Nikon D810
Stackshot rail
Thorlabs optical setup.
Lens and Magnification:
Edmund Optics 20x Plan Apo
Custom designed tube lens
20:1, which is 20 times life-size.
Settings:
Stitched 3 stacked images
Stack of around 600 exposures
Zerene Stacker, PMax
Stackshot Rail at 1um/step
ISO 64, 1-second exposure
Microscopy Method:
Focus Stacking
Reflected Light
Processed in Photoshop and Capture One Pro.
Donald Trump unveils child-care policy influenced by Ivanka Trump
ASTON, Pa. — Donald Trump, in softer tones than he normally uses, on Tuesday unveiled several policy proposals for lowering child-care costs that were crafted in part by his eldest daughter, Ivanka, including a plan to guarantee six weeks of paid maternity leave that marks a striking departure from GOP orthodoxy.
Conservative Republicans, in particular, have long seen a mandated expansion of the social safety net as anathema to their attempts to shrink government spending and give companies more control over their leave policies.
In a speech here, the Republican presidential nominee proposed ensuring six weeks of paid maternity leave to mothers who do not already receive leave from their employer.
"We need working mothers to be fairly compensated for their work, and to have access to affordable, quality child care for their kids," said Trump, who appeared determined to show off a more sensitive side than most are accustomed to seeing from him. He used a subdued delivery that contrasted with his tendency at larger rallies to raise his voice. After his speech, he held up a baby in the crowd.
Campaign officials said the maternity leave program wouldn't cost taxpayers anything more; instead, it would be financed through savings achieved by eliminating fraud in the unemployment insurance program. The plan would apply to mothers and would not be transferable to fathers.
Trump also laid out specific plans for enabling parents to deduct the cost of child-care expenses from their income taxes. Trump first mentioned allowing parents to “fully deduct” expenses last month when he announced his economic agenda in Detroit. Some of these expenses are already deductible under the law.
A fact sheet released by the Trump campaign proposed to "rewrite the tax code to allow working parents to deduct from their income taxes child care expenses for up to four children and elderly dependents.”
That deduction would be capped at the “average cost of care” in the state of residence, and it would not be available to individuals earning more than $250,000 or a couple earning more than $500,000.
***********************
Ivanka Marie Trump (/iˈvɑːŋkə/, born October 30, 1981) is an American businesswoman, writer, and former fashion model.
Trump is the daughter of former model Ivana Trump and real estate developer Donald Trump. In her role as Executive Vice President of Development & Acquisitions at the Trump Organization, Trump is involved with all aspects of the company's real estate and hotel management initiatives. Following in the footsteps of fellow celebrity heiress, Paris Hilton, she launched her own namesake brand, Ivanka Trump.
Trump has been married to real estate developer and investor Jared Kushner since 2009 and have three children together.
Barn Owl, Tyto alba.
Length: 33-39cm
Wingspan: 80-95cm
Weight: 250-350g
UK breeding: 4,000 pairs
Europe: 110-220,000 pairs
The Barn Owl makes almost no noise when it flies. This enables it to hear the slightest sounds made by its rodent prey hidden deep in vegetation while the owl is flying overhead.
They have broad and rounded wings with a high surface area, which means barn owls can glide for longer and don’t need to flap so much, creating less sound.
Like other owls, Barn Owls also have specially adapted primary flight feathers, which have a serrated leading edge to disrupt turbulence and prevent it from making any noise.
The Barn Owl’s heart-shaped face collects sound in the same way human ears do and it's hearing is the most sensitive of any creature tested. It's ears, hidden beneath feathers, are at slightly different heights to help calculate the precise source of any noises made by it's prey. All of this makes a Barn Owl in flight the perfect stealth predator.
Because they mostly eat small rodents, barn owls are tied to the areas richest in small mammals – the perfect barn owl habitat is tussocky, unimproved grassland.
Barn owls are not territorial. Adults live in overlapping home ranges, each one covering approximately 12,500 acres, equivalent to 7,100 football pitches!
In order to live and breed, a pair of barn owls needs to eat around 5,000 prey items a year. These are mainly Field Voles, Wood Mice and Common Shrews. On a good night outside of the breeding season, a Barn Owl can catch four or five of these rodents and eat more than its own weight in one evening.
It’s not uncommon for barn owl chicks in the nest to eat each other, which is incredibly rare behaviour in birds. This is only possible because the chicks don’t all hatch at the same time, so some will be significantly bigger than others. This is a survival mechanism for when food is in short supply, particularly during prolonged bad weather when the adults are unable to hunt. During such times the adults will often hunt during the day time if the weather breaks.
The barn owl is not only the world’s most widely distributed species of owl, but is also one of the most widespread of all birds, as it is found on every continent except Antarctica. Barn owls average about 36cm in length and the wingspan is usually between 80-95cm, but there’s a lot of variation across their range.
The largest barn owls live in Jamaica and Cuba while the smallest are on the Galapagos Islands, where barn owls might weigh as little as a third as much as their larger Caribbean cousins. British barn owls have distinctive white breasts, but in central and eastern Europe they are a shade of dark yellow-orange. British barn owls are largely resident and seldom move far, but dark-breasted Continental birds are recorded regularly in eastern Britain. Scotland has the most northerly breeding barn owls in the Northern Hemisphere.
Barn owls are usually monogamous, staying faithful to their partner until one of them dies. They will use the same nest site every year and have an elaborate courtship ritual to re-establish the pair bond every spring. As their name suggests, they commonly select man-made structures in which to live. Silos, water tanks, church towers and barns are favoured sites, but they will readily adopt nest boxes and this is a proven way of increasing populations in areas where a shortage of suitable nesting sites limits the number of breeding pairs. No actual nest is made, though the female may form a slight hollow. When threatened or disturbed, they lower their heads, spreads their wings, and sway from side to side while making a growling sound.
Though barn owls are capable of producing three broods of five to seven young each year, most breed only once and produce, on average, only two and a half young and around 30% of nests produce no young at all. Their populations tend to undergo a boom and bust cycle that follows the vole population, and can also be severely impacted by extremely cold or wet weather.
Captive barn owls have lived for as long as 25 years but the majority of wild barn owls don’t survive more than 10 years. In fact, only a third of barn owls survive long enough to reach breeding age.
Ninety one per cent of barn owls that underwent a post-mortem were found to contain rat poison. Some owls die as a direct result but most contain sub-lethal doses, the effects of which remain unknown.
In a typical year, around 3,000 juvenile barn owls are killed on Britain’s roads, which is about a third of all the young that fledge, and with modern intensive farming practises not providing much habitat for prey species like mice and voles it’s no wonder that barn owl populations have declined so dramatically in recent years.
we made this video from several photos taken 5 minutes apart for 12 hours.
yeah, she moves on her own, it looks like she is a real gymnast!
este video lo hicimos de fotos hechas cada 5 minutos en 12 horas del dia.
vaya bailoteo que se traia la plantita!
She usually sits with one leg up, but she decided that the texture of the wood chips warranted more extreme measures. I'm amazed she didn't fall over backwards.
Sensitive Briar (Mimosa microphylla). The leaves fold up when touched, which is a great way to keep kids entertained. Kennesaw Mountain National Battlefield Park, Cobb County, Georgia.
this was right after i said, "no! don't eat anymore!""
poor girl would've eaten the entire container of icing!
ENGLISH :
What we can meet in the beachfront: the sensitive, whose leaves retracts as soon as they are touched