View allAll Photos Tagged Sifted
sifting over the reefs I'm still finding some dorid nudibranch's around, like this cluster of porters chromodorid nudibranchs.
Natchez, Mississippi
Adams County, Mississippi
Natchez is stunning city comprised of (9) National Register Historic Districts and over 1400 historic sites and structures. A city sifted and sewn together over hundreds of years by the lives of the Natchez Indians, the Africans, the French, the Spanish, and the Americans to what we see today as Natchez, Mississippi. It's as if history deeply bellows from long ago as you wander the area. The best way I can think to describe it...
If the city of Natchez is an old tree, its roots have roots, have roots, with even more roots.
It's beautiful, the people wonderfully friendly, the food delicious and history endless.
Little Red Riding Hood had no idea what was coming. Neither did we. We only wanted some human connection
Sifting through the archives and memories… this was part of my 50th b-day celebration with my family in Vienna.
Oh what a day!
Seems so long ago, now.
The Easter Sunday Sunrise Service on Crescent Beach was quite possibly the most beautiful event I've been paid to snap.
The sunrise itself was perfect. Hundreds and hundreds of people assembled together in their beach chairs at dawn for a religious service on the beach? Definitely unique. Ocean baptisms? Wow.
As I walked back to my car, the fog rolled in and caught me by surprise. A mist thicker than pea soup enveloped the sun and the earth. Incredible!
It sifts from Leaden Sieves -
It powders all the Wood.
It fills with Alabaster Wool
The Wrinkles of the Road -
It makes an Even Face
Of Mountain, and of Plain -
Unbroken Forehead from the East
Unto the East again -
It reaches to the Fence -
It wraps it Rail by Rail
Till it is lost in Fleeces -
It deals Celestial Vail
To Stump, and Stack - and Stem -
A Summer’s empty Room -
Acres of Joints, where Harvests were,
Recordless, but for them -
It Ruffles Wrists of Posts
As Ankles of a Queen -
Then stills its Artisans - like Ghosts -
Denying they have been -
Emily Dickinson, 1830 - 1886
ethnic Khmu girl sifting rice, Luang Nam Tha, Laos
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One of my favorite ornaments is this little Original Series communicator. Like many of the Star Trek ornaments, it has pre-recorded voices and sounds. But what make this so cool is that it does the comm open sound when you flip open the lid! Genius.
It's interesting, I recently saw some product style shots taken with a tilt-sift lens. I can really see the benefit to doing that since you have so much control over the focal plane. But I don't have enough money for one, so I had to use a very small Aperture to increase my depth of field. Then I needed some Topaz DeNoise and Detail to help increase DOF a bit further.
Sic transit gloria. . . .
Some shots taken a few years ago at one of my favourite Kingfisher haunts in Ayrshire. Sadly the site is now no longer accessible but as I sift through old photos during the winter months memories of my times there come flooding back.
I can recall the moment I realised this particular bird was catching small flounders. This shot shows the fish side-on to the camera in the bird's beak. In the process of taking photographs I often concentrate so much on operating the camera that I miss what's actually happening. It was only after the bird had caught a couple of these that I realised it was taking flatfish!
I had a similar experience photographing a fox at another site. I was intent on focusing on the fox and although I knew two Magpies were close by, I was unaware until I looked later at the shot I'd taken that I'd got one of them in the close foreground with the fox some distance behind, its evil eye fixed on the bird.
It was at the Kingfisher haunt that I also photographed unsuspecting Sandpipers, Cormorants, Dippers, Grey Wagtails and a variety of ducks and once saw a Sparrowhawk almost take a Kingfisher which had only glimpsed its attack at the last second. It managed to evade the hawk's clutches by plunging headlong into the water at high speed making the most almighty splash.
Only once did I see a Water Vole there but that sighting evoked a memory of a time in Argyll. When fishing for trout in an inflow into the Crinan Canal, a Water Vole had run quite literally over my feet. I had been standing fishing on the same spot for over an hour when I noticed a movement in the long grass beside me. The vole was at my feet and stumbled over my waders as it launched itself into the water. Barely a few minutes later a Merganser slipped off its nest about fifteen feet from me and suddenly spotting me paddled silently away, looking back over its shoulder to check if I had noticed it.
I often think that birds and animals are far more watchful and aware of our activities than we are of theirs. They certainly notice when we are looking at them but they also notice when we are preoccupied with our own activities. One winter I photographed a Snow Bunting on a seashore picking happily among the tidal wrack while a someone using a chain saw was ripping through a beached tree trunk not fifteen feet from it. Snow Buntings can be very confiding and I was not surprised at how close it allowed me to approach. What did surprise me however was its complete indifference to the intermittent roar and whine of the chain saw right next to it! It had obviously decided the human operator was busy 'doing his own thing' and was no threat.
In a similar vein, I would venture to suggest that most anglers sitting quietly on a riverbank intent on their own activities will be likely to see as many Kingfishers during the course of a year as any birdwatcher or photographer going there to actively seek them out. Almost certainly the angler will get better and closer views of the birds.
It was the late Desmond Nethersole-Thompson who divided birdwatchers into 'leggers' and 'arsers'. The former covering long distances in pursuit of birds and the latter who simply sit and watch them over long periods of time. He concluded that the 'leggers' (the modern equivalent would be 'twitchers') might see a much greater number of species but the 'arsers' gain a far greater knowledge and understanding of the behaviour of the birds they observe. Letting wildlife come to you rather than pursuing it vigorously was his thinking and is a maxim any aspiring student of wildlife would do well to take to heart - for surely he can't have been wrong? It served me well with this Kingfisher anyway!
Mud and sand is sifted through
My careful open hands.
Another plane revealed.
A layer of onion skin I peeled.
Where the sun was my contendor
Beating down upon my brow.
On the horizon you sat waiting
Engulfed in red and orange.
Desolate, I held you close.
Parched, I drank you in.
Tonight's Dinner
Heady aroma and rich decadent flavor.
Recipe to follow:
Make the pasta dough...
Sift 2 cups flour into a large mixing bowl. Make a well in the middle.
Add a little minced fresh sage.
Whisk some ground flax seed and a little water- add into the well in bowl of flour.
Gently knead into the flour- If the dough is too flaky, add a little more warm tap water to the mixture. Continue kneading with your mixer for 20-30 minutes. The dough should be springy, shiny and should hold together when it is ready. Divide the dough into four balls.
Filling.. Slice the butternut squash in half. Scoop out the seeds, rub a little margarine over the flesh and sprinkle some brownsugar and sage on top. Roast the squash cut side up for 30-45 minutes, or until cooked through. Cool and scoop out the flesh- place in a bowl. Add a cup of tofu, some parsley, and salt and pepper-mix thoroughly. Assemble...
Roll out each disc into a rough rectangle. Place one down on a board and put 9 spoonfulls of filling about 1" apart. Trace some water around each of piles on the dough. Place another piece of dough over the bottom. Press the two pieces together to create the pasta, being sure to compress the dough around the filling. Press to seal the raviolies. Cut each one out. Boil pasta in water for 8-10 minutes. Drain carefully.
Sauce:
1/2 cup Parsley
1 cup sun dried tomatoes
1/2 cup soy creamer
1/2 cup Tofutti Sour Cream
Juice from 1 lemon
1 clove garlic, minced
1 tsp sea salt
1/2 tsp white pepper
6 tbsp minced onion
3 tbsp sage
1/2 cup Rice Parmesan
Heat onions, garlic and herbs with a little EVOO- saute, add tomatoes and cook only until barely plumped. Process with the rest of ingredients then reheat and serve over the ravioli.
Generously serves 4.
All types of muck and gubbings in the Thames following all of the recent rain. All the swans and ducks were grateful that people were feeding them some better morsels from the edge of the wharf.
Sifted, wet-packed, and hand-painted enamel. 24k inlay. Fabricated sterling silver setting.
For upcoming show, "Good Enough to Eat," at Facèré Art Jewelry Gallery in Seattle, WA. Show dates: January 26 - February 15, 2011.
Grinding the grain: hear the 'chattering' sounds of the hard-working damsel, a spinning black metal piece (visible in our 11-second video, "Ever Seen This?") helping feed the corn into the millstones
To all who visit and view, and – especially – express support and satisfaction: you are much appreciated!
10-second video clip
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– Mini-Themed Album Murray's Mill Site: The Mill –
Catawba, NC – 2018JUL08 – Murray's Mill Historic Site:
Why did we go to Murray's Mill after church this morning?
A couple months ago, in May, Joe met Jennifer, Murray's Mill Historic District site manager, at a Lutheran Theological Southern Seminary church archive workshop in Columbia, South Carolina; at that time he told her we would like to come to her ice cream social today.
And we did!
We had a great time at Murray's Mill Annual Ice Cream Social! And we want to return for a waterside hike and picturesque picnic at the last milling complex in the county, meticulously preserved and interpreted by the Catawba County Historical Association.
See it soon, even without the free ice cream – an awesome treat! – or one of their other events usually attended by 5,000 people!
It was a wonderful day, with a welcome high of 84⁰F (below-average temperature for July), clear blue skies, pleasant low humidity...
Going home at 4:44 p.m., my cell phone battery was at 44% and I had 555 captures! Who could've guessed? Plus Joe took all of 12!
I seldom video, but both Joe and I took videos, plus photos.
The best of our 567 captures are in 2 mini-themed albums:
• Catawba, NC – 2018JUL08 – Murray's Mill Historic Site
•·Murray's Mill, NC 2018JUL08 Annual Ice Cream Social
•·Murray's Mill, NC 2018JUL08 Murray's Mill
•·Murray's Mill, NC 2018JUL08 Mill Pond
•·Murray's Mill, NC 2018JUL08 Red-spotted Purple Butterfly
•·Murray's Mill, NC 2018JUL08 Wheat House
•·Murray's Mill, NC 2018JUL08 Murray & Minges General Store
•·Murray's Mill, NC 2018JUL08 William Murray House
• Catawba, NC – 2018JUL08 – Murray's Mill Trail
Hope you enjoy these captures we took here today!
For the Stobist Sundays theme "Falling."
I had a few different ideas for this week, but this one seemed the easiest to set up. I just used a strainer as a sifter. I remember learning to sift flour in a home economics class when I was a kid, but I've never really done it since then. Nothing we cook requires the measurements to be that exact.
I tried a few different lighting set ups using a restricted key and a bounced fill. I was trying to light the falling flour with a restricted light: a flash in a small softbox. To keep the shadows from getting too dark, I bounced one flash off the ceiling for fill. (You can see that light, for example, on the top left of my hands.) In this set up, the key was fairly close, and I tried to flag the soft box to try to keep it from being too bright on the hands or the plate. I think that I only partially succeeded. I ended up having to reduce the highlights a little in post processing because the key caused some bright reflections on the camera right side of the strainer that I found distracting.
I actually liked a different lighting set up better where the key was a little behind the flour so that the flour was back lit. I decided to go with this photo because I like the appearance of the flour best in this one. It really gives the sense of "falling," and I also like how it's kind of forming a heart-shaped pattern.
Strobist info:
* Key: SB-28 into an SB-III soft box, camera right at 3 o'clock.
* Fill: SB-24 bounced off of the ceiling at camera left around 9 o'clock.
Triggered with RadioPopper JrX Studio triggers.
Mesterverseny U16. NEK, Budapest. 2022.12.03. (fotó.: Trenka Attila / MTSZ) A képen.: Sift Barnabás
Mesterverseny U16. NEK, Budapest. 2022.12.03. (fotó.: Trenka Attila / MTSZ) A képen.: Sift Barnabás
Atlantic trawl floats are made from the best materials available, and are designed to withstand heavy blows and high pressure. Trawl floats with center hole, designed for general trawling. Strong and durable
Diameter; 8" / 200 mm
Size; 4 ltr
Weight; 1500 gr
Max Depth (1 hour); 1300 m
Max Working Depth (4 hours); 1200 m
Buoyancy; 2470 gr
Lancing holes; Center
Hole size; 21 mm
Standard Color; Yellow
Shipping details (Carton/Bag); Carton
Quantity; 18
Weight; 28 kg
Volume; 0,143 m³
Source; Atlantic Floats
Ik las het boek "Flotsametrics and the floating world - How one man's obsession with runaway sneakers and rubber ducks revolutionized ocean science" geschreven door Curtis Ebbesmeyer.
Deze Amerikaanse oceanograaf beschrijft daarin hoe flessenpost, maar ook een opengebarsten overboord geslagen container met Nike sportschoenen in het midden van de Stille Oceaan van invloed is geweest op de oceanografie.
Tijdens zijn studie maakt hij ook kennis met strandjutters, en beschrijft dezen als volgt:
"The sneaker spill introduced me to the world of beachcombing, a culture I only had brushed up against before but from which I've since learned a great deal.
Beachcombing appeals to deep-seated impulses and aspirations -to the scientist, explorer, collector, and treasure hunter in everyone and, deepest of all, to the inner hunter-gatherer.
It's a poor man's oceanography, research as play, unconstrained by professional ambition and open to everyone with eyes to see and feet to walk
Most beachcomber are uncelebrated salt-of-the-earth types, some are salty dogs.
If they weren't seeking washed up treasure and curiosities, they might be at home keeping scrap books or restoring old cars.
Often they have little formal education, but they are far more intelligent and inquisitive than many of the academics I have known.
Beachcombing is a hobby -an unfashionable word these days - that opens up on everything else.
Franklin D. Roosevelt credited his uncanny knowledge of world geography and history to his lifelong passion for stamp collecting.
Likewise , to be interested in beachcombing is to be interested in everything.
Beachcomber are the keepers of ocean's memory, sifting and sorting the chaotic surfeit thrown upon by the waves and tides, transforming trash into artistic and scientific gold."
Ik kan niet anders, dan het hier helemaal mee eens zijn.
Het enige wat niet klopt is dat een Harley-Davidson 1943 WLC motorfiets aan het restaureren ben, in plaats van een oude auto.
Sifting through the archives and found this beauty. As always, taken in daylight and on the tree. Blue sky and green leaves in the background. Have a nice weekend everyone!
Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.
“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller
“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini
Program runtime is approximately 68 minutes – Surprise unannounced works possible
Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller
USA, 1990, 7 minutes, 16 mm
While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.
In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.
Fixated Whereabouts by Coleman Miller
USA, 1983, 5 minutes, 16 mm
Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.
Motion Pictures by Coleman Miller
USA, 1996, 4 minutes, 16 mm
In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.
Minneapolis/St. Paul International Film Festival Trailer 1997
The Bony Orbit by Coleman Miller
digital projection, USA 2010, 2 minutes, digital projection
The dry narration of an educational film brings forth surprising results as a couple surrenders to love.
What Gives by Coleman Miller
USA, 1994, 2 minutes, digital projection
The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.
Kirk, we hardly knew ya by Coleman Miller
USA, 1999, 12 minutes, 16 mm
Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.
Take The L by Coleman Miller
USA, 2006, 3 minutes, digital projection
Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.
Heaven by Coleman Miller
USA, 2007, 3 minutes, digital video
Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.
Uso Justo by Coleman Miller
USA, 2005, 22 minutes, digital projection
Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.
View Excerpt
”A laff a minute” -Bruce Conner
“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)
”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)
Frank and Paula by Coleman Miller
USA, 2009, 4 minutes, digital projection
The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.
Hands Motherloade by Coleman Miller
USA, 2002, 4 minutes, digital projection
I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.
The human hand. What a great tool. And taken for granted.
Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.
China. Guizhou.
Liping County
Tang'an Dong Village is under the jurisdiction of Zhaoxing Township, Liping County and renowned as the "most primitive Dong Village" in China. The village is 5 km from the Zhaoxing Village, 72 km from the county town of Liping. The country road stretches to the village, which is located on a mountainside and is surrounded by paddy field and lush greens. There are about 800 people and 160 households in the village. The village has more than 700 years' history, though it hasn't got any written records of its history.
Tang'an is a cooperative-built village by the Chinese government and the Norway government. It was founded in 1995. This project has a name of "Tang'an Eco-museum of Dong Ethnic Group". The village shows visitors the terrace fields, village gates, legged wooden houses, drum towers, wind and rain bridges (or roofed bridges), opera stages, ancient graves, garments, production tools, old wells, water-powered roller for grinding grain, barns, spinning wheels, the big straw piles ancient stone paths, the alter to worship the female ancestors of Dong people-Goddess Sa Sui, the lifestyle of the villagers, and the unique customs in wedding, burial, sacrificing ceremonies, music and dances. All of these make it the epitome of all Dong villages.
www.chinafacttours.com/guizhou/attractions/tang-an-dong-v...