View allAll Photos Tagged StandOut
ooh! Everyone in modollville is tweeting about her. They're saying she's the standout from the last jeans campaign. (or am i being bias because she's my favorite mold?lol)
Playful meets edgy in this standout look. With an open jacket featuring draped bunny ears, a deep cut tee, and baggy pants built for movement — oversized pockets and statement straps included — this outfit brings bold energy to the night. Made for the scene, made to be seen.
Access Event April 12th until May 8th.
• Head: Lelutka Tae 4.0
• Skin: Not Found Yong (Dune)
• Hair: Bailizhi Caleb Hair
• Tattoo: DAPPA Akuma Tattoo
• Photo Location Core&Gore
1772. Dangerously close to the Diamond Shoals off North Carolina’s Outer Banks, the sloop Thunderbolt, battered by a fierce storm and rough sea, catches fire from an overturned cook stove. All aboard scramble to put out the flames while trying to keep from being tossed overboard. The shoals, sand dunes just below the water’s surface, reach out some 18 miles past Hatteras Point. Hundreds of ships have run aground here, miles from shore, to be pulverized by the relentless waves... and often, all aboard drown.
On this day, a terrified 17-year old orphaned boy from St. Croix, on his way to an American education, is among those fighting to save the ship... he is Alexander Hamilton, who would get that education and become the first U. S. Secretary of the Treasury under President George Washington. Resting against the rails of the saved ship, he watches as the shoals recede away... and vows to one day do something so that others would not know such fear.
There was a reason ships were drawn near the shoals... wind-driven ships also relied on ocean current, which at times can move better than 40 mph. The Labrador Current sweeps down from the north and hugs this coast to about two miles off the beach. Beyond that is the Gulf Stream that moves up from the south toward the upper tier states. Often, it was faster for ships coming to Boston or New York from Europe to actually work their way south to catch the Gulf Stream than it was to come straight across the Atlantic. Even back in the day, folks in the shipping business knew that time is money. The confluence of the cold Labrador Current and the warm Gulf Stream also set up perfect conditions for violent storms and ocean swells. Add to that the shoals, which extended beyond sight of land in the midst of that confluence, and many an unwary ship’s captain left “money” to shift among the sands of these underwater dunes. Only jetsam and flotsam found on the beaches along the Outer Banks gave evidence of the fate of the ship.
As Secretary of the Treasury, Hamilton finally has the power to make good on his vows, and the U. S. Lighthouse Service, and eventually the U. S. Coast Guard fall under the auspices of the Treasury Department. The first lighthouses along the east coast were functional, if just barely, and were not constructed to the exacting standards you see here... there’s something to be said of building your house on shifting sand, as many of the early lighthouses here in North Carolina actually toppled shortly after construction. Under the supervision of Dexter Stetson, Hatteras Lighthouse rose up 210 feet from a foundation of granite, rubble, and entire lengths of pine pushed to the bedrock... and stayed up, as it has since 1870. With a focal plane at 187 feet, its light could be seen for 28 miles, well before a ship reached the shoals at night. Its conical tower with black and white spiral bands is visible by day on the horizon.
After his success at Hatteras, Stetson turned his attention here at Bodie Island. The name of the island is at contention, largely due to revisionist historians... the name is pronounced “body”, and is an archaic form of that word. Legend has it the name comes as a result of bodies washing ashore after some ship found its resting place in the of the Graveyard of the Atlantic. According to some historians, however, the name comes from a family that once lived here, though that has never been proven... the legend may not be so legendary, as such things did happen. A lighthouse would save lives here too.
There were two lighthouses located here previous to the one you see here. The first one leaned toward the sea shortly after it was built. That was in the day before electrical power, so the lighthouse had to be tended to every day... could you imagine having to climb up a structure so unstable that it might topple any second, at least twice a day? Me neither. It failed and was replaced, but Confederate troops blew the second one up in 1861 during a series of skirmishes as Yankee troops descended on Fort Fisher. The third installment of Bodie Island Lighthouse projected light from its first order Fresnel lens for the first time in 1872. At a height of 165 feet, its beam can still be seen 21 miles out to sea.
Though built on a land that shifts with the wind and tide, Bodie Island Lighthouse has withstood hurricanes, nor’easters, floods, lightning, heat, and humidity, but 148 years of such conditions had taken its toll. After much determination, restoration of the lighthouse began in 2010. The last of the project was the installation of the refurbished Fresnel lens early last year... after a re-lighting ceremony, the lighthouse was returned to service April 18, 2013. Seen here in morning light after 152 years, Bodie Island Lighthouse is every bit the historical standout in its new-paint splendor.
Stunner Pass, Colorado. This image made it to #343 in flickr's Explore pages for November 19, 2008 -- thanks to everybody for your comments and favorites!
Copyright © 2008 Old Dog Photography, all rights reserved.
Had trouble identifying the others, as I'm not a bird guy, but this one I know... it's a Blue Jay....right?
Fired Canon 420 threw cheese grater at camera right and a Canon 580 flash threw a blue glass I had laying around. I fired both with a STE2. This is my first time on Strobist, I came across the site only a couple of weeks ago and can't get enough! I am only a hobbyist so I would love any feed back.
Each of us is tempted to capitulate to our culture's Siren's Song – the shrieking compulsion to conform. Or to compete and compare. Yet those who are happiest – and the most successful in my view – are those who live out the uniqueness embodied in their DNA. There's only one set of fingerprints like yours. Not everyone will like you. But that's the person you were intended to be. This photo (silphium perfoliatum, AKA Rosin Weed) was taken on the Little Blue Trace Trail in Jackson County, Mo. It's dedicated to the public domain. www.RoyHarryman.com
'Nespresso' coffee capsule for the Strobist Cooking Light assignment. This is a small orange capsule with a silver foil cap. I wanted to try to play the complimentary blue off the orange capsule colour to get some dynamic play between the colours and create some depth/ drama.
Strobist info. The 'stage' is an inverted collander, with a SB-28 inside, set to about 1/8th power and a wide beam/zoom, with a PW Multi II to trigger. That gives the background and light/ reflections for the orange flares.
I then used a Canon 580EX with a blue gel to the camera right, with a grid over the front to direct the blue colour to just the foil. Had to play around a bit with the angles to ensure that the blue hit the foil only and reflected in to the camera, but that I wasn't getting a real strong direct reflection, so feathered it slightly and caught it more on the edge of the beam. Had originally tried to bounce some light from a blue card but the reflections were problematic. There is a small piece of putty just behind the coffee capsule to raise the face up from the silver background so that I can bounce the light in at the right angles from the flash.
Reading Light Science & Magic last night helped a lot with the discussions of families of angles and lighting surfaces independently.
Learn how to light at Strobist.
Karen’s brightly coloured clothing made her standout from everyone else on the street as she walked towards me with her boyfriend Tom. How could I not step forward and ask if I could photographer her for my stranger project? Karen said yes without hesitation and told me she is often stopped by people wanting to photograph her.
We’d met by a building that had a grey wall and I thought that would make an ideal backdrop to photograph Karen against. Due to having a solid colour background with little variation in tone has resulted in an image that looks like it could have been taken in a studio rather than on the street.
Karen was in Nottingham on a shopping trip. Karen is originally from Hull and has lived in Nottingham for the last 16 years. She runs a tea room in Hucknall called Mrs C’s Vintage Tea Room. You can find out more about it here: www.facebook.com/MrsCsVintageTeaRoom/?locale=en_GB and here: www.instagram.com/mrscsvintagetearoom/ British viewers of antique TV programmes will be able to spot a well-known presenter with Karen.
Karen’s hobbies include eating and going to gigs. As you’ll have already guessed Karen has a massive interest in vintage clothing and lifestyles but told me she is also a goth by night.
I asked Karen to describe herself in one word and she said barmy – something Tom confirmed.
If Karen where to meet her younger self what words of advice would she pass on? “Be yourself and be confident in everything you do no matter how old you are,” she said.
If I could grant Karen a wish what it be for? “To be ten years younger,” she replied, then explained the reason why, “so there wouldn’t be such a big gap between my age and Tom’s.”
Thank-you Karen for saying yes to being a stranger for me. I hope you like your portrait.
This picture is number 454 in my 100 Strangers project, yes, I’ve decided to do a fifth round. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
This is my 416th submission to the Human Family Group. To view more street portraits and stories visit www.flickr.com/groups/thehumanfamily/
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Public open night at the Mount Pleasant radio observatory, run by the astronomical society and University of Tasmania. Many telescopes were setup on the grounds to look at the moon, double stars, star clusters, and other remarkable things.
While I could be lost looking at the moon for ages, the standout for me was the clear view of the Jewel Box.
ISO6400 f3.5 2" 28mm LR
Laying flat on a 45 degree slope is easier said than done. But I managed to stop slipping down the hillside long enough to frame in some shots like this.
(DSCN1485-_________corvallisgrandoldladyhistorichome)
Maybe I didn't convey the situation on this one very well. It looks abandoned and in lots of disrepair. However, there are people living in it, and it is not scheduled for any renovations that I know of. I didn't put it on the Abandoned groups because it doesn't appear to be. I think it could be an absolute standout home if someone did a lot of work on it, a really valuable asset to the historical part of Corvallis; however, I don't see that happening. It isn't up to me to advise or tell people what they should do with their home.
This home is in Corvallis, Benton County, Oregon USA. I purposely did not put it on my *map* nor give the street address.
The photo of the very old school house that I posted recently does look like it is being restored. That gives me faith.
When I was in Hillsboro, Texas I saw many homes that used to be very stately; and now they are just going to ruin. Sad, but it happens.
I'm a big fan of the various species of the so called "ant plants"; plants which have developed symbiotic relationships with ants. In some species (such as the Myrmecodias and Hydnophytums) the plants produce highly modified stems which naturally develop hollow internal chambers which provide living spaces for ant colonies. The ants in turn benefit the plants by protecting their host from insect pests and providing nutrients derived from decomposing detritus from the ant colony. In addition to the previous examples there are a few members of the greater milkweed family which produce modified leaves which also provide sheltered sites for ants to establish their colonies. Some species, such as Dischidia pectinoides and D. major produce modified pouch-like leaves which serve as nesting sites. Other species produce large leaves which provide shallow, dome-like enclosures between the leaf and the substrate which can serve as a living site for ant colonies.
Hoya imbricata is one particularly attractive example of this last type of plant. It is an epiphytic plant with long, thin climbing stems which cling to tree trunks and branches, and bear very large succulent, plate-like leaves (reputedly measuring from about 2 inches, to nearly 10 inches in diameter in some varieties), which clasp the vertical surfaces upon which they grow. These leaves typically grow rather close together, slightly overlapping one another like roofing shingles or fish scales (the specific epithet "imbricata" alludes to this similarity to roofing tiles). Ants colonize the spaces beneath these leaves, often using adjacent leaves to serve as "nurseries", food storage and other specialized rooms or chambers for the ant colony. The spaces beneath the overlapping leaves may also serve as a protected highway, by which ants can travel from the ground to the upper branches of forest trees. This Hoya produces roots all along the length of the stems - those which are located just beneath the leaves will absorb nutrients from the detritus from the ant colony - providing the plant with a significant portion of its fertilization. The plant may also absorb a significant percentage of the carbon dioxide exhaled by the ants - providing the plant with vital carbon necessary in the production of sugars, proteins, and lipids.
Mature plants can grow many yards in length, and will branch and re-branch to produce intricate networks giving its host tree the appearance of being covered with shingles, or giant fish scales.
There are a number of varieties of this species in the wild, but the specific traits which distinguish the different varieties are not entirely clear to me - nor have I been able to find a listing of all of the recognized varieties in my research. Some varieties have closely spaced leaves which overlap, blanketing the trunks upon which they grow, while at least one variety is said to have long internodes with more widely spaced (non-overlapping) leaves. Most have comparatively small leaves (2 to 5 inches in diameter), while at least one variety produces leaves to about 10 inches across. In some, the leaves are of a uniform green coloration, but in others, the leaves are a dark green and are attractively marbled in pale greenish/grey tones. The leaf undersides of all varieties bear magenta to purplish pigments - which in many other plant species, is usually an adaptation to lower light levels - the purplish undersides to the leaf act as an accessory pigment to chlorophyll, which enables the plant to make use of additional wavelengths of light.
The flowers are produced in loose dangling umbels, which in my plant, measured to about 2 inches across. Larger, more mature plants will probably produce larger umbels with more flowers than this. The flowers are quite attractive, bearing "furry" greenish/cream colored petals. Other portions of the flower are of the same coloration, but are glossy and polished looking, earning them the common name for the genus, "Wax Flowers". While the flowers of other Hoya species can be highly fragrant, to my nose, the scent of this species is extremely faint: it is slightly sweet, with a trace of a musty under-tone. My plant has only flowered once: I am uncertain what combination of cooler temperatures, reduced light intensity, shorter daylight hours and less humid conditions may have helped initiate the formation of flower buds, but my plant flowered in November, about 2 months after I brought it indoors for the winter.
Hoya imbricata is not the easiest plant to maintain under typical household conditions. In my 19 months of growing this plant, I have struggled to discover which conditions best suits it: in summer, my plant usually produces a modest flush of growth, but it remains dormant through much of the other 9 months. It responds well to the increased light levels and higher temperatures of summer, especially when I move it into my unheated greenhouse in late spring. This species requires warm temperatures, bright but diffuse light, and quite humid conditions. Without high humidity, my plant languishes in a sort of persistent dormancy, and in winter, it has the tendency to loose moisture from its leaves and abort roots and young stems until humid conditions are restored. It is only when humidity exceeds about 60% that my plant even begins to show signs of growth: at levels closer to 90%, it seems to produce its most rapid growth. I am presently growing cuttings in a sealed 2 liter soda bottle with a soil-less mixture of peat moss and vermiculite watered with a weak solution of Miracle Gro fertilizer. This terrarium is kept just below two 40-watt fluorescent lights (the bulbs actually resting on the surface of the bottle). Because of the proximity of the lights, the temperature inside of the terrarium can rise to as much as 95 degrees Fahrenheit by day. At night (when the lights are off), temperatures typically fall to about 72 degrees. Conditions are very moist, so the sides of the container are perpetually drenched in condensation. This combination of warmth and moisture would rot practically any other plant, but my plant seems to thrive under these conditions, quickly responding with renewed, vigorous growth. After just a few weeks, one small cutting has produced 4 new stems, and the beginnings of at least 2 new leaves. Following this initial success, I started another cutting (a single leaf with several branching stems) under similar conditions. This cutting had been dormant for nearly one year - but within one week of this treatment, I observed the initiation of new growth at two nodes - probably the beginnings of two new vines; about a week later, it is producing the beginnings of new roots. Larger plants can be grown in a sort of mini greenhouse - I am growing my "main" plant horizontally in a long plastic storage container (the type designed for under-the-bed storage) with a pane of glass placed over the top to provide a more or less sealed environment (to ensure high humidity levels). I place fluorescent tubes on top of this (with the tubes resting just a few inches above the plant), and maintain light for approximately 14 hours a day. Even though I grow my plants on the basement floor (the coolest location in the house), temperatures inside of this container will rise to approximately 80 degrees by day, and cools to about 68 degrees at night (conditions which are probably a bit cooler than optimum). It would probably be best to place a 1 inch layer of very moist blend of Vermiculite/Perlite on the bottom of the container to provide adequate humidity, but any moisture retentive medium (such as peat-moss, or sterilized potting soil) will do.
In spite of the purple/magenta pigments on the underside of its leaves, (which is usually an adaptation to low light levels), Hoya imbricata seems to thrive when provided with bright but indirect light. When grown outdoors, bright dapple shade is probably best, but indoors, plants should be maintained just a few inches beneath fluorescent lights. Extended exposure to direct sunlight will tend to bleach and scorch its leaves.
Hoya imbricata requires a good support and a more or less solid surface upon which to grow in order to assure typical growth, otherwise the leaves of unsupported vines tend to roll in upon themselves (imagine a paper plate rolled into a cylinder). Cork-bark slabs, osmunda fiber slabs and posts, even long sections of logs and thick tree branches are good supports. For my own plant, I take two sections of black plastic mesh "gutter guards", and sew these along their sides and bottom to produce a long "sock". I fill this with an orchid potting mix consisting mostly of chipped coconut husk and cork bark. This mix retains moisture much better than cork-bark slabs, and may provide more humid conditions under the leaves than cork slab would alone. This support is rigid enough for the leaves to "clasp" normally, although I have found that it is best to wire new growth against it to assure good contact with the growing medium, at least until roots become established enough to hold the new leaves in place.
As with all Hoyas, this species requires warm temperatures to thrive: 80 to 90 degrees seems to be best, although it will tolerate higher temperatures than this: Extended periods of cooler temperatures (68 to 52 degrees) will tend to send plants into dormancy, and freezing temperatures will practically kill it instantly. While I have not tested its ultimate tolerances to cold, it will likely die if exposed to temperature in the 40's for any more than a few days, so if you do move your plants outdoors in summer, be prepared to bring it back indoors at the first predictions of cool weather.
It seems that only a few conservatories, and dedicated hobbyists grow Hoya imbricata here in the United States. Exceedingly few nurseries stock any of the varieties of this species, so it may sometimes be easier to acquire cuttings from other growers than it is to find in trade. My plant (Hoya imbricata var. basirotunda), for example, was originally acquired as cuttings generously provided by Myron Kimnach. The scarcity of this species in the trade is unfortunate, as this is an exceptionally interesting, and (in my humble opinion) one of the most attractive Hoya species that I know of. Perhaps its reputation as an "ant plant" works against it. While plants which are grown outdoors in the tropics and subtropics may sometimes become colonized by ants, it has been my experience that plants grown in more temperate climates do not attract ants, and can be grown without the presence of ants without ill effects. In nature such symbiotic relationships tend to be fairly specific, and usually involve a relatively few ant species; most ant species from northern latitudes would not colonize this plant. Grown indoors, particularly when grown in a more or less sealed environment, the chances of ants colonizing this species are virtually nil.
The specialized growing needs of Hoya imbricata will probably forever relegate this plant to dedicated growers only, particularly those from non-tropical climates. But for those growers who are not daunted by the challenges of providing year-round warm temperatures, high humidity and bright light, this species may very well be the plant for you. Its distinctive growth habit, attractive foliage (particularly those varieties with attractively marbled leaves), attractive "furry" flowers, and its fascinating adaptations to live symbiotically with ants will make it a standout in any collection. And it is unquestionably the most attractive "ant plant" which I have ever grown.