View allAll Photos Tagged Suffocating
I'm suffocating under words of sorrow.
There's bodies lying on the floor, but I keep on staring
My world is over, close the door!
today i was having a mental breakdown about starting school again tomorrow and all of the stress that comes with it.
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Gardens
Link to Cincinnati Zoo's Web Site ..............
"Link to the Cincinnati Zoo's Flickr photostream".
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Cheetah ... Cheetahs can be seen at the new Africa Exhibit and the Cheetah Encounter Show .... This is the female named Nia
Acinonyx jubatus
The cheetah plays an important role as a predator on the African savannah. The fastest animal on land, the cheetah can reach speeds up to 70 miles per hour over short distances. A sleek body, flexible backbone, long legs, non-retractable claws, and muscular tail assist the cheetah during high speed chases. The dark tear mark below a cheetah’s eye, called a malar stripe, attracts the sunlight and keeps the glare of the sun out of its eyes. Once the cheetah is within striking distance of its prey, it swipes at the prey’s hind legs with its front paw and strong dewclaw to trip and knock it to the ground. Then it closes off the prey’s windpipe to suffocate it. Exhausted after the chase, the cheetah must rest for a while to recover.
Fact File
Where to see them: Cheetah Encounter Show or in the Africa Exhibit
Height: 2.3 to 2.6 ft
Weight: 65 to 120 lbs
Lifespan: 12 yrs in wild
Habitat: Savannah and dry forest
Diet: Small antelope, warthogs, hares, and game birds
Risk Status: Species at Risk (IUCN—Vulnerable)
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Have a nice day everyone!
My sister and I had a system when I took this picture. If she ever felt like she didn't enough enough oxygen, she would raise her hand.
Concept is odd and random, I know, but this turned out exactly as I pictured it.
© alyssa jiosa
Anxiety can make you feel helpless. It can make you feel like you can't breathe, like you're stuck inside you're own head and can't get out.
May is mental health awareness month. Let's let each other know we're not alone ♥
A self portrait inspired by this passage from the Bukowski poem "Come On":
now
something so sad
has hold of us
that
the breath
leaves
and we can't even
cry.
44/366
this was the weirdest thing to shoot in public, hahaha. not sure i like how it turned out, but oh well. i'm workin' on concepts anyway.
and i told you i'm motion blurring everything......
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TURN Magazine | THE WINTER ISSUE
Photographer: Shavonne Wong/ Zhiffy Photography
Model: Candace Kuykendall
MUA: Angel Gwee Makeup artist
Hair: Cheng Kum Hong Antonio
This image gives a high fashion projection, as I made the model pose in a statuesque manor. within fashion images there must be a presentation of something new and captivating, so by using the plastic sheet I feel like I am going a step further from traditional photographic boundaries.
TURN Magazine | THE WINTER ISSUE
Photographer: Shavonne Wong/ Zhiffy Photography
Model: Candace Kuykendall
MUA: Angel Gwee Makeup artist
Hair: Cheng Kum Hong Antonio
So this photo wasn't planned, but nevertheless I like it and I guess it's meant to represent the effect pollution can have on animals. I wish I'd used a different angle, to make the choking action more apparent but meh, poo bags.
Anyway, I'm back from touring Europe! Which makes me sound like a crazy rock star, and I'm ready to start creating new photos! I've decided to start the 52 week project, because it takes me ages to get a photo that I'm happy with so it'll just be, admittedly, easier than the 365 project. Even though I still kinda want to to do it.
We'll see what happens. I might just post a cheeky photo every now and then between weeks because I have a lot of ideas. Hopefully I'll learn more about Photography because I still don't know how to operate half the functions on my camera. TECHNOLOGY.
Detail of the Smith Memorial installed by Elizabeth Cook.
Elizabeth Cook paid for the installation of this monument to her relatives in the Smith family. It was sculpted by Richard James Wyatt 1795 -1850.
[Within wreaths above] 'REAR ADM / ISAAC SMITH / OBIT 2 JULY 1831 / AET 78', 'ISAAC / CRAGG SMITH / OBIT 7 DEC 1831 / AET 38', 'CAROLINE / CRAGG SMITH / OBIT 4 DEC 1823 / AET 30', 'CHAS. SMITH / OBIT 6 SEPT 1827 / AET 72', 'SACRED TO THE MEMORY / OF / THOSE WHOSE REMAINS ARE DEPOSITED IN THE FAMILY VAULT / ADJOINING THE CHANCEL OF THE CHURCH / THIS MEMORIAL WAS ERECTED BY / MRS ELIZABETH COOK / WIDOW OF CAPTAIN JAMES COOK THE CIRCUMNAVIGATOR /I N AFFECTIONATE REMEMBRANCE / OF THE MANY ESTIMABLE QUALITIES OF HER DEPARTED RELATIVES'[Behind figure and partially obscured] 'THY WILL BE DONE ON EARTH'
Richard James Wyatt (1795-1850), Sculptor; grandson of architect James Wyatt
During Antonio Canova's visit to London in 1814, the painter Thomas Lawrence introduced him to the promising sculptor, Richard James Wyatt. In 1821, Wyatt accepted Canova's invitation to work in his studio in Rome. Although Wyatt, like his friend John Gibson, settled permanently in the city practising his profession there with great success, he received commissions from London and frequently sent works back to be exhibited at the Royal Academy.
Edited from Artfact
"Born in London, 3rd May 1795; died in Rome, 28th May 1850). Sculptor, second cousin of Samuel Wyatt and James Wyatt. He worked for his father Edward Wyatt (1757–1833), a decorative carver and picture framer in London, and was then apprenticed to the sculptor J. C. F. Rossi. In 1812 he entered the Royal Academy Schools, where he won the silver medal for the best model from life in 1815. He exhibited his first life-size classical group, a Judgement of Paris (untraced), at the Royal Academy in 1818. On the recommendation of Sir Thomas Lawrence, Wyatt obtained a place in Canova’s studio in Rome. He left England in 1820 and spent some time in Bosio’s studio in Paris, where he probably learnt the technique of finishing marble so as to give the surface a soft, warm effect. "
From the Henry Moore Foundation database
"A member of the Wyatt family of architects and sculptors, Richard James Wyatt was the fourth son of the carver Edward Wyatt and Ann Maddox. He was born above his father’s shop in Oxford Street, London on 3rd May 1795 and was apprenticed in 1809 to J. C. F. Rossi, who gave him a good practical grounding. Whilst with Rossi, Wyatt carved a number of marble chimneypieces and simple memorial tablets, the stock in trade of an English sculptor. He entered the Royal Academy Schools in 1812 and in 1815 won the silver medal for the best model from life. His first life-size classical group, a Judgement of Paris (14) was exhibited in 1818, when he was perhaps formulating an ambition to go to Rome and complete his training under Antonio Canova. Sir Thomas Lawrence, who had met Canova in London in 1815, recommended Wyatt to him and the Italian apparently intimated that he might find Wyatt a place in his studio. In 1820 Wyatt left England for Paris where he spent a period in the studio of the distinguished sculptor, Baron François-Joseph Bosio. Bosio was known for the smooth, warm surfaces of his statues and probably taught Wyatt something of his technique. He arrived in Rome early in 1821 with letters of introduction to Canova both from Sir Thomas Lawrence, and from a cousin, the architect, Sir Jeffry Wyatville. Canova took Wyatt into his studio, where he met another ex-patriot sculptor, John Gibson, who had already been in Rome for four years. They became lifelong friends. After Canova died in 1822 Gibson and Wyatt worked briefly under Bertel Thorvaldsen before setting up independently in studios opposite one another in the Via della Fontanella Barberini. Gibson, who was five years older than Wyatt and acted as his protector, described Wyatt at this time as ‘remarkably modest, retiring and very shy, an excellent judge of art’ (Matthews, 1911) The two young sculptors formed part of the expatriot community in Rome which included Joseph Gott, William Theed II and George Rennie.Wyatt was known for his extraordinarily long working hours. He rose early and breakfasted daily with Gibson at the Caffé Greco at 86, Via Condotti, the haunt of writers, musicians and artists visiting the city. The two sculptors read the newspapers before walking on the Pincio and returning to their studios for a day’s work. Wyatt often remained in his studio until after midnight. In his early years he worked without assistants. Gibson noted that it was his habit to make a preliminary model which he put away for six or more months, before assessing its potential. If it then pleased him he translated it to a small plaster model and then to a full-size plaster model with scale-marks to guide the marble-carver. Even at the end of his career when he was in high demand, he finished his works himself, unlike many of his contemporaries who left all the marble carving to assistants. Soon after setting up on his own Wyatt had the fortune to receive an order from the Duke of Devonshire, who visited Rome in 1822 with Sir Jeffry Wyatville. This was for a marble version of Wyatt’s plaster of Musidora, a subject from Thomson’s Seasons, that would be re-interpreted endlessly by sculptors over the next 20 years. It was dispatched to Chatsworth in 1824. Though the Duke was well pleased with his statue, it was several years before further commissions came to Wyatt. In 1829, the year Wyatt had a riding accident which left him lame for life, an unidentified visitor, who contributed to the Literary Gazette, saw several works to the studio ordered by English clients. By 1830 he was in considerable demand for ideal statues and groups and from 1831 until his death he exhibited a new work every year at the Royal Academy, though he had a poor opinion of the way sculpture was displayed there. He was proposed for membership of the Academy by his friend Charles Eastlake, later director of the National Gallery, but the proposal was over-ruled by Sir Francis Chantrey on the grounds that Wyatt was not a British resident. Since the qualification had been waived in John Gibson’s case, Chantrey’s opposition was probably caused by jealousy. The hostility was mutual: the outspoken Wyatt felt Chantrey lacked taste and was a poor carver of draperies. Wyatt also expressed a poor opinion of the sculptors who had supplied monuments for St Paul’s Cathedral, particularly Sir Richard Westmacott R.A. Wyatt’s art came to maturity during the 1830s. He was responsible for some fine monuments and busts, but it was as a virtuoso carver of life-size figures and groups, particularly single female figures, that he became best-known. He made copies of his most popular subjects, often several years after completing the original work. The statue of a Nymph going to the bath was repeated at least seven times for British clients over a 13-year span and he produced two variants, Nymph at the bath and Nymph coming out of the bath both of which were replicated. Another popular subject, a Nymph of Diana, was re-worked with various animals, a leveret, a leveret and greyhound and a dead bird.These groups were based on antique originals but also responded to the contemporary enthusiasm for the depiction of animals. Wyatt’s portrait busts were noted for their realism, particularly the head of Lord Selsey, now lost but considered a striking likeness by a contemporary, Lady Anne Murray, and the portrait of the Marquess of Anglesey, which presents the sitter with stern features and the heroic aura of a Roman general. Wyatt’s debt to his masters in Italy is evident in his works of the 1830s. The Musidora, Ino and Bacchus, Flora and Zephyr, and Shepherd boy protecting his sister from the storm are all reminiscent of Canova’s ideal works. The model for the group of the Shepherd boy was apparently coloured, and since it prefigures Gibson’s first attempts in polychromy by three years, it suggests that Wyatt had some interest in experiment. His monument to Charlotte Buller is reminiscent of Canova’s monument to the Marchesa di Haro, 1806-8 at Possagno: it is a death-bed scene with a recumbent effigy attended by two mourners, one kneeling and the other leaning over her. The relief tablet to Ellen Legh is more ambitious: she is met by an angel pointing to Heaven and turns away from her husband who mourns, hand on brow, holding their child. The influence of Thorvaldsen, whose plaster models were accessible to Wyatt, is evident in Wyatt’s statues of children, which owe debts to the Dane’s statue of Lady Georgiana Russell, 1815, at Woburn Abbey. The source for Wyatt's relief tablet to Ellen Legh is probably Thorvaldsen's monument to Philip Bethman-Hollweg, 1814, at Frankfurt-am-Main. Wyatt's monument has an angel leading Mrs Legh away, while her grieving husband is left behind with the baby. It has been described by John Martin Robinson as ‘a masterpiece with its perfect composition and austerely understated emotion’ (Robinson 1979. He reached his zenith in the 1840s. In 1841 he visited England for the only time since settling in Rome, the city he so loved. The Prince Consort commissioned a statue of Penelope for the entrance to the Queen’s apartments at Windsor Castle, the first of five works for or bought by Queen Victoria. Wyatt’s obituary in the Art-Journal in 1850 singles out the Penelope as the work most admired by his friends in Rome. In 1848, the year of revolutions, there was a major political upheaval in Rome, culminating in Garibaldi’s triumphal entry into the city and an upsurge of Italian nationalist feeling. English artists suffered: Gibson left the city and Wyatt was asked to release his studio in the Via della Fontanella. Though he took a new one in the Via dei Incurabile he never moved there. The proposed eviction upset him greatly and further distress was caused by bombardment of the city by the French, and then by a grenade which exploded in his studio, inflicting minor injuries on him and destroying some of his plaster casts. When Queen Victoria heard from Gibson of the misadventure she ordered another statue from Wyatt as recompense. Wyatt died on 28th May 1850 from a neglected cold, which led to a throat infection and subsequent suffocation. He was buried in the English cemetery in Rome and his funeral was attended by nearly 50 artists and friends. Gibson carved his tombstone with a medallion portrait and the effusive epitaph ‘His works were universally admired for their purity of taste, grace and truth of nature. The productions of his genius adorn the Royal Palaces of England, St Petersburg and Naples as well as the residences of the nobility and gentry of his own country’ (Matthews 1911. He died intestate but is computed to have executed works in his lifetime worth at least £20,000. The Liverpool sculptor Benjamin Spence took over his studio in the Via dei Incurabile and he and Gibson completed Wyatt's unfinished works, a Nymph of Diana for the Queen, Lord Charles Townsend’s version of A Nymph taking a thorn out of a greyhound’s foot and a version of the Nymph coming out of a bath for Mr Foot of Read Hall, Lancs. The few statues left in the old studio were sold at Christie’s on 22 June 1861. His personal possessions, including the Royal Academy silver medal won in 1815, went to his niece. In 1851 a number of casts of his statues were shown at the Great Exhibition, as well as the Glycera from the Royal collection and The Infant Bacchus. He was awarded one of the four first-class gold medals retrospectively During his later years Wyatt was much revered, particularly for the delicate beauty of his female figures, his mastery of composition and the excellent surface finish of his works. Since his largely aristocratic patrons continued to clamour for Wyatt’s figures in the tradition of Canova over a 20-year span, his style developed astonishingly little. The declining interest in neoclassicism in the later 19th century inevitably led to a loss of enthusiasm for his work, which is still current. The only recent survey of his life and achievement forms a part-chapter in John Martin Robinson’s biography of the Wyatt family, subtitled ‘An Architectural Dynasty’.
IR
Literary References: A J, 1850, 246-7; 1854, 352; Matthews 1911, 110-12, 130-36; Gunnis 1968, 448-9, Linstrum 1974, 18; Penny 1975 (1), 322; Robinson 1979 (2), 160-73; Read 1982, 37; Grove 33, 448-9 (Robinson)
Archival References: Wyatville/Canova, 5 Feb 1821; GPC
Miscellaneous Drawings: ‘Tuning’ (two figures with lyre and pipe, for a relief), NPG, c1850
Portraits of the Sculptor: John Partridge, 1825, NPG (3944/19) George K Childs, engraving, nd, AJ, 1850, 246; attrib S Pearce, oil on canvas, nd (Robinson 1979 (2), repr 96)
Auction Catalogue: Wyatt, R J, 1861 ".
Golden Beach, Thassos.
Cuscuta (dodder) is a genus of about 100–170 species of yellow, orange, or red (rarely green) parasitic plants. Formerly treated as the only genus in the family Cuscutaceae, it now is accepted as belonging in the morning glory family, Convolvulaceae, on the basis of the work of the Angiosperm Phylogeny Group.
The genus is found throughout the temperate and tropical regions of the world, with the greatest species diversity in subtropical and tropical regions; the genus becomes rare in cool temperate climates, with only four species native to northern Europe.
Folk names include devil's guts, devil's hair, devil's ringlet, goldthread, hailweed, hairweed, hellbine, love vine, pull-down, strangleweed, angel hair, and witch's hair.
Dodder can be identified by its thin stems appearing leafless, with the leaves reduced to minute scales. In these respects it closely resembles the similarly parasitic, but unrelated genus Cassytha. From mid-summer to early autumn, the vines can produce small fruit that take the same color as the vine, and are approximately the size of a common pea. It has very low levels of chlorophyll; some species such as Cuscuta reflexa can photosynthesize slightly, while others such as C. europaea are entirely dependent on the host plants for nutrition.
Dodder flowers range in colour from white to pink to yellow to cream. Some flower in the early summer, others later, depending on the species. The seeds are minute and produced in large quantities. They have a hard coating, and typically can survive in the soil for 5–10 years, sometimes longer.
Dodder seeds sprout at or near the surface of the soil. Although dodder germination can occur without a host, it has to reach a green plant quickly and is adapted to grow towards the nearby plants by following chemosensory clues. If a plant is not reached within 5 to 10 days of germination, the dodder seedling will die. Before a host plant is reached, the dodder, as other plants, relies on food reserves in the embryo; the cotyledons, though present, are vestigial.
After a dodder attaches itself to a plant, it wraps itself around it. If the host contains food beneficial to dodder, the dodder produces haustoria that insert themselves into the vascular system of the host. The original root of the dodder in the soil then dies. The dodder can grow and attach itself to multiple plants. In tropical areas it can grow more or less continuously, and may reach high into the canopy of shrubs and trees; in temperate regions it is an annual plant and is restricted to relatively low vegetation that can be reached by new seedlings each spring.
Dodder is parasitic on a very wide variety of plants, including a number of agricultural and horticultural crop species, such as alfalfa, lespedeza, flax, clover, potatoes, chrysanthemum, dahlia, helenium, trumpet vine, ivy and petunias, among others.
Dodder ranges in severity based on its species and the species of the host, the time of attack, and whether any viruses are also present in the host plant. By debilitating the host plant, dodder decreases the ability of plants to resist viral diseases, and dodder can also spread plant diseases from one host to another if it is attached to more than one plant. This is of economical concern in agricultural systems, where an annual drop of 10% yield can be devastating. There has been an emphasis on dodder vine control in order to manage plant diseases in the field.
A report published in Science in 2006 demonstrated that dodder use airborne volatile organic compound cues to locate their host plants. Seedlings of Cuscuta pentagona exhibit positive growth responses to volatiles released by tomato and other species of host plants. When given a choice between volatiles released by the preferred host tomato and the non-host wheat, the parasite grew toward the former. Further experiments demonstrated attraction to a number of individual compounds released by host plants and repellance by one compound released by wheat. These results do not rule out the possibility that other cues, such as light, may also play a role in host location.
March 17th 2010:
Almost there; fresh blood; vitamin D deficient; at the drugstore again; side effects include (I quote) brittle bones and mental retardation; just say no...
Inspired by artist/photgrapher Alyson Morris, who did a series of photographs depicting males suffocating, I did a shoot (Safely) with my main aim to capture the struggle and the movement without losing the facial features but also to let the plastic bag to somewhat disfigure/distort the image.
Model: Ronan Gallocker