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An uncommon and poorly understood Eider, the Spectacled Eider has a very limited range, breeding in small areas of western and parts of Northern Alaska, they spend the winter out on the Bering Sea, who know what that must be like. This guy was conserving energy and walking from pond to pond. Barrow Alaska.
If I have understood it correctly, these reddish blowflies are actually the same species as the green ones, but older as the colour becomes more red with age.
A bloody nice set of eyes on this one either way.
Phillip Mould:
Elizabeth I understood the power of portraiture better than almost any other English monarch. Like all the Tudors, she knew well the value of making her subjects aware of her identity. Her grandfather, Henry VII, was the first monarch to put his own accurate portrait on the English coinage, while her father, Henry VIII, seized on Holbein’s ability to present himself as a strong and majestic ruler in numerous official portraits. So Elizabeth too mobilised her own image, emboldened and reinforced with expensive costumes and sumptuous jewels, as a symbol of royal authority. Above all, such portraits were a demonstration that, despite being a woman, Elizabeth was the natural and legitimate ruler of England.
The flamboyant image of Elizabeth seen here has become one of the most successful sovereign statements in English history. The contrast with Elizabeth’s earlier portraiture is striking. In the first portrait of her as Queen, the ‘Clopton’ portrait of 1558 [Private Collection, formerly Philip Mould Ltd], Elizabeth is shown with conspicuous piety. She wears a relatively simple black dress, and holds a religious book in her hand. This portrayal accords well with what we know to be Elizabeth’s virtuous, even frugal youthful character.
But as her reign progressed Elizabeth’s portraiture became increasingly outré. Each portrait outdid the last with ever more elaborate changes in costume, pose, composition and jewelry, a progression matched by Elizabeth’s increasing addiction to expensive jewels. The process culminates in the over-indulgent, oversized, almost absurd example of the ‘Ditchley’ portrait [National Portrait Gallery], in which Elizabeth is shown full length, bestriding the earth, as bolts of lighting strike dramatically through the sky behind her. Her face is small, aged, even ugly, and overwhelmed by the rest of the painting. Elizabeth the person is subsumed by Elizabeth the icon.
And this was precisely the intention. They key to understanding Elizabeth’s portraiture lies in a recognition of her political vulnerability. Female monarchs in the sixteenth century were rare enough. Unmarried female monarchs were unheard of. Her image, therefore, could not stress traditional female charms; beauty, grace, fertility. In fact, it had to stress the opposite. From the late 1570s onwards, when it became clear that she would not marry, Elizabeth was effectively de-sexed. She was portrayed as a virtuous emblem of state, the Virgin Queen forsaking marriage for the good of the kingdom. It was therefore not enough for Elizabeth to rely on likeness alone in her portraiture. She certainly could not be portrayed in the demur, usually seated, manner of her sister Mary, supported as she was by her marriage to Philip of Spain. And, of course, Elizabeth was unable to rely on sheer physical presence in her portraits, as her father done. Thus her portraits came to rely on bejewelled and bulky costumes – ‘Gloriana’ – for the projection of majesty.
This portrait is one of the best known images of the Queen. Commonly called the ‘Armada’ type, it is one of four versions, most likely painted in the late 1580s and early 1590s. The three related pictures are at; Woburn Abbey, the National Portrait Gallery, and in the possession of the descendants of Sir Francis Drake. They celebrate the apogaic defeat of the Spanish fleet in 1588 by the inclusion of a naval battle in the background.
What is considered the ‘prime’ Armada type, that at Woburn, has been attributed to George Gower. Gower produced a large number of portraits of Elizabeth in his capacity as the Queen’s Serjeant painter, and thus would have had an extensive workshop to help meet the high demand. This portrait was most probably painted by an artist familiar with his practices.
The production of Elizabeth’s portraits followed well established practices. A standardized face ‘mask’ was used, as has been the case in this example. Face masks not only saved time, but made up for the impossibility of painting the Queen from life for each new commission. Masks were also used to adhere to the fairly stringent, if unofficial, rules surrounding the production of the Queen’s image. She preferred, for example, to have no shadows across her face, and hence the stark, bright appearance of her features. The pose and costume would then have been painted with greater artistic freedom. Subtle changes would have been introduced in each portrait, usually in the accessories such as the fan in this example, so that the dependence on standard facial types did not give rise to identical portraits of the Queen. It appears to have been accepted that no two portraits of the Queen should be identical.
There has been some debate about the precise date of this portrait. When recently sold at Christies, London, it was dated to between1600 and1620, principally due to the use of canvas. However, it is possible that the portrait can be dated to within Elizabeth’s lifetime. An imposition of a terminus post quem of 1600 on the present portrait, simply because canvas was most commonly a seventeenth century medium, is unjustified.
Although canvas is thought to have been introduced mainly at the turn of the seventeenth century, there are many examples of canvas portraits in the sixteenth century, particularly for larger works where the use of oak might have been prohibitively expensive. In Europe canvas was used throughout the sixteenth century, while in England it can be found in early Tudor royal portraits, such as the group of Henry VIII and his family [Royal Collection] and a portrait of Edward VI [Lord Egremont]. There are also examples of contemporary portraits of Elizabeth on canvas, such as; Quentin Metsys the Younger’s ‘Sieve’ portrait of 1583, Marcus Gheeraerdts’ ‘Ditchley’ portrait of c.1592 [NPG]; John Bettes the Younger’s portrait of c.1590 [on loan to Pollok House, Glasgow]; and the anonymous ‘Elizabeth I with a Crescent-moon Jewel’ [Duke of Buccleuch and Queensbury]. Significantly, two portraits that use the same face-mask as the Armada present portrait are also on canvas, one dated c.1590 at Toledo Museum of Art, and another, a full-length, also c.1590, at Trinity College Cambridge [check]. The present work is painted on a particularly coarse weave, as seen in very early English canvas paintings.
If the present work was painted after Elizabeth’s death, then it must have been a copied from an earlier work, namely, one of the other three Armada versions. What is evident from even the cursory comparison of the facial features however, is that the sensitive modelling and cadaverous characterisation are both manifestly early in handling and of notable high quality, particularly when set aside other versions. It would seem untenable that this could have been completed by any artist who did not have experience of contemporaneous workshop practices. Paint analysis has confirmed a possible date from the late sixteenth century, and reveals the use of azurite, a pigment regularly used in the sixteenth century. And, finally, and indicatively there are numerous differences between the present painting and the other three Armada types.
The most obvious difference is the lack of an Armada scene. It would make little sense for a posthumous copy of an Armada portrait not to include any reference to the greatest event of her reign, particularly when such a copy must have been commissioned with a degree of retrospective gloire. For all its later acclaim, the Armada portrait type was in fact a relatively short lived phenomenon. It seems improbable that an artist charged with making a copy in James I’s reign would chose a work of relative rarity, and which cannot by then have been easily accessible.
There are also significant differences in the jewelry between the present painting and the three other versions. In the present work the Queen wears a double chain of pearls across her bodice. A similar arrangement can be seen in Gower type portraits of the 1580s, the ‘Darnley’ portrait c.1575, Marcus Gheerearts the Elder’s c.1585 full length, and most strikingly in Quentin Metys the Younger’s ‘Sieve’ portrait of 1583. However, in the other three Armada portraits the Queen is shown wearing a far larger arrangement of pearls. These were almost certainly those bequeathed by the Earl of Leicester to Elizabeth, his “most dear and gracious Sovereign whose creature under God I have been”, in 1588. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing this gift in most of her later portraits. It would be extremely unusual for an artist to copy an Armada portrait, and then, in addition to making numerous changes in the pose and costume, revert to a formula of jewelry used before 1588.
Similarly, in the present portrait Elizabeth is shown holding a distinctive jewel of a large diamond, flanked by two figures, with a large pendant pearl. This same jewel can be seen clearly in the Metsys’ sieve portrait. It makes further appearances, in a more generalized form, in only a handful of portraits dated to the 1580s, such as that attributed by Roy Strong to John Bettes the Younger [Private Collection, Gloriana p.118, and in the little-known portrait of Elizabeth seated on a throne [Lord Tollemache]. It does not appear in portraits of the Queen post 1590. Its presence in the present portrait could be explained by an artist conversant in Elizabethan iconography and fashion – and that means a contemporary workshop.
We must also consider the likely circumstances in which the portrait would have been commissioned. Royal portraits of this size and scale were usually commissioned as a means of displaying loyalty to the regime, perhaps by a leading courtier, nobleman, or gentry family. In this context a late copy of Elizabeth on the scale and quality seen here would have had no political value in the reign of the new Stuart king, James I. Posthumous copies of Elizabeth tend to be confined to smaller corridor portraits, or include obvious references to her age and death, such as the example at Corsham Court, in which a weary Queen is overshadowed by the figure of Death.
"The Holy Trinity Column (Czech: Sloup Nejsvětější Trojice) in Olomouc, in the Czech Republic is a Baroque monument (Trinity column) that was built between 1716 and 1754. The main purpose was to celebrate the Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia (now in the Czech Republic) between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way.
It is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage List as "one of the most exceptional examples of the apogee of central European Baroque artistic expression".
Olomouc (UK: /ˈɒləmoʊts/, US: /ˈoʊloʊ-/, Czech: [ˈolomouts]; German: Olmütz) is a city in the Czech Republic. It has about 102,000 inhabitants and its larger urban zone has a population of about 400,000 inhabitants (2024).
Located on the Morava River, the city is the ecclesiastical metropolis and was a historical co-capital city of Moravia, before having been occupied by the Swedish army during the Thirty Years' War. Today, it is the administrative centre of the Olomouc Region and the sixth largest city in the Czech Republic. The historic city centre is well preserved and is protected by law as urban monument reservation. The Holy Trinity Column was listed as a UNESCO World Heritage Site in 2000 for its quintessential Baroque style and symbolic value.
Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.
The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.
Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
we found ourselves on the moon that night
its grey rocks beneath us like shimmering stars
space pirates, he said and
okay, i said
we made it this far so i guess we will keep on going
letting the bits of rocks fly away as we pound ourselves away from the sun
its our world now, he said and
okay, i said.
Dolly got it completely. She understood how those awful events that century, had influenced Marcel's work. She saw it now, that impotence, those bachelors, that conjoined humour and tragedy, those masks.
She even said that she recognised the connection between 'The Large Glass', 'Étant donnés', and Goya's 'Disasters of War'. It was a breakthrough moment for both of them.
Marcel felt both exposed and safe. Dolly felt trusted.
They both realised that there was no way around it, you simply had to describe your time in whatever way your nature allowed you to. This was unavoidable, a 'Given', even.
They made plans to watch 'Oppenheimer' next.
It is not clearly understood why many fly's exude these drops of fluid and then pull them back in. Some scientists have suggested it is a way of digesting food using aeration. Others believe it's a way to heat or cool their body temperature.
Nikon D7100
Nikon 60mm F/2.8D
f/11
1/100s
ISO 100
SB-700 Speedlight
The blazon can also be understood as the heraldic description of a coat of arms or armories of a person belonging to the medieval nobility or the Catholic Church (ecclesiastical heraldry). This heraldic description can be extended to the exterior ornaments, paraheraldic elements that accompany the shield. The shield represents the shield that the men-at-arms carried, as one of the elements of their combat panoply.
The weapons (or charges) are generally presented on a shield, but it is possible to represent them on other supports: a clothing such as the herald's tabard, an architectural element such as a wall advertisement, a domestic object or a flag (in which case, the science that studies these signs is called vexillology). In this case, the contour shape is that of the support. [Citation needed]
The shield is characterized by its geometric shape and its potential divisions, or waiting table, on which the weapons are represented. The shield can take different forms according to the origin of its representation.
I have gotten the impression burning steelwool isn't being appreciated or understood very well, here on Flickr, but I'm continuing to post photos of it anyway. So...
17/11/2018; When your original steelwool idea fails because of the wind, and 1 of the 2 people you're with suggests to go to this location. Best idea of that evening.
Please (also) follow me on my...
* website
* 500PX
Our train arrived in Ulaanbaatar around 2:20 in the afternoon. I understood a guide would meet me and two other Australians and take us to lunch. He would then drive us about an hour out of the city to a Mongol Nomadic camp at Jargalant.
We were met by two men, Zorek who was to have been our guide, but he had a death in his family, so a man named Ganbaa was our guide instead. Zorek would accompany us to Irkutsk, in Russia, later in the week. We expected to be taken to lunch, but Ganbaa knew nothing of lunch ....
An extract from my Journal of this day:-
Ganbaa took us to a minibus, our luggage was stowed and we climbed aboard. Ganbaa decided I should ride in the front with the driver. They drive on the right side of the road in Mongolia, but there are many left hand drive vehicles on the road, and our minibus was one of them. The traffic in Mongolia is different from Beijing, there are no bicycles, motor scooters or mopeds which should make the traffic safer, but it doesn’t. Everybody drives as they please, they don’t bother with indicators, they change lanes constantly and overtake on the outside without a second’s thought.
Because our driver couldn’t see if it was safe to overtake, he would drive in the opposing lane to see what was coming. I could see perfectly well if it was safe to pass or not, and many times it wasn’t. He drove very fast, wove in and out of the traffic, blew his horn at anybody who was in his way and gave way to nobody.
Perhaps the scariest thing he did at intersections was drive in the left turn slip lane, continue past the intersection and continue into the right hand merging lane. He would then force his way into the flow of traffic, effectively overtaking about a dozen or more cars with his dangerous maneuver.
Our destination was about 50 Km out of UB City as they call the capital. After we left the city we were on a two lane country road, but nothing improved. Our driver still drove like a maniac and I was still scared witless. Eventually we turned down a dirt road (two tyre tracks in the grass) until we came to a cluster of girs (pronounced gears) on a hillside.
We drove into a dusty car park where three women in traditional costume met us and took charge of our luggage. We were shown to our girs, which have a bi-level floor, with two beds on the raised part of the floor. There was a self-contained bathroom inside the gir, a heater, tea making facilities (no milk) and precious little else. A pole propped a window open in the centre of the roof, but I left it open thinking fresh air would be a good thing.
We arrived during a power outage, power having been knocked out the night before. This meant there was no water, hot or cold, the toilet couldn’t be used, and of course there was no power or lights. Fortunately it was the late afternoon and the sun only sets around 9, so no worries, because we were promised the power would be back on before dark.
Dinner was a bowl of Mongolian soup at room temperature, we had some meat and salad vegetables. Back in my gir the power was restored, a woman came to turn on the heater and I waited for the water to get hot for a shower. It never happened.
Eventually I had a cold shower, I crawled into bed and lay awake for ages because there were howling dogs in an enclosure close by. I wasn’t cold, but my gir wasn’t warm; all the hot air escaped out the open window in the centre of the roof.
They loved her, they understood her
And they loved her
This gal from Joe's
Yes oh, this gal from Joe's
Credits:
Cecilia is a 'Young Sophisticate' Poppy Parker
Top - TTYA doll
Pants - Clear-Lan
Blouse (around waist) - OOAK
Jewelry - OOAK, and Poppy's Petites
If you're fighting for Mutant rights, and just want to be understood, why did you name your brotherhood "Evil". smh.
I haven't done any X-Stuff in a while, then I had an idea for a few figs, and that idea snowballed. So it's X-week again, buckle up.
Avalanche: Finally found a use for the Bat-bunny torso.
Hoth goggles, Dengar head, Calculator armor, Bat-Bunny torso, CMF Snowboarder's legs(?)
Blob: Spent like two hours trying to hash this guy out, based loosely on Tim Lydy's Blob build. Mine's wildly less competent, but I'm proud of him, and I kinda wish this was the scale my King Shark was at. Davy Jones's head.
Mystique is Mystique,
Destiny: God this costume's weird. This is my second stab at it. One of those figs that looks horrible from the back. Reversed helmet on studs, Pharaoh's quest head, Genie torso.
Toad: Something about a toad and lightning. PoTC head, Wonder Twin Collars, Sumo guy torso.
Pyro: Do people really name their kids "Saint"? That's a lot of expectation, innit? Flash head, Ultra Agents armor, generic muscle torso, Wrestler legs.
More X-stuff to come. Until then, lemme know what you think!
The Great Smokey Mountains National Park, 2015.
'Nothing in life is to be feared, it is only to be understood.' - Marie Curie.
I’ve never understood why Alfred E. Neuman is on the roof in Seaside, but he’s been there as long as I can remember. Kiev 88cm, CZJ Biometar 120mm f/2.8, Cinestill 400D, ECN-2 development. Shot for the Shitty Camera Challenge on Mastodon and Bluesky.
Flamingos usually stand on one leg while the other is tucked beneath their bodies. The reason for this behaviour is not fully understood. Captive flamingos may turn a pale pink if they are not fed carotene at levels comparable to the wild
It always amazed me that he was able to do it, and that Orson Welles was able to do it. I never understood it because the talents are absolutely opposite - polar opposites.
Mark Rydell
Ma ci sono cose che non si possono capire con la riflessione, bisogna viverle
But there are things that can not be understood with reflection, we must live them.
Jean-Baptiste Salis certainly understood the assignment of how to display at Old Warden! The opening split-S turning into a topside pass on the B-axis was particularly impressive.
If you want to be lucky, go and get your luck. Out in the fields to work on astrophotography, I was distubed and couln't get anything done because of weird lights in the sky. I thought about some diffusion of lights from a nearby highway, a construction zone for exemple.
I only found that these lights were awesome and shot them with my second (old) cam: it's only in the morning that I understood. I would have never guessed that these were auroras. I could not believe that, being in the south of France where they are incredibly rare, I had been lucky enough to actually catch that!
Les Rives, France
Gear: Canon EOS1000D / Tokina ATX Pro II 11-16mm F/2.8
Settings: f/4 - Focal Length: 11mm - ISO800 - 30s
Original: 3888x2592 px
I have never quite understood why one kite was chasing the other, but this carried on for a few minutes, with no clear outcome. Talons were out in quite a few of the shots I took.
Thanks to everyone who views, faves or comments on my pictures.
Word, when it is understood, comes to rest in Silence; yet, this rest is not inactivity, rather it is a most dynamic doing. Thus, Understanding happens when we listen so readily to the Word that it moves us to action and so leads us back into the Silence out of which it came and into which it returns. It is by doing that we understand.
- The Way of Silence: Engaging the Sacred in Daily Life
by David Steindl-Rast
He who learns must suffer. And even in our sleep pain that cannot forget falls drop by drop upon the heart, and in our own despair, against our will, comes wisdom to us by the awful grace of God.
—Aeschylus, Agamemnon 1. 177
Physis (φύσις) is a Greek theological, philosophical, and scientific term usually translated into English as "nature".
"Physis" was understood by Thoreau as coming from darkness into light, biologically, cosmically, cognitively.
Clem got confused....I never understood why he loves getting into a laundry basket. He explained it to me this week - he thought that this was Santa's sleigh. I have no idea where he got that idea - he's silly. Hope you have a great Thursday.
I never quite understood the reverse lever contraption of tuners. For Marcro Monday I thought it'd be interesting to pull in the texture of the copper strings with the stainless steel of Xanthe's guitar tuners. It also happened to be lying around the office and was a good subject for the day. :) #HMM
Understood to be in for repaint though intended livery is not known. Now reappeared in Madder FOTF livery.
.... that's where the kitchen is. Message understood, Cleo, but you have already had your breakfast !
It is understood first through the spirit
Before science,
And felt in the heart,
Before the mind.
(Suzy Kassem)
www.youtube.com/watch?v=-iVYu5lyX5M
8867=09112016
”Samāhita, samādhi, samāpati, ekāgra may be understood as synonymous, denoting a state of consciousness where the mind is most intensely concentrated on one thought. It is the receptive state of intuition, rather than the active state of thinking.” Lankavatara Sutra
Understood to be in for repaint though intended livery is not known. Fairly significant repanelling being carried out.
I never really understood the concept of a 'masterpiece' until a recent trip to Florence. The Statue of David really is the king of statues, it's truly awe inspiring and the level of detail is insane. You don't expect to see veins and muscle tone in a statue, it was just incredible and something I'll never forget!!
I never understood why there is a village on Mow Cop. There are great views when the weather is nice but there is no obvious sign of employment nearby and it can get the very worst of the weather in the area. This morning it wasn't visible when I went to Newcastle. When I came back about forty minutes later the sun was trying to break through the mist/cloud that wreathed the place in grey. That's it, Mow Cop, often half in this world, and sometimes half somewhere else.
Just my luck! Not many snowstorms create colourful snowflakes, and when they do they are usually smaller hexagonal gems. I was thrilled to encounter this vibrant flower in a slightly large crystal!
The colour here is well understood, but still magical. It’s not colour in the same sense as you would paint with (the paint would absorb certain wavelengths of light and reflect others, you see the reflected light), but rather generated through optical interference. This is the same physics that generates colours in soap bubbles, but in a snowflake is often much more structured.
One way or another, a bubble forms in the ice. The thickness of this bubble dictates the thickness of the ice on either side of it, and shifts in this thickness will change the resulting colours. Light bounces off of reflective surfaces, but a snowflake is ice, not a mirror; some light still enters the snowflake and reflects back off of the additional boundaries between ice and air. When light passes through a denser material (ice), it slows down, and when it reflects back out, it speeds up again. This is critical. If the distance traveled through the ice is small enough, the two rays of light will rejoin, but half of it will be “out of sync”. This causes some wavelengths to cancel out while others are added together, generating specific colours from otherwise white light. Very similar principals apply to sound waves and interference.
Once the bubble is completely enclosed, things can still change. Water molecules can break away from their crystal structure (sublimation) and re-attach elsewhere. This might slightly change the thickness of the ice in certain areas but in a gradual fashion. I suspect this is the reason for the gradient from yellow to magenta at the tips of the internal “petals”.
The central bubble here is fascinating for other reasons as well – just look at the outer edge of it. Notice these little “nubs” in each corner? Imagine the snowflake being just that big. Those little nibs would be the last elements to stay open to the outside air before shifts in temperature and humidity allow the outer edge of the snowflake to become whole again. What’s interesting here is that a snowflake typically grows fastest where it has the greatest access to water vapour – the corners. Why then did the corners take the longest to close up? Moreover, why did the middle of each prism facet also have a nub, which continued to progress a line-like bubble that eventually evolved into a sectored-plate design?
It’s a beautiful physics puzzle and fun to spend some time imagining how and why it came to be.
Shot on a Lumix S1R with a Canon MP-E 65mm macro lens. I’ve used a lot of ring flashes over the years, but my favourite is also one of the most affordable – the Yongnuo YN-14EX II: www.bhphotovideo.com/c/product/1462725-REG/yongnuo_yn_14e... . It’s better in many ways than Canon’s own MR-14EX II, and it’s what I’ve been using to shoot the snowflakes in this year’s series. For more tips on snowflake and general macro photography, you can also check out my upcoming instructional book, Macro Photography: The Universe at Our Feet - skycrystals.ca/product/pre-order-macro-photography-the-un...
For those curious about how the book is progressing? Coming along nicely! Most of the book is just undergoing revisions and grammar checks but there is still more work to be done. I appreciate your patience. :)