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Thistle is the common name of a group of flowering plants characterised by leaves with sharp prickles on the margins, mostly in the family Asteraceae. Prickles can also occur all over the plant – on the stem and on the flat parts of the leaves. These prickles are an adaptation that protects the plant from being eaten by herbivores. Typically, an involucre with a clasping shape similar to a cup or urn subtends each of a thistle's flowerheads. The comparative amount of spininess varies dramatically by species. For example, Cirsium heterophyllum has minimal spininess while Cirsium spinosissimum is the opposite. Typically, species adapted to dry environments have greater spininess. The term thistle is sometimes taken to mean precisely those plants in the tribe Cardueae (synonym: Cynareae), especially the genera Carduus, Cirsium, and Onopordum. However, plants outside this tribe are sometimes called thistles, and when this is done, "thistles" would form a polyphyletic group. A thistle is the floral emblem of Scotland and Lorraine, as well as the emblem of the Encyclopædia Britannica. Biennial thistles are particularly noteworthy for their high wildlife value, producing such things as copious floral resources for pollinators, nourishing seeds for birds like the goldfinch, foliage for butterfly larvae, and down for the lining of birds' nests. 12710
"Sharing is the value that will have a positive impact on the future."
-Monika Minder
Posted for Smile on Saturday Theme "Insects and Co"
~HSoS~
Valle de Estós, La Ribagorza, Huesca, Aragón, España.
El valle de Estós (en aragonés benasqués Vall d'Estós o Ball d'Estós) es un valle pirenaico situado en la comarca aragonesa de La Ribagorza.
Se ubica en la zona noroccidental del valle de Benasque (noreste de la provincia de Huesca) y dentro del parque natural Posets-Maladeta. Al norte de este valle, que es de origen glaciar, está el macizo del Perdiguero (3.221 m), y al sur el macizo del Posets (3.375 m). Este valle, orientado de oeste a este, tiene una longitud aproximada de 12 km y en el fondo de él transcurren las aguas del río Estós, afluente del río Ésera. Clarabides, Gías, Oô, son picos que también superan los 3.000 m y hacen frontera con Francia. La altitud del valle oscila entre los 1.400 m y los 3.375 m.
Desde el año 1994 forma parte del parque natural de Posets-Maladeta por sus importantes valores ecológicos. El paisaje predominante es el de la alta montaña pirenaica con buena representación de los pisos climáticos alpino, subalpino y montano. La flora predominante son los pastizales de montaña y los bosques, de coníferas (pino negro y abeto), de caducifolios (haya, álamo temblón, abedul, sauce, arce y avellano) y como principales arbustos el boj, enebro y rododendro. También se encuentran algunos endemismos pirenaicos. En cuanto a la fauna, encontramos a todos los animales presentes en los ecosistemasde la alta montaña pirenaica destacando una importante población de sarrios y corzos y como aves más representativas el urogallo, la perdiz nival y el quebrantahuesos.
El río Estós, al que afluyen múltiples barrancos y torrentes procedentes de los numerosos ibones (lagos de origen glaciar), de las nieves perpetuas y de algunos de los glaciares más meridionales de Europa, recorre el fondo del valle.
El valle tiene un gran atractivo turístico para los amantes de las excursiones de montaña, de la escalada, el esquí de montaña y el alpinismo. También se practica la pesca de la trucha y la caza mayor (sarrios, corzos y jabalíes). En la época veraniega sus laderas son lugar de pasto de un gran rebaño de vacas.
El acceso al valle se realiza preferentemente a pie a través de una red de senderos bien señalizados, aunque hay una pista forestal restringida al tránsito de vehículos autorizados. A lo largo del camino encontramos numerosas cabañas de pastores y un refugio de montaña guardado (1.895 m) gestionado por un guarda de la Federación Aragonesa de Montaña.
The Estós Valley (in Benasquese Aragonese, Vall d'Estós or Ball d'Estós) is a Pyrenean valley located in the Aragonese region of La Ribagorza.
It lies in the northwestern part of the Benasque Valley (northeast of the province of Huesca) and within the Posets-Maladeta Natural Park. To the north of this valley, which is of glacial origin, is the Perdiguero massif (3,221 m), and to the south, the Posets massif (3,375 m). This valley, oriented from west to east, is approximately 12 km long, and the Estós River, a tributary of the Ésera River, flows through its bottom. Clarabides, Gías, and Oô are peaks that also exceed 3,000 m and form the border with France. The valley's altitude ranges from 1,400 m to 3,375 m.
Since 1994, it has been part of the Posets-Maladeta Natural Park due to its significant ecological value. The predominant landscape is that of the high Pyrenees, with a good representation of the alpine, subalpine, and montane climate zones. The predominant flora consists of mountain pastures and forests, including conifers (black pine and fir), deciduous trees (beech, aspen, birch, willow, maple, and hazel), and, as main shrubs, boxwood, juniper, and rhododendron. Several Pyrenean endemic species are also found. As for the fauna, all the animals present in the high Pyrenean mountain ecosystems are found here, with a significant population of Pyrenean chamois and roe deer, and the most representative birds being the capercaillie, the ptarmigan, and the bearded vulture.
The Estós River, fed by numerous ravines and streams originating from the many glacial lakes (ibones), the permanent snowfields, and some of the southernmost glaciers in Europe, flows through the valley floor.
The valley is a popular tourist destination for mountain hikers, climbers, ski mountaineers, and alpinists. Trout fishing and big game hunting (chamois, roe deer, and wild boar) are also popular. In the summer, its slopes serve as grazing land for a large herd of cattle.
Access to the valley is primarily on foot via a network of well-marked trails, although there is a forest track restricted to authorized vehicles. Along the way, you'll find numerous shepherd's huts and a staffed mountain refuge (1,895 m) managed by a warden from the Aragonese Mountain Federation.
sim: Whimberly
uber: maps.secondlife.com/secondlife/Whimberly/181/212/26
Tune: www.youtube.com/watch?v=-2U0Ivkn2Ds
Les Films du Poisson
en.wikipedia.org/wiki/Les_Films_du_Poisson
In Cooperation with:
MGM Studios
Is Proud To Present
A Twain Orfan Film:
Say Something !
The Critics Have Spoken:
'I haven't had much time to see Twain's movies lately, .. but this one really got to me. I was with a friend of mine, trying to eat pop corn, ya know ? ..and, .. I could barely chew it .. tears were just streaming down my face. It was really an emotional experience for me... One of his best films to date I'd have to say. [Gwyneth Evergarden / New York Times / Flickr Artist ]
'So, Lobo and me went to see this movie and we were like, ya know, the acting of the main star, Mollie. She was like .. 'Wow'. I guess Twain's directing skills have improved quite a bit. He'll never be a musician like my Lobo is. And this windlight he uses has got to go ! But, .. yeh. Great movie ! I kept pulling Lobo's arm around me for comfort. It was sad .. and touching. Bravo Twain ! [Carisa Franizzi / Baby Girl Times / Flickr Artist ]
'I don't really know Twain at all. So I thought I'd check out one of his movies and, ..well, .. the
cinematography was awesome ! It just hit me in my gut ! The lead actor, Mollie, she projected such emotion ... I felt her isolation. I just wanted to get up from my theater seat and give her a hug, ya know? It was a solid movie. [Betta B. / Chicago Times / Flickr Artist ]
'I finally had the time to see this movie of Twain's. It is definitely moody, sad, and pulls at your heart strings. It hits all the right notes. The Production behind the movie by both Claire Danes
www.imdb.com/name/nm0000132/bio/?ref_=nm_ov_bio_sm and also by Reese Witherspoons Production Company 'Hello Sunshine' en.wikipedia.org/wiki/Hello_Sunshine_(company) insured the quality of the Production would be top notch !! Twain as the Director .. yes. He did seem to work with Mollie well. I can feel through out the film this constant searching for something 'more' .. the missing element. It is sad and touching. I admit .. I loved it.
[》Sιℛι《 Amblack 《 / Independent World Association / Flickr Artist ]
'I am on the same sim as Twain is ..I'm working near by on the MGM Studio lot. I am dressed in only a rather skimpy swimsuit. Twain comes up to me and asks me if I could help him out and be in this photo for him. Now .. I had heard that Twain is a bit of a caution. Actually .. insane ! Here I am in the middle of a photo shoot ..almost naked. I was ready to turn him down ..then he tells me. 'You'll need to put more clothes on for this movie.' .. Well? I've never had a Director tell me I'd need more clothes ! So I thought that was a good sign. So I walk off the MGM studio lot and go with Twain to this remote area. I sit down on these pillows, all comfy. Twain tells me.. 'No! No pillows ! ' Twain throws out the pillows .. ? So I'm sitting there on the bare wood. He asks me to tell him a sad story .. and I start to tell him about when I was much younger, and how I had this puppy .. how it suddenly took ill, .. and .. and .. [waves her hands in front of her face ],... sorry, .. I , ... I just can't ... go there ... Anyways, .. I just felt so sad and isolated. Alone. Twain really knew how to draw out my emotions. The funny thing is most Directors are really very talky .. talk a lot. Twain was really very quiet. It must have taken about an hour to do this one scene alone. But he seemed rather 'normal' ? I'd work with him again. The pay wasn't that great. But he seemed a good Director and he gave me a coupon that has a $35.00 Linden value at any Perkins Restaurant. He let me watch the dailies of the filming as it proceeded which no other Director had ever let me do before. Seemed like a decent fellow. So .. yeh .. I'd work with him again. What else can I say?
He dresses in a formal suit on set everyday .. that's a bit much. Other than that no complaints.
[Mollie Pop / Lead Actress / Flickr Artist ]
Another sad entry from my late aunt Edie's autograph book. The poppy would suggest that he didn't come back.
A treasure with great sentimental value, especially so, as we approach armistice day once again.
Germany. In the woods called "Schönbuch" nearby the City of Stuttgart.
SONY A7II (ILCE-7M2) with e-mount adapted old projection lens Leitz COLORPLAN CF 2.5/90. Sony full-frame in body image stabilization ON. ISO 100. 1/200s. Self made round aperture of about f/4.5 placed in the light beam. Manual mode. The lens (in this case on a Sony a6000) can be seen here --> Colorplan lens.
More photos of this mini sequence with this camera/lens combination can be found here: ---> In The Woods (1) and In The Woods (2).
Feel free to visit my albums. All my old lenses can be found there.
She just wants to be beautiful
She goes unnoticed
She don't see the light that's shining
Deeper than the eyes can find it, maybe we have made her blind
So she tries to cover up her pain and cut her woes away
She don't understand she's worth it
Or that beauty goes deeper than the surface
Help see a little bit clearer the light that shines within
There's a hope that's waiting for you in the dark
You should know you're beautiful just the way you are
And you don't have to change a thing, the world could change its heart
No scars to your beautiful, we're stars and we're beautiful...
You're not for everyone. You're for someone who makes you feel that you deserve to be unconditionally loved, to be welcomed, to be wanted, to be understood and that you are enough... You're value is not negotiable.
12th April 1099
85013 & 85035 head south at Brock at around 19:00 with a real mixed bag ECS.
Not the best of quality unfortunately but uploaded for rarity value.
Glass blocks set in coursed stone recall the fenestration experiments of early modernism, when industrial material first aspired to architectural dignity. Each unit repeats its pressed floral pattern with the insistence of a Sol LeWitt instruction, variation absorbed into system. The blue deepens unevenly across the grid, shaped by light caught somewhere behind the wall. Stone surrounds the glass with the patience of ancient construction, indifferent to the century. Whatever passes on the other side remains, by design, obscured.
Many thanks to all who take the time to comment or favourite. I read every comment, value the favourites as much and return them as frequently as time allows.
[ES] Bloques de vidrio engastados en piedra hilada evocan los experimentos de fenestración del primer modernismo, cuando el material industrial aspiró por primera vez a la dignidad arquitectónica. Cada unidad repite su patrón floral prensado con la insistencia de una instrucción de Sol LeWitt, la variación absorbida en el sistema. El azul se profundiza de manera desigual a través de la retícula, moldeado por una luz atrapada en algún lugar detrás del muro. La piedra rodea el vidrio con la paciencia de la construcción antigua, indiferente al siglo. Lo que sea que pase al otro lado permanece, por diseño, oculto.
Muchas gracias a todos los que se toman el tiempo de comentar o marcar como favorito. Leo cada comentario, valoro los favoritos por igual y los devuelvo tan a menudo como me lo permite el tiempo.
Processed in Capture One Windows
51 mm equiv. (standard)
Exp. Corr. Value: +0.0 EV
Exp. Program: Normal
Metering mode: Spot
WB Settings: Auto
Introducing our new Sago Palm Trees!! While “palm” is part of their common name, sago palms are not really palms at all, they’re cycads. Like ferns, these giant beauties have been around since before the dinosaurs, and their stunning display is truly evocative of an age long gone. Dark green and lush with sturdy foliage, if your parcel or sim is on the beach or in a high temperature zone, this plant is for you.
These 100% original mesh creations are highly detailed with realistic textures and animated foliage resulting in a true, life-like appearance. A choice of four seasons are readily available via an easy to use pop-up menu to keep your landscaping current. Owner permissions allow Copy & Modify to ensure that each item can be adapted to suit your unique needs with a total land impact value of 3 Li.
The Liaison Collaborative runs from TLC runs from September 3rd to September 26th
TAXI to The Liaison Collaborative
Contest on our Facebook page for a chance to win the Palms
After the event you will find the products at The Little Branch In-World Store or on MarketPlace
The former church of the "Pecos Mission of Our Lady of the Angels of Portiuncula'', above, was built in 1717 on the site of an earlier one that was razed during the Pueblo Revolt of 1680.
The mission had been founded in 1619 by the Franciscan Brother Pedro Zambrano Ortiz (Portiuncula being the piece of land near Assisi where St. Francis established his order). After its re-establishment, it continued to serve until Comanche raids forced the local Pecos population to abandon the area in 1838.
The value of the archeological remains of both the mission and the adjacent pueblo (village) eventually led to their recognition and protection by the American National Parks Service.
its value is a part of something larger :-)
Abbas Attar
HFF! Higher Education Matters! Resist the Clueless Orange Clown and his Cabinet of Buffoons!
rhododendron, sarah p duke gardens, duke university, durham, north carolina
"Large figure in a shelter" (Henry Moore, 1986), Parque de los pueblos de Europa, Guernica, Vizcaya, País Vasco, España.
La escultura Large figure in a shelter, fue creada entre los años 1985 y 1986, pocos meses antes de la muerte de Henry Moore, considerado el escultor británico más importante del siglo XX. El valor de la obra se ha visto incrementado por su tamaño, casi tres veces mayor que las esculturas consideradas como referencias más significativas de Moore, y porque sólo existen sólo dos ejemplares, cuando la edición media de las esculturas del artista británico es de siete a nueve piezas. La obra adquirida por los gobiernos central y vasco fue realizada en bronce, tiene una altura superior a los siete metros y pesa unos 20.000 kilogramos.
La monumental escultura se ubicará en una loma cercana a la Casa de Juntas de Gernika, a unos 30 kilómetros de Bilbao. El artista vasco Eduardo Chillida ha supervisado la elección del lugar elegido para situar la obra de Moore, ya que a pocos metros se levanta su conjunto escultórico Gure aitaren etxean, inaugurado en 1987.
The Large figure in a shelter sculpture was created between 1985 and 1986, a few months before the death of Henry Moore, considered the most important British sculptor of the 20th century. The value of the work has been increased by its size, almost three times larger than the sculptures considered to be the most significant references to Moore, and because there are only two copies in existence, when the average edition of the British artist's sculptures is from seven to nine pieces. The work acquired by the central and Basque governments was made of bronze, is over seven meters tall and weighs about 20,000 kilograms.
The monumental sculpture will be located on a hill near the Gernika Assembly House, about 30 kilometers from Bilbao. The Basque artist Eduardo Chillida has supervised the choice of the place chosen to locate Moore's work, since his Gure aitaren etxean sculpture ensemble, inaugurated in 1987, stands a few meters away.
100: I reckon you are a number.
103: I count you as a number
142: I value you higher than the former two
*** : I think you are superfluous.
(temporary assemblage)
Staying at the British Wildlife Centre but this time a Scottish Wildcat.
We were very lucky to have a special day organised by Olympus that enabled us to go inside the enclosures to get closer to the different species. My favourite is always these cats, they might look like your ordinary tabby but you definitely don't want to try and stroke one, not if you value your fingers that is. Being inside the enclosure allowed me to get down low and blur the foreground and background with an aperture of f2.8 but that direct stare made the image for me! Hope you enjoy :o)
"The value of a life does not depend on the place we occupy;
it depends on the way we occupy that place." ~ Therese of Lisieux
This is Lost Lake (yes, I found it) up atop Kebler Pass.
Thank you for viewing,
Bev
Kebler Pass
Colorado
USA
© All Rights Reserved
Having only ever known city living in my nearly 60 years, I value times when I can get away to the country or the coast for a break. Alongside the slower pace of life, the fresher air and a chance to take in many surprising moments, the dark skies and quiet roads are some of my favourite reasons to escape. A recent south coast sojourn served up several such serene stops. This flat and straight section of road near Bodalla, Australia, has so little traffic on it at night that spending long periods standing in the middle of the road–or lying on it as I’ve done at least once before–to take photos is something you can almost take for granted.
The Milky Way’s core region had risen in the southeastern sky shortly before I arrived, and the distorted view through my camera’s fisheye lens makes our galaxy’s band of stars seem to arch across the sky and the bitumen. The Large Magellanic Cloud galaxy is almost centred in the scene, to the right of the row of poplars planted next to the road. I was fortunate to have cloudless heavens for five of the eight nights I was in the area, and on every one of those nights, the sky’s predominant colour was the subtle green generated by atmospheric airglow. I couldn’t see the electrical wires hanging overhead, showing as black scores on that green sky in my photo. As is often the case, though, perfection is elusive, and the wires’ presence in the shot isn’t too distracting.
Shot as a single frame, this night sky photo was taken with my Canon EOS 6D Mk II camera and a Samyang 8mm f/3.5 fisheye lens @ f/5.6, using an exposure time of 45 seconds @ ISO 12800.
Well, strictly speaking this scene is a sunset, so one could question the title and the attached meaning... But it was a radiant Umbrian sunset just after a long, powerful thunderstorm, so I will stick to my idea.
As the WHO has declared the state of pandemic Covid-19 is spreading everywhere and is reaping its dreadful harvest, bringing whole nations and economies to their knees. Believe me, it is even possible that the darkest hour is still to come. But I think that this incredible planetary experience has the potential to change our way to live. We have taken for granted too many beautiful, precious things (and beware, when you take something for granted you are lessening it). This humble, unaware virus is teaching us values we had drowned in our running digital hedonism - solidarity, self-sacrifice, collaboration. It is teaching us the fundamental value of truth and of scientific research. It is reminding us that we are just a small part of a wonderfully complex world - and that we are not nearly as powerful as we like to think to be. After all, the immediate means to limit infection are exactly the same as they were for the epidemics of the past - quarantine, avoiding close contact with one another, clean your hands frequently, limitations to gatherings, public events, and so on (and everything is worsened and sped up by our global network of transportation). On the other hand science, unavoidably, needs time to find real solutions. So we are experiencing a new sense of being frail - something we used to think of as a relic of the past.
I believe that this pandemic will change everything, more than a war: this is not an enemy endowed with evil projects for mankind but, rather, a natural phenomenon which is putting us in the right perspective in the world. So I believe that this pandemic will change everything. But, in the meantime, we have to manage to get out of these dark times. I would like to dedicate this photo to the people who are suffering because of this ordeal, and to the heroic people who is wrestling with the effects of the infection*: my humble contribute to remember that the darkest hour - whenever it will come - is just before the dawn.
* Sadly in Italy we have seen a growing trend of threats and assaults to physicians during the last years. Many people doubted the good faith of physicians, scientists and medicine in general. I'd guess that this tide is quickly changing.
This photo is closely related to my A neverending story. To be precise, it has been captured some 5 minutes earlier. This view, however, is somewhat narrower and, after a bit of cropping in the foreground, lays a greater emphasis on the glorious cloudscape.
I have obtained this picture by blending an exposure bracketing [-1.7/0/+1.7 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal exposure" shot), then I added some final touches with Nik Color Efex Pro 4. RAW files has been processed with Darktable.
A good contribution to the post-processing of part of the foreground came from a cool trick by Boris Hajdukovic I have found rather serendipitously on the web. I have cloned out an obnoxious young olive tree at the center of the foreground dancing a bit too freely in the residual wind.
I am afraid that colours and tones of this picture might be pretty close to the edge of looking overdone (this seems to be an inherent feature of the bracketings I captured of this sunset, since I always post-process from scratch). It all depends on your screen, of course: the picture looks safely good my HP screen, but I am afraid that it can easily look a bit over-the-top on other screens.
Now we know that a picture cannot possibly look right on every screen - the factors affecting the results are simply too many, including largely unpredictable ones, such as personal display settings. Admittedly one should not think too much about this, but when a photo is close to the critical boundary one should struggle to find the better balance between what she would like the photo to be and the risk of looking overdone. Since this photo is important to me, I would be grateful for comments about this matter, to help me realise if I have to downtone it :-)
Thank you very much in advance!
translate.google.co.uk/translate?hl=en&sl=de&u=ht...
The prongs Haren is a nature reserve in the north of the country Brandenburg . He is one of the largest wetland complexes in the forest natural area of Granseer plate with a variety of habitat types . The reserve covers an area of about 823 ha in the districts Glambeck , Gieben , Großmutz , Hoppenrade and Linde the municipality Löwenberger Land
Flora and fauna
Worth protecting plant communities in Haren prongs are particularly alder-swamp forests , alder - ash forests , large and small sedge marshes , wet meadows and bogs . The area serves as a habitat and refuge for a variety of animal species. These include strictly protected species such as bats , the black stork , crane , the lesser spotted eagle , the kingfisher , the green sandpiper , the fire-bellied toad and the moor frog .
History
The prongs Haren was once hunting ground of the family of value based on Schloss Hoppenrade . He was in the context of land reform in the Soviet occupation zone in 1945 expropriated and divided. During the period of the German Democratic Republic it was used by the State Forestry operation. 1990 sought to provide the Haren prongs under protection. The designation as a nature reserve finally took place in 2003. In the same year, 160 ha of the area were from the Federal Republic of Germany at the Green League for natural management transfer. [2]
The reserve is part of the European bird reserve Upper Havelniederung.
© Leanne Boulton, All Rights Reserved
Street photography from Glasgow, Scotland.
Colour re-edit of a shot from July 2017. Enjoy.
"Remember the fallen. Honor those who serve. Teach the next generation the value of freedom."
These are the words from Wreaths Across America's (WAA) website noted as "Our Mission". And, it is clearly observed in their commitment to the soldiers buried across the country in the many "national cemetery's" with the wreaths placed against the headstones. However, this is just one of the many ways that WAA remembers, honors, and teaches the next generation about our fallen. Please check out their website for more information about the many ways they accomplish this goal...
Additionally, the location of the photograph above is the Nashville National Cemetery in Madison, Tennessee (just north of Downtown Nashville) which is listed on the National Register of Historic Places (NRHP). More information about this "national cemetery" can be found here:
npgallery.nps.gov/AssetDetail/NRIS/96001516
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
There's something inherently sad about household objects left out for the trash man. They are like castoffs; broken or no longer cherished, and left ignominiously out on the curb. This easy chair caught my eye the other day. Part of the forlorn quality of scenes like this is the object being ripped from its normal context. I wouldn't give the chair a second look in someone's living room. But it seemed horribly out of place on the edge of the state highway that bisects the village. That, and the sedentary nature of a recliner juxtaposed against passing traffic. Wonderful visual metaphors for the life cycle of things we purchase and the passage of time (and with it life). In the eerie stillness after the truck passed I contemplated the chair and the many other personal objects scattered about the lawn behind me. There's a village-wide trash haul this weekend, and little collections such as this are springing up all around. I have to admit a weird impulse to inspect them, and yearn to pull over when driving by. I can't help but think I will find something of value (I almost never do) but also that idle curiosity about seeing the remnants of someone else's life (remember I did preface this as weird). I'll be placing some of my own items out on the curb soon. I tend to wait until the night before, perhaps to avoid having others inspect them as I did this chair. Even when it's sheer junk, I feel an odd sentimental tug about letting go of things. And that spell lasts as long as the objects remain on my tree lawn before the pickup. Much like this chair, they are in the condemned phase, but still retrievable. I can simply go back out and reclaim them. That sentiment vanishes the moment the objects are tossed onto the truck. Maybe that's why I wait until the last minute to put them out. I just can't stand that in between time.