View allAll Photos Tagged Variance
Messier 94 is also known as NGC 4736 and has at least two common names: "The Cat' Eye Galaxy" and "The Croc's Eye Galaxy", with the later of which seems more popular this days. This galaxy is located 16 Million Light Years away in the Constellation Canes Venatici (The Hunting Dogs).
This galaxy is classified as barred-spiral and is known to have two rings systems. Messier-Objects.com describes them like this:
"A popular target for astronomers, the brighter inner part of the face-on galaxy is about 30,000 light-years across. Traditionally, deep images have been interpreted as showing M94’s inner spiral region surrounded by a faint, broad ring of stars. But a new multi-wavelength investigation has revealed previously undetected spiral arms sweeping across the outskirts of the galaxy’s disk, an outer disk actively engaged in star formation."
I recently had two nights where the skies were clear and I was available. Given that my driveway is surrounded by trees and that I can only see an object at most for 3 hours on a given night, I would have typically done at least three nights on this. However, weather and the Moon were limiting me to these two nights.
These were shot with my Astro-Physics 130mm Starfire f/8.35 APO Refractor. This has the longest focal lengths of all of my scopes and it tends to get used for small targets like galaxies. I also have the new ZWO ASI2600MM-Pro camera mounted on the scope. The larger sensor and the higher resolution, are again, helpful with small galaxies.
Knowing my time would be limited, I shot more Lum filter images than R,G,or B filter images. The Lum filter is very broadband - letting light in from the edges of infrared all the way to the edges of UV. This means the Lum filter just collects more light. So I ended up with 72@90 second frames for L, and 40@90 second frames for R,G, & B. When processed, my Lum image is setup to be the main image that captures fine and faint details. The color images are setup to manage noise and bring in the color without needing driving the greatest detail. When combined, I can get an image that has the detail and contrast from the Lum image along with the color of the RGB images - the best of both worlds!
This is a very unusual galaxy in that there seems to be the compact core, a bit of a gap, and then a faint shell of gas and stars around it. The outer shell is very faint and I really wished I had at least double the number of exposures to maximize the quality of this faint structure.
I kind of like that fact that this galaxy looks a little different than many others I have shot. It's fun to read more about your target and learn what is known about it - or even better - seeing an image of it taken by the Hubble Space Telescope (which I would grudgingly admit *might* be just a shade better than mine….8-)…..
Thanks for looking,
Pat
Here are the image details:
*note:
The first night the gain used was 0.0
The Second night the gain used was 100.0
I could say this was done as an experiment to blend the superior dynamic range of the 0 gain setting with the greater sensitivity of the 100.0 gain setting. But the truth is that I just screwed up (SAA: Stupid Astrophotographer Actions) . I used the Grouping Keyword feature of WBPP2.1 in Pixinsight to apply the right calibration files for each night.
Light Frames
72 x 90 seconds, bin 1x1 @ -15C, ZWO Gen II L Filter
40 x 90 seconds, bin 1x1 @ -15C, ZWO Gen II R Filter
40 x 90 seconds, bin 1x1 @ -15C,, ZWO Gen II G Filter
40 x 90 seconds, bin 1x1 @ -15C, ZWO Gen II B Filter
Total of 4.8 hours
Cal Frames
30 Darks at 90seconds, bin 1x1, -15C, gain 100
30 Darks at 90 seconds, bin 1x1, -15C, gain 0
30 Dark Flats at Flat exposure times, bin 1x1, -15C, gain 0
30 Dark Flats at Flat exposure times, bin 1x1, -15C, gain100
Flats done separately for each evening to account for camera rotator variances:
30 L Flats @ gain 100
30 R Flats @ gain 0
30 R Flats @ gain 1000
30 G Flats @ gain 0
30 G Flats @ gain 100
30 B Flats @ gain 0
30 B Flats @ gain 100
Capture Hardware:
Scope: Astrophysics 130mm Starfire F/8.35 APO refractor
Guide Scope: Televue 76mm Doublet
Camera: ZWO AS2600mm-pro with ZWO 7x36 Filter wheel with ZWO LRGB filter set,
and Astronomiks 6nm Narrowband filter set
Guide Camera: ZWO ASI290Mini
Focus Motor: Pegasus Astro Focus Cube 2
Camera Rotator: Pegasus Astro Falcon
Mount: Ioptron CEM60
Polar Alignment: Polemaster camera
Software:
Capture Software: PHD2 Guider, Sequence Generator Pro controller
Image Processing: Pixinsight, Photoshop - assisted by Coffee, extensive processing indecision and second guessing, editor regret and much swearing…..
Lilium Longiflorum x Asiatic hybrid 'tirreno', growing in the Christchurch Botanic Gardens.
This was a new discovery for me, which is always exciting! It was in an area holding no other interst at this time of year, and hence why I've never spotted it. I like to vary up my walks a bit or I only see the same things year after year - and they are always adding to the collection (and yes uprooting/destroying some of my old favourites at times), and different trees find different levels of favour with birds from one year to the next (I'm no expert, but I put it down to variance of other food sources / populations / competition with other birds and vermin).
This is straight out of camera, not edited / cropped or sharpened for low-res social media platforms.
UBERAWESOMEISM is a revolution in your pants and/or skirt. Its fundamental uniqueness — an intellectual-yet-groovy synthesis of preexisting artforms to create a newness more new than any new experienced before — is a testament to the perfunctionary variance of expressive artistic mediums as channeled through the virtual world of Second Life, a 3D space where people sometimes sit in camping chairs and have intimate pixel relations (sometimes simultaneously!), but can do other things too — such as this.
The brainchild of "digital burlesque" artists Torley & Ravenelle (aka Ravi), UBERAWESOMEISM draws upon preestablished interpretive tropes and neophysical concepts employing avatar body language and the totality of one's AWESOME SELF contained within the parameters of a vibrant GLOW field, and unleashed via a quota of sheer asskickology.
One does not understand UBERAWESOMEISM. One never will. One can only shake thy booty and dance like a flower making love to itself, a self-indulgence which increases the smile factor present in one's sometimes humorless Second Life.
In this first act, we present, for your consideration, the symbolism of such a flower, emphasized in the colors of PINK + GREEN. Observe as Ravi parts her supple columns of artificial meat and spins into the air, a ripe, gorgeous blossom. Her enthusiastic companion in this mixed-pair performance, Torley, suddenly thrusts onto the floor and rolls in the non-existent dirt of this simulacrum, beholding strong overtones reminiscent of humility and grace. These spontaneous lesbians are not meant to titillate your carnal urges; rather, they are here to provoke your thoughts at partytime and induce (re)action, as all great and crap art does.
There can be no more meaningful message than this, my friends. This is not just art. This is... UBERAWESOMEISM.
Valley of the Moon, La Paz, Bolivia.
Valley de la Luna (Moon Valley), isn’t actually a valley at all, but a maze of canyons and giant spires. The formations, composed mainly of clay and sandstone, were created by the persistent erosion of mountains by the area’s strong winds and rains. What remains is a serene setting, full of wonder and intrigue.
One of Valley de la Luna’s most breathtaking features is its varied pallet, ranging from clear beige tones to sections of red and dark purple. This natural phenomena is due to the great variance in mineral content between each individual mountain, creating colorful compositions and impressive optical illusions on the eroded hillsides.
For video, please visit youtu.be/SWuXnwAdfrY
Holy Relic from the Bones (Ex Ossibus) of Blessed Mary Magdalene Martinengo, Italian Capuchin Poor Clare Nun, Virgin, Mystic and Visionary.
Feast day: July 27
Margaret Martinengo was born into a noble family at Brescia in northern Italy on 5 October 1687. At five months she lost her mother, and her childhood showed a considerable precocity of religious devotion, self inflicted mortifications and spirituality, or psychological disturbances. Her determination "to imitate everything in the lives of the saints", though heroic, could hardly be called a wise program at any age.
When she was eighteen, she joined the Capuchinesses of Santa Maria della Neve in her native town. She was professed in 1706 and her responsibilities varied between Novice Mistress, which she held three times, and portress. In 1732 and again in 1736 she was superior of the convent, and was admirable in all these offices.
As a daughter of St. Clare, Sister Mary Magdalene soon distinguished herself by her modesty, patience and cheerful obedience. The hours prescribed for prayer and meditation, as well as the visits to our Lord in the Blessed Sacrament, were the most delightful hours of her day. Her humility and selfless love of God were adorned with the Divine recognition of unusual mystical experiences and the gift of miracles.
Sister Mary Magdalene had a particular devotion to Jesus Crucified, especially her sufferings from the crown of thorns. Her sympathy for her suffering Saviour was so deep that she was often found kneeling like one devoid of life. After her death a fillet of sharp points was found bound about her brow.
The fame of her sanctity caused many lay persons to appeal to her for consolation and advice. On such occasions she manifested the special gifts God had given her to encourage disheartened souls, to reconcile such as whereat variance with each other, and to bring sinners back to the path of duty. Very often she was able to read the thoughts of others and foretold future events.
Exhausted by labour and austerity more than age she died on July 27th, 1737 in the fiftieth year of her life. Pope Leo XIII Beatified her on 3 June 1900. The feast of Blessed Mary Magdalene is observed by Franciscans on July 27th.
PRAYER
O God, who hast given us in the virgin Mary Magdalene an example of innocence and mortification, grant that we may renounce all worldly desires and come to Thee by the way of truth and justice. Through Christ our Lord. Amen
Yes a Giant african snail in the Philippines, but not only, it's pretty wide spread now throughout the pacifique and asia.
It's latin name: Achatina fulica
Identification: Full grown Achatina fulica reach up to 20 cm in length and 12 cm in maximum diameter. The dark and light brown (sometimes more of a cream color) swirls wrap around its cone like shell. Its convex body allows for about 7 to 9 whorls. The outlines of the whorls fluctuate from narrow to broad even within the same colony. An adult Achatina Fulica’s lip opening is generally very thin and sharp. The shell itself is thick and strong if healthy (needs a high calcium diet). The rest of the body resembles a slug like appearance with a variance in color.
Original Distribution: Achatina fulica originates from coastal East Africa particularly Kenya and Tanzania. First sightings occurred before the 1800’s.
Current Distribution: Giant African Snails can be found in most southern hemisphere countries, eg. throughout Africa, Indian Ocean Islands, Australia, New Zealand, South America. In addition, these snails have been identified in Southern, Southeastern and Eastern Asia, Polynesia and other Pacific Islands, West Indies and the United States. Typically, Giant African Snails have been found along the coastline and in southern states of the USA. However, sightings have also occurred in Wisconsin, Michigan and Ohio. These snails thrive in humid, tropical climates.
Site and Date of Introduction: As indicated in the map below, introduction of Giant African Snails dates back to the early 1800’s. These snails spread throughout East Africa into Ethiopa, Somalia, Mozambique, and Madagasar. Interestingly, they were not sighted in northern Africa until the late 1980’s.
The first occurrence of these snails outside of Africa was Bengal, India in 1847. Since then, the Giant African Snail has been transported mistakenly and purposefully throughout the countries listed in the above section.
Giant African Snails were first spotted in the US in the late 1940’s around San Pedro, California. Many of these snails were affixed to cargo imported to the US. Over 50 interceptions occurred within a ten year span (from 1948-1958) in the California ports.
In 1958, a young boy stashed Giant African Snails into his suitcase from his travels in Hawaii returning to California and driving to Arizona. Once the snails were discovered in his belongings, they family released them to the outdoors. Another very similar incident occurred in 1966, where another young boy visiting Hawaii decided to take a few Giant African Snails home to Miami, Florida to keep as pets and were released into the family’s garden. The Florida State eradication process took 10 years costing over one million dollars.
These snails continue to enter the US through illegal trade or in shipping containers and in plant shipments from the Hawaiian Islands, Guam and other Pacific Islands. Inspectors fairly easily identify these snails, intercept them and eradicate them.
Ecological Role: Achatina fulica forage on over 500 different plant species. During less favorable conditions (dry, cool), they nest in lose soil for during their period of hibernation. One may postulate that this behavior promotes health in the soil as the soil is churned and as matter from the snail settles into the soil. However, with over population, the snails destroy and pollute their surroundings, including the soil.
Benefit(s): Giant African Snails contribute to the degradation of animal matter. In addition, the Giant African Snail provides nutrients to the India glowworm Beetle; specifically to the larvae (male larvae consume 20 to 40 Achatinas; female larvae eat 40 to 60 Achatinas during their development). Other beetle species consume the Achatina fulica, such as the lampyriad and the coprine beetle.
The hermit crab is one of the most dangerous predators to the Achatina fulica and has been known to use the shell as its home. The coconut crab also views the Achatina fulica as a delicacy. The domesticated duck along with a vast variety of other bird species forage on Giant African Snails. Other mammals such as the wild pig prey on Achatina fulica.
Threat(s): The Giant African Snails’ greatest lethal threat to humans is eosinophilic meningitis. This condition is caused by the rat lungworm parasite, angiostrongylus cantonesnsis. Most often this parasite is transferred by eating the snail, as some humans consider snails a delicacy. In addition the Giant African Snail can carry the gram-negative bacterium, aeromonas hydrophila, causing a wide variety of symptoms, especially in persons with a weak immune system.
Giant African Snails cause great economic peril to farmers due to their propensity in consuming large amounts of crops/plants. Their diet consists of over 500 different plant species. A wide variety of horticulture and medicinal plants are known to be attacked by this snail. Not only does this decrease the income for agricultural producers, but it also impacts their living conditions (often requiring relocation) and decreases food and medical resources for humans, animals and other species.
The economic consequences persist in eradicating these creatures, sometimes costing millions of dollars. Another economic penalty involves the decrease in tourism. As noted earlier, Giant African Snails thrive in warm, tropical conditions – often tourist destinations.
Baya weavers are social and gregarious birds. They forage in flocks for seeds, both on the plants and on the ground. Flocks fly in close formations, often performing complicated manoeuvres. They are known to glean paddy and other grain in harvested fields, and occasionally damage ripening crops and are therefore sometimes considered as pests. They roost in reed-beds bordering waterbodies. They depend on wild grasses such as Guinea grass (Panicum maximum) as well as crops like rice for both their food (feeding on seedlings in the germination stage as well as on early stages of grain) and nesting material. They also feed on insects (including butterflies), sometimes taking small frogs, geckos and molluscs, especially to feed their young. Their seasonal movements are governed by food availability. Their calls are a continuous chit-chit-... sometimes ending in a wheezy cheee-eee-ee that is produced by males in a chorus. A lower intensity call is produced in the non-breeding season.
They are occasionally known to descend to the ground and indulge in dust bathing
The nest construction pattern at different stages of nest and variations in the nest microclimate, i.e., temperature and light intensity were assessed in different nests of Baya weaver (Ploceus philippinus) between November 2002 and March 2003 in Nagapattinam and Tiruvarur District of Tamil Nadu, India. The Baya weaver constructed nests in palm (Borassus flabellifer), coconut (Cocos nucifera) and date palm trees (Phoneix psuilla) and majority of the nests were found in the solitary palm. The male bird only involved in the construction and took 18 days to construct a single nest. The birds spent different amount of working hours (in terms of days) for completing various stages of nests viz., wad, ring and helmet stage and in which the 'helmet stage took a maximum of eight days. Furthermore, totally eight active nests were selected and once in a week the variations in the nest microclimate was investigated with reference to atmospheric temperature and light intensity (two active nests) across day throughout the study period. The mean temperature of the nests ranged from 25 degrees C to 29 degrees C and light intensity varied between 25 Lux and 625 Lux. The analysis of variance (ANOVA and ANCOVA) indicated that the nest microclimate varied among the nests in different hr of a day.
A widespread folk belief in India is that the baya sticks fireflies with mud to the nest walls to light up the interior of the nest at night. Clay, however is known to be used in the nests of baya weavers. Males alone have been seen to add blobs of mud and dung to the nest chamber prior to pairing with a female. It has been suggested that the clay may help to stabilise the nest in strong winds.
In earlier times, the baya weaver was trained by street performers in India for entertainment. They could pick up objects at the command of their trainers. They were trained to fire toy cannons, string beads, pick up coins and other objects. According to Edward Blyth "the truth is, that the feats performed by trained Bayas are really very wonderful, and must be witnessed to be fully credited. Exhibitors carry them about, we believe, to all parts of the country; and the usual procedure is, when ladies are present, for the bird, on a sign from its master, to take a sweetmeat in its bill, and deposit it between a lady's lips, and repeat this offering to every lady present, the bird following the look and gesture of its master. A miniature cannon is then brought, which the bird loads with coarse grains of powder...." Robert Tytler noted demonstrations where the bird would twirl a thin stick with fires at the ends over its head. These uses have been noted from the time of Akbar.
Archways in the knave at fountains abbey, one of my favourite aspects of the abbey. The perfect symmetry of the arches is awe inspiring. The different colours in the stones are a product of the ageing process and the variance of colour shades is eye opening!
in the heart of avenida joan miro, where the pulse of palma de mallorca beats in a rhythm painted in hues of serenity, stand the echoes of eight houses – a chorus in blue. each facade, a stanza of its own, sings a variation of azure, as if the sky had whispered secrets into the architect's ear. the firm gras has spun a thread of continuity with each shade, crafting a visual melody that plays upon the eyes and calms the urban clamor. here, the sun casts geometric poems on the walls, a play of light and shadow that dances till dusk. in this moment captured, the ordinary is suspended, inviting passersby to ponder the artistry of variegated blues, the symphony of simplicity in this residential cadence.
callous lack of empathypsychopath test pclr
please score yourself 0 1 2 3 on each of the 20 items and record your score as a comment on the total score image
The PCL-R is a clinical rating scale (rated by a psychologist or other professional) of 20 items. Each of the items in the PCL-R is scored on a three-point scale according to specific criteria through file information and a semi-structured interview. A value of 0 is assigned if the item does not apply, 1 if it applies somewhat, and 2 if it fully applies. In addition to lifestyle and criminal behavior the checklist assesses glib and superficial charm, grandiosity, need for stimulation, pathological lying, conning and manipulating, lack of remorse, callousness, poor behavioral controls, impulsivity, irresponsibility, failure to accept responsibility for one's own actions and so forth. The scores are used to predict risk for criminal re-offence and probability of rehabilitation.
The current edition of the PCL-R officially lists four factors (1.a, 1.b, 2.a, and 2.b), which summarize the 20 assessed areas via factor analysis. The previous edition of the PCL-R[5] listed two factors. Factor 1 is labelled "selfish, callous and remorseless use of others". Factor 2 is labelled as "chronically unstable, antisocial and socially deviant lifestyle". There is a high risk of recidivism and currently small likelihood of rehabilitation for those who are labelled as having "psychopathy" on the basis of the PCL-R ratings in the manual for the test, although treatment research is ongoing.
PCL-R Factors 1a and 1b are correlated with narcissistic personality disorder and histrionic personality disorder. They are associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning).
PCL-R Factors 2a and 2b are particularly strongly correlated to antisocial personality disorder and criminality and are associated with reactive anger, criminality, and impulsive violence. The target group for the PCL-R is convicted criminals. The quality of ratings may depend on how much background information is available and whether the person rated is honest and forthright.
[edit] The two factorsFactor 1: Personality "Aggressive narcissism"
Glibness/superficial charm
Grandiose sense of self-worth
Pathological lying
Cunning/manipulative
Lack of remorse or guilt
Shallow affect (genuine emotion is short-lived and egocentric)
Callousness; lack of empathy
Failure to accept responsibility for own actions
Factor 2: Case history "Socially deviant lifestyle".
Need for stimulation/proneness to boredom
Parasitic lifestyle
Poor behavioral control
Lack of realistic long-term goals
Impulsivity
Irresponsibility
Juvenile delinquency
Early behavior problems
Revocation of conditional release
Traits not correlated with either factor
Promiscuous sexual behavior
Many short-term marital relationships
Criminal versatility
Acquired behavioural sociopathy/sociological conditioning (Item 21: a newly identified trait i.e. a person relying on sociological strategies and tricks to deceive)
Early factor analysis of the PCL-R indicated it consisted of two factors. Factor 1 captures traits dealing with the interpersonal and affective deficits of psychopathy (e.g. shallow affect, superficial charm, manipulativeness, lack of empathy) whereas Factor 2 dealt with symptoms relating to antisocial behaviour (e.g. criminal versatility, impulsiveness, irresponsibility, poor behaviour controls, juvenile delinquency).
The two factors have been found by those following this theory to display different correlates. Factor 1 has been correlated with narcissistic personality disorder, low anxiety, low empathy, low stress reaction and low suicide risk but high scores on scales of achievement and well-being. In addition, the use of item response theory analysis of female offender PCL-R scores indicates factor 1 items are more important in measuring and generalizing the construct of psychopathy in women than factor 2 items.
In contrast, Factor 2 was found to be related to antisocial personality disorder, social deviance, sensation seeking, low socio-economic status[6] and high risk of suicide. The two factors are nonetheless highly correlated and there are strong indications they do result from a single underlying disorder. However, research has failed to replicate the two-factor model in female samples.
Recent statistical analysis using confirmatory factor analysis by Cooke and Michie indicated a three-factor structure, with those items from factor 2 strictly relating to antisocial behaviour (criminal versatility, juvenile delinquency, revocation of conditional release, early behavioural problems and poor behavioural controls) removed from the final model. The remaining items are divided into three factors: Arrogant and Deceitful Interpersonal Style, Deficient Affective Experience and Impulsive and Irresponsible Behavioural Style.
In the most recent edition of the PCL-R, Hare adds a fourth antisocial behaviour factor, consisting of those Factor 2 items excluded in the previous model. Again, these models are presumed to be hierarchical with a single unified psychopathy disorder underlying the distinct but correlated factors.
The Cooke & Michie hierarchical ‘three’-factor model has severe statistical problems—i.e., it actually contains ten factors and results in impossible parameters (negative variances)—as well as conceptual problems. Hare and colleagues have published detailed critiques of the Cooke & Michie model. New evidence, across a range of samples and diverse measures, now supports a four-factor model of the psychopathy construct,] which represents the Interpersonal, Affective, Lifestyle, and overt Antisocial features of the personality disorder.
Diagnostic criteria and PCL-R assessmentPsychopathy is most commonly assessed with the PCL-R, which is a clinical rating scale with 20 items. Each of the items in the PCL-R is scored on a three-point (0, 1, 2) scale according to two factors. PCL-R Factor 2 is associated with reactive anger, anxiety, increased risk of suicide, criminality, and impulsive violence.
PCL-R Factor 1, in contrast, is associated with extraversion and positive affect. Factor 1, the so-called core personality traits of psychopathy, may even be beneficial for the psychopath (in terms of nondeviant social functioning). A psychopath will score high on both factors, whereas someone with APD will score high only on Factor 2.
Both case history and a semi-structured interview are used in the analysis.
Image number 52 in my 100 possibilities with this bottle. You know, I may even get this project done one of these days... LOL!
I was playing around with lighting here and ended up using both a fluorescent and incandescent light source. Using the two affected my white balance and by setting it on auto, it allowed for an interesting result. An adjustment to the white balance slider in Raw gave this variance in hues from bluish to purple. Adding extra contrast and saturation brought this final result. Playing around with light never ceases to amaze me and the results can be quite different than what you may envision.
All photos used in this mosaic are property of the original photographer, not me.
Please visit the originals at the links below:
1. Who needs orange?, 2. the punchline, 3. terrarium, 4. dangling, 5. 070321 fc 70421, 6. V-Dub, 7. Green For Sale, 8. an autumn morning, 9. green-house, 10. um pouco de cada textura, 11. Expectations, 12. Variances of green, 13. more fireworks, 14. Untitled, 15. Summer Suspension, 16. the magic glass
Created with fd's Flickr Toys.
Seule dans la multitude
Je vais à mon pas
Musardant sur la route…
texte :Odile Mounier - photo : pixelpascal
Baya weavers are social and gregarious birds. They forage in flocks for seeds, both on the plants and on the ground. Flocks fly in close formations, often performing complicated manoeuvres. They are known to glean paddy and other grain in harvested fields, and occasionally damage ripening crops and are therefore sometimes considered as pests. They roost in reed-beds bordering waterbodies. They depend on wild grasses such as Guinea grass (Panicum maximum) as well as crops like rice for both their food (feeding on seedlings in the germination stage as well as on early stages of grain) and nesting material. They also feed on insects (including butterflies), sometimes taking small frogs, geckos and molluscs, especially to feed their young. Their seasonal movements are governed by food availability. Their calls are a continuous chit-chit-... sometimes ending in a wheezy cheee-eee-ee that is produced by males in a chorus. A lower intensity call is produced in the non-breeding season.
They are occasionally known to descend to the ground and indulge in dust bathing
The nest construction pattern at different stages of nest and variations in the nest microclimate, i.e., temperature and light intensity were assessed in different nests of Baya weaver (Ploceus philippinus) between November 2002 and March 2003 in Nagapattinam and Tiruvarur District of Tamil Nadu, India. The Baya weaver constructed nests in palm (Borassus flabellifer), coconut (Cocos nucifera) and date palm trees (Phoneix psuilla) and majority of the nests were found in the solitary palm. The male bird only involved in the construction and took 18 days to construct a single nest. The birds spent different amount of working hours (in terms of days) for completing various stages of nests viz., wad, ring and helmet stage and in which the 'helmet stage took a maximum of eight days. Furthermore, totally eight active nests were selected and once in a week the variations in the nest microclimate was investigated with reference to atmospheric temperature and light intensity (two active nests) across day throughout the study period. The mean temperature of the nests ranged from 25 degrees C to 29 degrees C and light intensity varied between 25 Lux and 625 Lux. The analysis of variance (ANOVA and ANCOVA) indicated that the nest microclimate varied among the nests in different hr of a day.
A widespread folk belief in India is that the baya sticks fireflies with mud to the nest walls to light up the interior of the nest at night. Clay, however is known to be used in the nests of baya weavers. Males alone have been seen to add blobs of mud and dung to the nest chamber prior to pairing with a female. It has been suggested that the clay may help to stabilise the nest in strong winds.
In earlier times, the baya weaver was trained by street performers in India for entertainment. They could pick up objects at the command of their trainers. They were trained to fire toy cannons, string beads, pick up coins and other objects. According to Edward Blyth "the truth is, that the feats performed by trained Bayas are really very wonderful, and must be witnessed to be fully credited. Exhibitors carry them about, we believe, to all parts of the country; and the usual procedure is, when ladies are present, for the bird, on a sign from its master, to take a sweetmeat in its bill, and deposit it between a lady's lips, and repeat this offering to every lady present, the bird following the look and gesture of its master. A miniature cannon is then brought, which the bird loads with coarse grains of powder...." Robert Tytler noted demonstrations where the bird would twirl a thin stick with fires at the ends over its head. These uses have been noted from the time of Akbar.
LOTD 070
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The old glass panes in our bedroom window distorted the shapes of the world outside, at variance with the symmetry of the window frame.
A manually blended inage of the Salt Flats at Badwater in Death Valley at sunset.
The variance of light and darkness proves to be an exceptionally hard spot to shoot and edit. Three images were used to make this imaqe.
The salt flats are located on the south end of Death Valley National Park.
Michigan. 5/25/2017.
This warbler species is very common across the country but despite all the breeding species of warblers that can be found in Georgia, this is an uncommon breeder here. They can be seen in migration both spring and fall but are not that common thru the Atlanta area. I had two this fall in the Atlanta area including one bathing in the water feature at Centennial Olympic Park downtown. It was a toss-up on which to post for my 34th eastern warbler species photographed in 2017 but I went with this one from my Michigan trip.
Interesting to try to understand why this image got so few views, and it made me think a bit on the process that occurs after an image is posted.
Views are generally not image dependent like favs and comments are unless the image makes Exp1ore. Since I almost always don't place my images into other groups views are generally consistent in number from image to image over the 1st 48 hours after posting allowing for some variance due to the day of the week or some event that ramps down flickr volume overall. So I noticed my wording in the paragraph above originally included #34 and it was higlighted in blue color, and I realized it was some sort of tag, and likely prevented the image from going into the normal queue that we see when we click on 'people' to view our contacts' images. I changed the 34 wording to as it now appears and the blue color went away, but the image was posted too long ago to appear in the queue in a location where it would get more views. At least that is what appeared to happen with this image. If anyone can shed more light on that subject please do. Thanks.
First and foremost, Thank you Arden Vesuvino for this fun project from brainstorming, pose selection and even dress up. This is the first time we are doing our little exciting contest together.
Please do check out his work also here
We got this idea because of ours years spent in SecondLife. I do like for the fact that we are growing older with our friends and loved one. Dedicating this photoshoot to all - love.
Despite his busy RL schedule, I truly appreciate that he took the time for this. Again, thank you for this collaboration. We may be posting the same picture but our art concept and flavour varies; I enjoy the variance of ideas.
I photoshopped all the crap out of the the original dragonfly photo (see below) so that you could really see the symmetry of the wings. There are a few minor variances but mostly the wings are mirror images of each other. It is truly phenomenal.
HMM.
Skies play an especially important role in Florida landscape photography. Because the fate has only 345 feet of topography (sea level to 345 feet) and a dense vegetation cover, vistas of any distance are rare. Even at the beach looking out at the ocean the horizon is only 4 miles away. Luckily,clouds are common and often dramatic, and so can give your images the drama and impact that you can get in areas with greater variance in elevation. Even when not shooting in infrared, I use a red #29 filter to darken the sky in black and white and a circular polarizer when shooting in color.
The twenty-one-story Railway Exchange Building is located at 600 Locust Street in downtown St. Louis, Missouri and occupies the entirety of city block 128, bounded by Sixth Street on the east, Locust Street on the north, Seventh Street on the west, and Olive Street on the south. The building was designed by the St. Louis architectural firm Mauran, Russell & Crowell in 1912. The design & construction of the Railway Exchange Building was met with great fanfare and claims that the building would be "the most spacious office building in the world" and a "perfectly fireproof building." Though these claims cannot be easily verified, the building designers took pains to incorporate the latest fireproof technologies and safety measures into the design. The proposed safety features even convinced the city to allow a variance to the ordinance that limited height of downtown buildings. The result was the construction of St. Louis's largest commercial & office building with more than 31 acres of floor space in its 21 floors.
The Railway Exchange Building was designed as a home for the newly merged Famous-Barr Company. By the time Famous and Barr were merged, each had established themselves as a prominent department store in St. Louis. William Barr & Company opened as a dry goods store in 1850 on Fourth Street while one of St. Louis's most recognized retail names, Famous Shoe and Clothing Company began on Franklin Avenue in 1873. In addition, many local businesses operated on the upper floors of the building, and the building's official name derived from the abundance of railroad company tenants occupying these spaces when it opened. Because of the architectural requisites necessary for a department store of this scale, new technologies had to be incorporated into the building designs. These included heating & cooling devices as well as lighting and inter-level customer moving mechanisms like elevators & escalators. The company moved into its impressive new home in the late summer of 1913 which included two restaurants, three level escalators, four elevator shafts for public use, and seven stories of retail commercial space that incorporated all elements of a department store that any retail company owner would marvel at, and which made Famous-Barr the largest department store in the city. The new building enticed shoppers to explore the many levels of goods & services, with the most sought after items placed strategically at the center of the store and on different levels, encouraging customers to browse other merchandise in the store and buy on impulse. Within four years the company found itself with so much business that it reconfigured the store for ease of shopping, and did the same again in 1923 & 1927. Famous-Barr became the largest retailer in the city, and remained in the downtown store until 2006, when Federated Department Stores bought out the business and replaced Famous with Macy's.
On June 11, 2009, the Railway Exchange Building was determined to be locally significant under the National Register of Historic Places (NRHP) under criterion A in the area of Commerce, and criterion C in the areas of Engineering & Architecture. All of the information and much, much more is located on the original documents submitted to the NRHP for listing consideration found here:
catalog.archives.gov/id/63820955
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/
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About
Another shot from my recent trip with Reedy and Matt. Good times. Keep Waling.
Enjoy.
- Canon 5D MK II
- ISO 100, f14, 34 seconds, 18mm.
- Canon 17-40 f/4 L lens.
- Tripod.
Processing
- Contrast and Saturation in Lightroom 3.0.
About a Pier
A pier is a raised structure, including bridge and building supports and walkways, over water, typically supported by widely spread piles or pillars. The lighter structure of a pier allows tides and currents to flow almost unhindered, whereas the more solid foundations of a quay or the closely-spaced piles of a wharf can act as a breakwater, and are consequently more liable to silting. Piers can range in size and complexity from a simple lightweight wooden structure to major structures extended over a mile out to sea. In American English, pier may be synonymous with dock.
Piers have been built for several different purposes, and because these different purposes have distinct regional variances, the term pier tends to have different nuances of meaning in different parts of the world. Thus in North America and Australia, where many ports were, until recently, built on the multiple pier model, the term tends to imply a current or former cargo-handling facility. In Europe however, where ports have tended to use basins and river-side quays rather than piers, the term is principally associated with the image of a Victorian cast iron pleasure pier. However, the earliest piers pre-date the Victorian age.
Pato de la Florida, Blue-winged Teal (Spatula discors)
Status Migrante Comun (Mc) NoIG
pato de Florida o yaguasa aliazul, también conocida como pato media luna, pato de alas azules, barraquete aliazul, es una especie de ave anseriforme de la familia Anatidae nativa de América.
Es pardo manchado y punteado de negro, con diseño alar como el del pato pico cuchara sudamericano, cabeza y cuello ceniciento oscuro, notable medialuna en la cara y mancha blanca en los flancos, en los machos. La hembra no tiene la medialuna en la cara, pero tiene una leve ceja loreal clara.
sta especie de pato vive en lagunas, lagos y pantanos de agua dulce. No teniendo preferencias durante el invierno habita aguas salobres. Se alimenta de vegetación, insectos, y crustáceos acuáticos. Complementa su dieta con semillas, incluyendo las de campos cultivados.
##################
The blue-winged teal (Spatula discors) is a small dabbling duck from North America. The scientific name is derived from Latin Anas "duck", and discors, "variance", which may refer to the striking face pattern of the male
The adult male has a greyish blue head with a white facial crescent, a light brown body with a white patch near the rear and a black tail. The adult female is mottled brown, and has a whitish area at base of bill. Both sexes have sky-blue wing coverts, a green speculum, and yellow legs
Blue-winged teal inhabit shoreline more often than open water and prefer calm water or sluggish currents to fast water. They inhabit inland marshes, lakes, ponds, pools, and shallow streams with dense emergent vegetation.
Scientific classification
Kingdom:Animalia
Phylum:Chordata
Class:Aves
Order:Anseriformes
Family:Anatidae
Subfamily:Anatinae
Genus:Anas (disputed)
Species:S. discors
Binomial name
Spatula discors
Here is a day, if you please
polite to the point
an ensample in time
Saturday-cum-Sunday's joint
that weekender prime
is it really, can it be so?
you tell me, and I'll say!
indistinguishable
from any other summer day
only this one becomes augmentable
a message without diction
read without friction
given and giving to solace
peace of mind without addiction
here lies life 'neath whispy cirrus
there is just the one time
to take on the rest
a participle ready and willing
to take the test
purposefully set for inner fulfilling
if you listen you are active
to hear beyond parochial bounds
ear muscles flex with practice
from Sanctus kiss and august sounds
a stage and ground for such an edifice
as this salutary sunlight
thank Heaven's for variance -
there is no sanctuary without a storm
nor deference in light of deniance
all of which enables our ability to transform
and perform in a world ever ready
to rewrite or re-enact with us
Nature's excerpt becomes our bookmark
by memory, yes
engrained in us, ready to embark.
by anglia24
10h30: 17/08/2008
©2008anglia24
Still trying to get a better picture at this spot, but I wanted to upload it to see if anyone had any tips. I am struggling with the variance in contrast. With the sea and the wood. The image looks great on the camera, but once I get it on PS, it has really bad chromatic aberration around the wood (which I have tried to edit out) and I have had to try and lighten the wood to show the detail, without blowing out the water and sky.
Still struggling to get decent night shots with the Canon as any shadow areas pick up noise especially if you try and lighten them so now trying 2 exposure shots to handle the huge lighting variance.
I am using Photomatix Pro and the exposure fusion function that makes it easy to blend images but I still need to do more experimentation with the exposures and using the program.
If I just took one exposure for the lights the jetty would be totally black and any recovery would result in lots of noise.
Excerpt from webapp.driftscape.com/map/976bcabe-7510-11ec-8000-bc1c5a8...:
Tallawah by Kareen Weir: In response to the Women Paint’s theme “Naturally Resilient,” I reflected on how surviving the Covid-19 pandemic has been a sign of our resilience. The world changed overnight, and here we are over a year later grappling with the shift as a global society. I have found in times like these that we need comforting reminders that though challenging and trying times may come, we will get through.
My mural's message reads: “TALLAWAH.” Tallawah is a Jamaican Patwah word that means to be strong, fearless, strong-willed, and not to be underestimated. Jamaicans often use the phrase “We likkle but, we tallawah,” which means that we may be small but we are strong and can do or achieve anything.
The rendering is a cross section beneath the surface of the earth to show the intricate intertwining of roots that form the letters of this Patwah adjective. The variance in the size of the roots in contrast to the tiny sprouts of renewed life emphasize all that is possible for us; to both stand strong and start anew. I drew my inspiration from my history. The mural utilizes Patwah language (Creole) spoken on the street amongst the Jamaican Diaspora as context for the artwork. The language reflects my birthplace’s past struggles with slavery and its ancestry from the mother continent Africa, as well as the European colonization. It has come to represent our people and culture. Its survival means that the spirits of those who spoke it must've been just as resilient. It serves as a message to the diaspora, the GTA and beyond that we are still here.
It is a proud moment to see Patwah represented, to show that there is a strong Afro-Caribbean presence in our arts community. It's another step in: increasing the language's visibility in these spaces, as well as educating, raising awareness on and preserving what's been inherited and left by our ancestors. I wanted to pass on this positive reminder to the public as it has been passed onto me, and to use a language born out of resilience to be a sign and expression of hope. Keep moving forward. Continue to root for yourself. Pat yourself on the back for how far you've come. Be grateful that we’re still present and push forward in graceful strength to the future.
Dunlin DUNL (Calidris alpina)
coming in to full breeding plumage
Saanichton Spit
aka
TI̸X̱EN 'the Spit" ( Tsawout First Nation )
Central Saanich BC
DSCN5876
a big variance of plumage appearance with this species
This started out as a school project, I really liked how it was turning out and decided to make it into something that was a little bit more interesting. It's really similar to a self portrait that I did a couple months ago.
The humpback grouper is a medium-sized fish which grows up to 70 cm. Its particular body shape makes this grouper quite impossible to mix up with other fishes. Its body is compressed laterally and is relatively high. This stocky and strange visual effect is accented by its concave profile and its elongated snout which gives it a humpbacked appearance.
The young have a white background with round black spots and are continuously swimming head down. The adults have a body colouration with variances of grey and beige with darker blotches variable in size on the body. Small black spots cover the whole body. Lembeh Strait, North Sulawesi, Indonesia
Baya weavers are social and gregarious birds. They forage in flocks for seeds, both on the plants and on the ground. Flocks fly in close formations, often performing complicated manoeuvres. They are known to glean paddy and other grain in harvested fields, and occasionally damage ripening crops and are therefore sometimes considered as pests. They roost in reed-beds bordering waterbodies. They depend on wild grasses such as Guinea grass (Panicum maximum) as well as crops like rice for both their food (feeding on seedlings in the germination stage as well as on early stages of grain) and nesting material. They also feed on insects (including butterflies), sometimes taking small frogs, geckos and molluscs, especially to feed their young. Their seasonal movements are governed by food availability. Their calls are a continuous chit-chit-... sometimes ending in a wheezy cheee-eee-ee that is produced by males in a chorus. A lower intensity call is produced in the non-breeding season.
They are occasionally known to descend to the ground and indulge in dust bathing
The nest construction pattern at different stages of nest and variations in the nest microclimate, i.e., temperature and light intensity were assessed in different nests of Baya weaver (Ploceus philippinus) between November 2002 and March 2003 in Nagapattinam and Tiruvarur District of Tamil Nadu, India. The Baya weaver constructed nests in palm (Borassus flabellifer), coconut (Cocos nucifera) and date palm trees (Phoneix psuilla) and majority of the nests were found in the solitary palm. The male bird only involved in the construction and took 18 days to construct a single nest. The birds spent different amount of working hours (in terms of days) for completing various stages of nests viz., wad, ring and helmet stage and in which the 'helmet stage took a maximum of eight days. Furthermore, totally eight active nests were selected and once in a week the variations in the nest microclimate was investigated with reference to atmospheric temperature and light intensity (two active nests) across day throughout the study period. The mean temperature of the nests ranged from 25 degrees C to 29 degrees C and light intensity varied between 25 Lux and 625 Lux. The analysis of variance (ANOVA and ANCOVA) indicated that the nest microclimate varied among the nests in different hr of a day.
A widespread folk belief in India is that the baya sticks fireflies with mud to the nest walls to light up the interior of the nest at night. Clay, however is known to be used in the nests of baya weavers. Males alone have been seen to add blobs of mud and dung to the nest chamber prior to pairing with a female. It has been suggested that the clay may help to stabilise the nest in strong winds.
In earlier times, the baya weaver was trained by street performers in India for entertainment. They could pick up objects at the command of their trainers. They were trained to fire toy cannons, string beads, pick up coins and other objects. According to Edward Blyth "the truth is, that the feats performed by trained Bayas are really very wonderful, and must be witnessed to be fully credited. Exhibitors carry them about, we believe, to all parts of the country; and the usual procedure is, when ladies are present, for the bird, on a sign from its master, to take a sweetmeat in its bill, and deposit it between a lady's lips, and repeat this offering to every lady present, the bird following the look and gesture of its master. A miniature cannon is then brought, which the bird loads with coarse grains of powder...." Robert Tytler noted demonstrations where the bird would twirl a thin stick with fires at the ends over its head. These uses have been noted from the time of Akbar.
It was raining as u can no doubt see but the drumming /mating behaviour was fascinating to watch....they describe them as "big chicken" like birds...I so disagree, the variance in the textures of the black feathers is like a tapestry...and then of course opening up its chest to make that amazing drumming. oooo lalalala...what a thrill!!!!!!!
Dreich. That’s the only word that could ever describe the steel, bitter, relentless, driving rain that pelts off the upright windshield of our Land Rover, as we weave our way along the coastal path that leads to the most westerly point on the British Mainland.
The week has been remarkably sunny and dare I say warm, at our base in Strontian, located at the most easterly point of Loch Sunart, separating the Morvern wilds from the Ardnamurchan Peninsula. We walked in the hills around Strontian one day, then drove over those wilds of Morvern to Lochaline to catch the ferry over to Fishnish another; the Isle of Mull is equally as beautiful and suited for meandering around, taking in the ambience.
Today though we make haste, for our allotted slot at 10:30am at the Ardnamurchan distillery has been shifted earlier to allow my guide enough time to show me around the place before he attends to some rather important duties. I’m chaperoned to the distillery by my father-in-law of last year's electrical lighting fame, affording me the courtesy of any potential drams that may be bestowed upon my eager face. He also loves his Land Rover, so any chance to stretch her legs is reason enough for him.
We’re soon slingshotting around Salen and onwards to Glenbeg, where the road seems to deteriorate further in both width and surface quality - we must work hard for these spoils. A bright white-painted cask end appears indicating there’s one mile left to go before we alight in the stony car park of the Ardnamurchan distillery and visitor centre. We mention it not - this isn’t the first time either of us have been here.
My in-laws visited this place in 2014 just after the distillery opened, enjoying a tour around the only warehouse on site - Warehouse 1 - where the grand sum of four casks had been laid down. A lot has changed since then. I visited in 2022 and in the time since my tour almost a year ago to the day, I too have changed a lot.
I’m nervous. Not because whisky tours make me nervous or because I’m worried I won’t like the whisky, but because I’m hoping to meet the people I’d spent so many months tagging in my Instagram posts and chatting over messages and emails. I guess my nervousness is a poor attempt to mask my desperation that they like me, that I don’t embarrass myself or make them realise I’m a giant fraud.
Last year at this time, the team had assembled at the distillery to blend the 2022 Paul Launois release and I’d been too shy to say hello. It turns out this year they’re doing the exact same thing. Today, in fact.
It’s no secret I'm devoted to the Ardnamurchan way - in fact it’s become a bit of fun for those wanting to tease me about my abject obsession with this place. I’ve spent many hours postulating why the Ardnamurchan distillery resonates so deeply with me, as a person and as a whisky exciter, and over the course of three hours, first in Warehouse 1 then up into the hills, nothing happens to change that. In fact, if you can believe it, my devotion has widened.
We started in the dark, cool climes of Warehouse 1. If you’ve never smelled a whisky warehouse then it's hard to convey the utterly absorbing aroma that greets you upon entry, arriving in waves through your red-hot olfactory machine. It’s easy to spill over into the saccharine romanticism when thinking and speaking about alcohol inside casks plopped inside a building (and oh boy do I fall foul constantly), but it’s undeniably a rather unique place to be. No-one gushes about the alluring aromas of an Amazon warehouse, do they? The difference being that whisky matures inside leaky wooden vessels, and that porosity allows alcohol vapours to find their way into the air circulating around the breezy warehouse and colours the environment with fabulous scents - Angels’ Share is what they call it.
But it’s more than smell - it’s touch and sight too. Casks and their condition are intrinsically linked to the quality and style of maturation and we get to see those variances as we walk along the warehouse. From rough to smooth, bright and clean to looking like a potato that you’ve just dug out the ground; the variety of casks, aesthetically, is quite amazing. If we are so inclined, we can touch the casks, feel their texture and knock on their wooden walls. Sometimes we get to stick our noses inside. There happened to be a cask waiting to get filled, and sniffing through the bung hole the diorama of scents unleashed into my frontal cortex was overwhelming. I managed to blurt out caramel, cherry and vanilla, but in truth it was a million things all at once and making sense of it was impossible - I only wish I could bottle that scent or turn it into a candle.
There’s a tasting element to a warehouse too, and today I was extremely fortunate to be accompanied by 3/5ths of the blending team, who were only too happy to see what was occurring in the warehouse. Drinking whisky decanted, through syphoning via a giant copper straw-like valinch, splashing all over the place before finally finding its way into a glass, surrounded by all this sensory overload is peak whisky for me. The liquid is really cold and viscous. It takes a moment for it to warm up enough in my hand to begin releasing aromas and flavours, but when it does, the mouthfeel, smell, sight and sound of it all is unbeatable. It’s untouched, unfiltered.
It’s been suggested I might soon get to a point where Ardnamurchan stops offering enough to keep my attention, and I’ll start to drift and dabble. Having now tried a number of remarkable whiskies maturing in the cask, from a variety of different cask types, styles, ages and sizes, I have to say I can’t see that happening anytime soon. I kneel down, lower my arms and prepare for the hiss of the blade - perhaps I’m blinkered and naive, or perhaps there’s nothing more to it than simple resonance.
Hmmm. Did you get all that? His words (Dramface) not mine. Landrover, knobbly tyres, type
One of the small fleet of converted tugs that visit Napanee a few times each season.
It's sitting low at the wharf right now because the river rises and lowers with a "tide" that comes from the variances of Lake Ontario.
Office WIP taken in the boardroom Dec 3.
This is a big challenge for me. I don't build "real" things, almost everything I do is set in or inspired by Star Wars. The issues I had to tackle here aside from determining scale were the curved glass front which spans both floors, making the second floor and roof removable (you can see the separation between floors inbetween the windows on the left side of the building), and dealing with the variances between the masonry brick outer wall, and the regular brick inner wall, which is SLIGHTLY longer over a 62 stud span than the interior of the masonry wall. A couple times the building literally shattered while it was being handled.
The real thing can be seen here:
www.google.com/maps/place/14435+124+Ave+NW,+Edmonton,+AB+...
Pato de la Florida, Blue-winged Teal (Spatula discors)
Status Migrante Comun (Mc) NoIG
pato de Florida o yaguasa aliazul, también conocida como pato media luna, pato de alas azules, barraquete aliazul, es una especie de ave anseriforme de la familia Anatidae nativa de América.
Es pardo manchado y punteado de negro, con diseño alar como el del pato pico cuchara sudamericano, cabeza y cuello ceniciento oscuro, notable medialuna en la cara y mancha blanca en los flancos, en los machos. La hembra no tiene la medialuna en la cara, pero tiene una leve ceja loreal clara.
sta especie de pato vive en lagunas, lagos y pantanos de agua dulce. No teniendo preferencias durante el invierno habita aguas salobres. Se alimenta de vegetación, insectos, y crustáceos acuáticos. Complementa su dieta con semillas, incluyendo las de campos cultivados.
##################
The blue-winged teal (Spatula discors) is a small dabbling duck from North America. The scientific name is derived from Latin Anas "duck", and discors, "variance", which may refer to the striking face pattern of the male
The adult male has a greyish blue head with a white facial crescent, a light brown body with a white patch near the rear and a black tail. The adult female is mottled brown, and has a whitish area at base of bill. Both sexes have sky-blue wing coverts, a green speculum, and yellow legs
Blue-winged teal inhabit shoreline more often than open water and prefer calm water or sluggish currents to fast water. They inhabit inland marshes, lakes, ponds, pools, and shallow streams with dense emergent vegetation.
Scientific classification
Kingdom:Animalia
Phylum:Chordata
Class:Aves
Order:Anseriformes
Family:Anatidae
Subfamily:Anatinae
Genus:Anas (disputed)
Species:S. discors
Binomial name
Spatula discors
To get to where I took this shot, I was obliged to walk through snow that was way deeper than it looked. In fact, the snow (which I thought looked like a couple inches) turned out to be knee deep on me. I'm 6' tall, To make it even more tricky to do, there was a crust of about two inches thick on top, so every step had to bust through that crust first, and it wouldn't support my weight. The beach had no snow or ice due to the prodigious tidal variance.
Pato de la Florida Hembra, Female Blue-winged Teal (Spatula discors)
Status Migrante Comun (Mc)
pato de Florida o yaguasa aliazul, también conocida como pato media luna, pato de alas azules, barraquete aliazul, es una especie de ave anseriforme de la familia Anatidae nativa de América.
Es pardo manchado y punteado de negro, con diseño alar como el del pato pico cuchara sudamericano, cabeza y cuello ceniciento oscuro, notable medialuna en la cara y mancha blanca en los flancos, en los machos. La hembra no tiene la medialuna en la cara, pero tiene una leve ceja loreal clara.
sta especie de pato vive en lagunas, lagos y pantanos de agua dulce. No teniendo preferencias durante el invierno habita aguas salobres. Se alimenta de vegetación, insectos, y crustáceos acuáticos. Complementa su dieta con semillas, incluyendo las de campos cultivados.
##################
The blue-winged teal (Spatula discors) is a small dabbling duck from North America. The scientific name is derived from Latin Anas "duck", and discors, "variance", which may refer to the striking face pattern of the male
The adult male has a greyish blue head with a white facial crescent, a light brown body with a white patch near the rear and a black tail. The adult female is mottled brown, and has a whitish area at base of bill. Both sexes have sky-blue wing coverts, a green speculum, and yellow legs
Blue-winged teal inhabit shoreline more often than open water and prefer calm water or sluggish currents to fast water. They inhabit inland marshes, lakes, ponds, pools, and shallow streams with dense emergent vegetation.
Scientific classification
Kingdom:Animalia
Phylum:Chordata
Class:Aves
Order:Anseriformes
Family:Anatidae
Subfamily:Anatinae
Genus:Anas (disputed)
Species:S. discors
Binomial name
Spatula discors
Working toward qualified attempts of self portraits. Actually, working toward a project using me. But reducing me, in order to reveal other information as dominant and my variance of appearance as signifier for visual text.
I admire the brazen spirit within you to show yourself as the focal point of the work. It is taking a while to lower the guard. Thus, the limited shadings of my likeness.
Thank you for taking the time to view this work.
The unique steel diagrid design of the Hearst Tower in the west end Manhattan, just south of Columbus Circle on 57th Street is a remarkable building in many aspects. It was the first skyscraper to break ground after the events of September 11th, 2001. The original design of architect Joseph Urban whose fame had been made designing theaters in New York was completed in 1928 and called the International Magazine Building as the proprietor publishing magnate William Randolph Hearst owned many publications. Randolph Hearst had envisioned the six story International Magazine Building as the base of a tower. The stock market crash of 1929 and the great depression put those plans on a long hiatus. The building was given landmark status in 1988, so how was the Hearst Company able to build this tower in a landmark? Simple, as I just stated, the original design was for a tower to be built on the six story base, so the Hearst Company was able to leverage this loop hole to get the variance it needed to greatly expand its corporate headquarters.
Renowned architect Norman Foster designed a most unique structure, linking past with present. The 46 story tower rises out the marvelously preserved International Magazine Building which is the only vestige of the past that can be seen in this structure. The building is a marvel of modern engineering, starting with the unique triangular diagrid design, creating a building with symmetrically jagged silhouette where the triangulated steel frame uses 21% less steel than a traditional skyscraper. Another amazing fact is of the materials where 85-90% of the 10,480 tons of steel were derived from recycled material. When the Hearst Tower opened in 2006, it became the first building in New York to achieve the designation of US Green Building Council's Leadership in Energy and Environmental Design (LEED) Gold Certified Skyscraper. Amazingly its air conditioning and heating equipment utilizes outside air for cooling and heating 9 months a year, which accounts for 25% energy savings over a comparable size conventional office building. In this image, peering up at the entire length of the Hearst Tower from across the street, the glass and steel tower nestled on the 1928 structure that houses publications like Cosmopolitan, Esquire, Marie Claire, Good Housekeeping, Seventeen and Harper’s Bazaar.
Taken with an Olympus E-5 with a 12-60mm F/2.8-4.0 Olympus Zuiko Digital Lens using the cameras internal dramatic effect filter, processed in Adobe Lightroom.