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Kurt, Eve, Todd, Rachel, Skipper and Rylan
[back outside of the club more people start to arrive]
Rylan --- Uh, Sorry ma'am. [he jokes to Rachel] You're not on the list.
Rachel --- You don't even have a list dummy!
Rylan --- I would let you in but I just... I can't! [he looks to Skipper] But you, my lovely ...are always #1 on my list.
- - - - - - - - - -
Eve --- Seriously, why is this taking so long? [she says to Todd]
- - - - - - - - - -
Skipper ---- You are so adorable! Now, really ...are you gonna let your sister in?
Rylan --- I guess, but only because she's with you.
Rachel --- [she rolls her eyes] Whatever! C'mon let's go bitc......
[just then paparazzi start snapping pictures and mistakenly calling her...]
--- RAQUELLE! RAQUELLE, over here! SKIPPER! Look this way! RAQUELLE! Love your new bangs! SKIPPER! SKIPPER! Where's Barbie? RAQUELLE! What have you been doing since "Dreamhouse" ended? RAQUELLE! RAQUELLE! Who are you wearing tonight?...
Rachel --- It's pronounced Ray-chell... and I'm wearing My Scene Couture!
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Part of F2K, Vol. 9
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Yes! I changed hairtastic's name again. No more "Yve", now just simply Eve. I promise, this is the last time. ;-p
The passage way at the South Western Cairn at Balnuaran of Clava is focused on the sky. Many chambered cairns are aligned either with the position of the Sun, Moon, or the planet Venus. The Sun and Moon alignments bring about a living calendar to any aligned chambered cairn. Such alignments are more easily recorded without the cairns. The Sun and Moon alignment seems set into the stone structures for the use of the cairns beyond clocks and calendars to generate the identity of the structure in the design. These impressive monumental communal structures were open and visited by their constructors for several hundreds of years. Later they were filled in possibly when a new way of worship and reverence was found and so the old sacred sites were closed. The cairns in their large size seem set to hold great importance for many people and yet their small passages and chambers are only available for either small groups, or individuals. The light from the Solstice Sun gives a direct beam along the passage and into the chamber at the day chosen with the Summer longest day and Winter shortest day having positions on the horizon at dawn and at sunset available for the builders to set their structure around. Those that took part in interior ceremony could be experiencing a rite of passage and from their inner seclusion they could be greeted by the Sun entering in at a significant moment and then by all that were gathered around the large monuments as the adorants came back to the community after their isolation.
I remember from a few decades ago the stones at the rear of the chamber being brought to life by the Sun when it shone straight along the passage. This light dancing on a stone with either quartz, or granite in could be the first light for the adorant to see after days of fasting, maybe of eating ceremonial food and of intense meditation so that the light in the stone shone to show life in the bone of the land the stone that would be the collection place for the cleaned bones of the dead as markers of belonging and signs of knowing all returning to the glowering Sun, to the finding of the murmuring of the Moon and to the awakening to the stellar shimmering the stars.
The highlighted section of the chamber could be the projection screen of the tomb. After a period of darkness in the chamber the light returning through projection focused along the passage would dance on the projection screen stones and with a tone from the human voice the dust in the passage could be seen to move in and out of waves and lozenge shapes forming transient structures in the moving dust and light. The light held such delicate structures possible only for a short while along the alignment at either dawn, or sunset and the shapes would slow and cease as the light source moved away from the direct alignment in matter of minutes. These waves and lozenge shapes are were carved into the stones of some chambered cairns leaving a record in the stone on the bone of the land a presentation hammered into the stone that was home to the ancestors and the shaping of the returning regenerating medium that as it wore down gave vital nutrients to the next new growth that through roots and shoots, seeds and flowers would break down the stones into sparkling sands and grits echoing the steady progressions and predictable processions of the lights of the camp fires shining out with hope and potential in the sky above.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
Been waiting to catch this one again ... the sunset aligned with Market St in Wollongong - Also a first chance to try out the new Irix 15/2.4 that arrived via Amazon yesterday.
When wearing a full length skirt the legs are not visible at all, nor are the stockings. Therefore there is no real need for a stocking adjustment from a visual perspective. However, I personally don't feel well when I'm unsure if my stockings tops are perfectly aligned or not. So despite the long skirt, still regular stocking adjustments are needed, just for my own peace of mind and well-being. And with the long skirt such stocking adjustments look extra spectacular, so maybe there is actually a visual need for long skirt stocking adjustments after all 😉
Venus, Mars, and the crescent moon align with Pigeon Point Lighthouse on the California coast.
Single exposure with only Lightroom adjustments
Sony A7S, Canon 70-200mm f/2.8 @f/2.8, 200mm, 1 second, ISO12,800
More info, for the truly geeky:
I knew this alignment was coming several weeks ago and put a reminder on my calendar for the afternoon to come up with a shot for it. I knew that the planets and moon were going to be roughly 260-270 degrees as they approached the horizon and started looking at westerly foregrounds. Since the sun was well down by the time the planets and moon were going to be close to the horizon, I knew that the foreground either had to be a very strong silhouette or self-lit (like the GG Bridge, city skyline, etc). There was a possible shot from Treasure Island of the South Tower of the Golden Gate Bridge, but I just didn't want to drive into the city yesterday, so kept looking.
I found that the alignment matched very well with typical shooting locations for Pigeon Point Lighthouse. I like the lighthouse, but it presents some pretty daunting challenges; fog, sea spray, moisture in the air, and the very bright lights from the hostel and the beacon itself. Nevertheless, I set out for the lighthouse around 5:00pm to give myself enough time
I knew I was going to be at 200mm (or more) for the shot, which means that I would need to keep the shutter duration at 2 seconds or less to avoid streaking the planets, stars, and surface of the moon. This requires a pretty high ISO (12,800 or more) at f/2.8 (and even higher at f/4) to be able to preserve any detail in the foreground. I decided to keep my 70-200 f/2.8 instead of adding the extender to give it more reach, but at the loss of a stop of light.
I took a bunch of test shots as the planets and moon were setting and the sky got darker and darker as the sun got further below the horizon. I settled on exposure brackets centered around 0.5s at f/2.8. Shooting 5 shots at 1eV steps, this gave me exposures from 2s down to 1/4s. I ended up using the 1s exposure. All at ISO12,800.
The moon is incredibly challenging, even when in crescent phase. The sunlit portion is WAY too many stops above anything else in the sky and on the ground. I decided to let the sunlit crescent blow out and went for details in the earthshine portion of the moon. By making this decision, I was able to use a single exposure to make the image. There is a lot of highlight and shadow recovery going on here, but the Sony A7S image holds up pretty well. There is noise, of course, but it is very well behaved.
I believe that this image would not be possible without the A7S. Keeping the stars and planets from streaking at 200mm requires very short shutter durations. This requires bumping up the ISO to 12,800 or even 25,600. The ISO performance and Dynamic Range of the sensor at these ISOs allows long-lens astro-landscape photography to become a reality (without compositing)
I walked around this lake that day and the lake is not that big, it is peaceful here, because forest surrounds it. I came here to watch the sunset and as I was walking around and the sun was already set, I saw this reflection in the water. It was a calm evening, but I didn't expect this.
Two Cour de Napoleon pyramids align at the Louvre.
132/365 365 pictures in 2014
All rights reserved. Please do not use or reproduce this image on websites, blogs or any other media without my permission.
Somewhere in the woods of Wisconsin. Shot on Agfa APX 100 B&W Film with a Nikon N80 Camera back in 2006. Recently scanned negative on Epson V600 scanner. Slight adjustments to contrast and cropping made in Photoshop.
Once the points have been properly aligned, the engines will make a reverse movement back into the yard tracks and hook up to a train that has been assembled there.
(UP #8257 GE ES44AC)
The Former Southern Pacific Classification Yard at West Colton.
Bloomington, California.
West Colton Classification Yard - Union Pacific Yuma Subdivision near MP 538.5.
(November 28, 2015)
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Two Dogs & A Man, Savoring Stunning Mid-Autumn Sunset & Dusk At Tampa Bay Home November 2023 - IMRAN®
One year ago, I had to say goodbye to Kennedy, my cherished German Shepherd. This image, captured during a breathtaking sunset, remains etched in my heart as a bittersweet and treasured memory.
On that serene November evening, the sky was ablaze with color—a masterpiece that words can hardly do justice to. As I prepared to launch my DJI drone, Kennedy (on the right) and K2, my loyal companions, gazed up at me with unwavering focus. Their calm demeanor mirrored the stillness I had to maintain for the HDR sequence—five perfectly aligned photos that blended to capture the magic.
Kennedy’s slightly tilted ears revealed his vigilant nature, staying tuned to the sound of the drone while keeping his gaze locked on me. It’s a small detail that encapsulates the extraordinary bond we shared. Best Dog Ever!
This moment, against the backdrop of Tampa Bay’s stunning dusk, is more than just an image—it's a testament to the love, loyalty, and beauty that define my blessed life.
© 2023-2025 IMRAN®
Afocal via 80mm Opticron ES80 GA-ED spotting scope. 20 DSLR shots > PIPP > Greyscale Aligned, stacked and wavelets in Registax 6 > Photoshop. Colour blend layer from single DSLR frame.
La plage de l’Aber sur la presqu’ile de Crozon se situe dans la baie de Douarnenez face à l’île de l’Aber (que l’on peut rejoindre à marée basse) à l’Est de la pointe de Trébéron.
"Now and Then" panorama shot in the approximate area where Union ships and troops attacked Confederate Forts Clark and Hatteras in 1861.
I aligned a Civil War era map at the Library of Congress over the same coordinates in Google Earth and then marked the spot shown for Fort Clark. I then transferred it to Google Maps, and used the GPS in the phone to hike to the same spot. By my reckoning, the main part of Fort Clark is in the surf where my wife is standing, and Fort Hatteras is definitely long gone, under water, past where the land ends at right.
The drawing, "Capture of the Forts at Cape Hatteras inlet-First day, fleet opening fire and troops landing in the surf," is by Alfred Waud in the the Library of Congress collection at: www.loc.gov/pictures/item/2004660375/
Link to NPS Page - "The Civil War on the Outer Banks": www.nps.gov/caha/learn/historyculture/civilwar.htm
An outtake from a recent series called "Align", which focuses how to align our lives with God's will for our lives.
I attempted to use a Rubik's Cube inside the skull x-ray (where the brain should be) and dress our character in typical 80s fashion (using a queue from the Rubik's Cube) but, the Rubik's Cube was cut off at the top in the x-ray, and piecing together all the elements made it feel too crowded. The x-ray also doesn't perfectly align with his body, so I went a different direction (in the x-ray his arms were at his sides, thus the shoulders don't mesh quite right). But regardless, I think its a sorta cool looking shot -- so here is just the root concept ... though not one that totally works with the theme.