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Winter has arrived, but the temperatures are not cold for the air is filled with life and sunshine in southwest Florida. Flocks of gulls, terns, and other seabirds scatter the seashore in an annual attempt to survive another year. Naples, FL.
Atacama Compact Array (ACA) on the ALMA high site at an altitude of 5000 metres in northern Chile. The ACA is a subset of 16 closely separated antennas that will greatly improve ALMAâs ability to study celestial objects with a large angular size, such as molecular clouds and nearby galaxies. The antennas forming the Atacama Compact Array, four 12-metre antennas and twelve 7-metre antennas, were produced and delivered by Japan.
More information: www.eso.org/public/images/ann13040a/
Credit:
ESO
Nice neighbourhood in San Francisco.
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I just wanted to show off three gems of different sizes in this pic. It boils down to experimenting with a depth of field that isn't all-inclusive versus one that is. Personally, this one could be better. I think that if I were to re-shoot this, I would definitely go for a deeper depth of field rather than such a shallow one.
Maybe when I decide to do some re-shoots of my favorite shots, it'll happen.
© Saira Bhatti
Fellow hikers passing by an array of peaks situated at the plain of six glaciers - My trip started with a broken camera lens which thankfully continued to stay alive throughout the journey leaving traces of flares in my photographs #rockies #glacier #mountvictoria #mountAberdeen #mountlefroy #mitre #brokenlens
Arrays and cages of the Duga-3 radar sit high above the ground in the Zone of Alienation....a monument to the folly of man.
Scan of Slide S4807 The White Glove by George Lambert:
LAMBERT, George
Russia 1873 – Australia 1930
Australia 1887-1900; England 1900-01; France 1901-02; England 1902-21; Australia from 1921
The white glove 1921
oil on canvas
106.0 (h) x 78.0 (w) cm
signed and dated 'G.W.LAMBERT/ 1921' lower right
Art Gallery of New South Wales, Sydney, purchased in 1922 Sydney photograph: Jenni Carter for AGNSW
VIEW: Article |
This is a lively bravura portrait of a modern Melbourne woman of fashion, style and elegance. It has an arresting vitality. Her belongings, a luscious blue stole, elegant feathered hat and jewelled ring, are as much the subject of this work as is Miss Collins herself, and contribute to it a sense of opulence. Her flamboyant pose, with her head slightly tilted back and poised to one side, and her arms caught in mid-action, matches her vivacious personality. Her eyes appear to be laughing in accord with her smile and she seems to be deliberately posing or hamming it up for the artist.
The subject, Miss Gladys Neville Collins, was the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria. Lambert appears to have enjoyed painting her portrait and described her to Amy on 10 December 1921 as ‘a dear girl [who] sits for the fun of it and because her Dad thinks I am it’ (ML MSS 97/10, p.393).
Lambert portrayed the individual features of Miss Collins but, with her collaboration, he arranged them to denote a characteristic type. Miss Collins’s tilted head, her half-open mouth, half-closed eyes, and almost-bare right arm suggest an individual sensuality, but they also indicate a form of codified (sexual) behaviour. Lambert's portrait presents a witty version of the pose of Bernini’s Ecstasy of St Teresa 1645–52 (Cornaro Chapel, Santa Maria della Vittoria, Rome), an established expression of the ecstatic experience, and one which was subsequently taken up by photographers, film-makers and advertisers.
What is more, Lambert presented Miss Collins in a variation of the pose used by Joshua Reynolds in his portrait Sarah Siddons as the Tragic Muse 1784, which in 1921 (the year Lambert painted this portrait) the Duke of Westminster had controversially sold to The Huntington Library and Art Collection in California. By associating Miss Collins with this classic image of a leading actress, he hinted that she was playing a role in this portrait. It is also possible that Lambert knew Sargent’s Portrait of Ena Wertheimer: a vele gonfie of 1905 (Tate, London), a lively portrait of Ena wearing as a joke a black feathered hat and billowing cloak, painted essentially in black and white. It is similar to Lambert’s painting in its sense of extravagant posture and light-heartedness. If nothing else, both paintings are a reflection of the spirit of the times.
In this portrait Lambert used a limited range of colours to great effect: a dark Manet black and a Gainsborough blue, with the addition of purple in the jewel on a chain around her neck. Lambert paid close attention to the clothing, capturing an array of textures – the lustrous steel-blue silk of her stole, the fluffy white fur collar, the white leather gloves, the transparent black lace sleeve and the black velvet of the hat wreathed with white ostrich plumes.
Lambert painted the portrait with broad brushstrokes, and spontaneously, as a kind of ‘performance in paint’. When exhibited, it stood out from the prevalent brown tonalist portraiture painted at this time by other Australian artists, such as John Longstaff and W.B. McInnes. (W.B. McInnes’s much more restrained Portrait of Miss Collins was awarded the Archibald Prize for 1924 at the Art Gallery of New South Wales).
Lambert’s tour de force was purchased for 600 guineas by the Art Gallery of New South Wales when it was shown at the New South Wales Society of Artists exhibition in 1922; at that time the highest price paid by a public gallery for a portrait by an Australian artist.
Telephoto Array Platform
Partial remodeling of the big Telephoto Array platform. It is now more compact and lightweight. The refractor verifies the tracking and allows wide-field visual observations.
Monday Challenge: Lines and angles. Make a picture using line as a strong element of the composition. Horizontal, vertical, diagonal, leading lines, criss-cross lines etc.
To see all of the creative answers to this challenge, please see the group.
I've always found wafers really pretty, so I bought a few scrap ones on ebay a few months ago. Today I finally got a picture that I like out of one of them, and as much as I tried using artificial light sources, just using the sun was the way to go.
Also, in my stupidity, I didn't realize this thing would heat up like crazy in direct sunlight!