Synonyms:

• Orbea dummeri (N.E.Br.) Bruyns

◦ Stapelia dummeri N.E.Br.

Description: Orbea dummeriSN|30572]]SN|30564]] (a.k.a Pachycymbium dummeriSN|30565]]SN|30565]] or Caralluma dummeriSN|30568]]SN|30568]]) is a most unusual perennial soft-wooded succulent of very free flowering habit. The flowers borne on short stalks are starry, greeny-yellow or olive-green in colour and possess a hairy corolla surface. It forms small lax mats to 10 cm tall.

Stems: Erect, spreading or decumbent, 4-angled to rounded 6-9 cm long pale grey-green with purple spots and stripes with conical-subulate slender teeth, 8-15 mm long and 3-5 mm wide horizontally spreading at the base with red stripes.

Flowers: 1 to 6, more or less terminal. Peduncle to 1.5 mm long Bracts c. 2 mm long lanceolate-triangular, pointed. Pedicels 8-12 mm long, c.1.5 mm thick. Sepals 4-5 mm long, 2 mm wide. Corolla 2.5-4 cm across, campanulate, , deeply incised, inside yellow-green, olive-green or dark green; lobes spreading. hairy above. Tube 4-5 mm long, 8-9 mm across, cup-shaped, embracing the corona. Corolla-lobes 13-15 mm long, c 4 mm wide, triangular, long attenuate, horizontally spreading or erect, convex, inside papillate, papillae cylindrical, c.0.5 mm mm long, apically with white 1-1.5 mm long bristly hairs. Corona white or yellowish 3.5-4.5 mm across. Outer corona tubular, lobes 1-1.5 mm long, cup-shaped rectangular when seen from above, apically with 2 lateral teeth, sometimes with additional small tooth-like appendages. Inner corona lobes 1.7-2 mm long, c. 1.3 mm thick, tips irregularly 2- to 3(-5)-toothed, central tooth elongate, apically overlapping. The gynostegium is cylindrical and rather wider towards the base in O. dummeri but conspicuously narrowed towards the base of the outer corona lobes in Orbea circesSN|30564]]SN|30572]]. Pollinia 0.5 x 0.3 mm, ovoid.

Blooming season: Summer.

Fruits: The fruit are paired spindle-shaped capsules (follicles), resembling the horns of an antelope, with the tightly packed seeds inside. At maturity they split open to release numerous small brown seeds crowned with long white hairs.

Thanks to Llifle.com

6 frames taken from a 18 minutes video from an iPhone 5s were stacked and lightened in Photoshop. The only enhancement was to increase contrast.

The color difference between each stroke is due to a different amount of attenuation of light by heavy rain.

Taken 21 July 2018.

[ we moved a lot ... ]

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# HARDWARE: HOLGA 135

#FILM: DRAGON REDSCALE

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# solar imagery from THE TRONA LO-FI SCIENCE OBSERVATORY

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# MUSIC: [temporarily] ROCKET MAN REMIX [IN HONOR OF NACA TEST PILOT JOE WALKER, SHOWN HERE WITH THE EXPERIMENTAL BELL X-1A AIRCRAFT POWERED BY AN XLR-11 ROCKET ENGINE... ALSO, A NOD TO THE FIRST SEASON OF CALIFORNICATION]

View of Pagasitic bay during sunset from Lafkos, Pelion, Thessaly, Greece.

[ ... brought to you in stunningly strange trona lo-fi vihreä vision ]

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# Shot with my Holga 135 -- with regard to the image, as often happens when I'm searching my archives [unrelated data], an anomaly... a surprise like this reveals itself. What else was I to do but drop kick it to my Flickr account STAT?! ;-}

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"The river to the ocean goes

A fortune for the undertow

None of this is going my way

All of this is coming your way"

~ Mr. Stipe

クリオネミミカキグサ

Utricularia warburgii Goebel, 1891

This name is accepted. 05/23, 2022.

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Family: Lentibulariaceae (APG IV)

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Authors:

Karl Immanuel Eberhart Goebel (1855-1932)

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Published In:

Annales du Jardin Botanique de Buitenzorg 9: 66. 1890. (Ann. Jard. Bot. Buitenzorg)

Name publication detailView in BotanicusView in Biodiversity Heritage Library

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Type Specimens:

T: Warburg s.n.; ; China: Zhejiang: Ningbo

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Accepted By:

Flora of China Editorial Committee. 2011. Flora of China (Curcurbitaceae through Valerianaceae with Annonaceae and Berberidaceae). 19: 1–884. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.

Taylor, P. 1989. The genus Utricularia—A taxonomic monograph. Kew Bull., Addit. Ser. 14: 1–724.

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General Information

Annuals, terrestrial. Rhizoids capillary, simple. Stolons capillary, branched. Traps on stolons and leaves, stalked, ovoid, 0.5-1 mm, with numerous stipitate glands on appendage and mouth margin, mouth lateral; appendage 1, dorsal, narrowly oblong-obovate, beaklike, apex obtuse. Leaves numerous, from peduncle base and stolon nodes, glabrous; leaf blade narrowly obovate-cuneate, 1-1.5 cm × 1.2-1.5 mm, membranous, vein 1, base attenuate onto petiole, margin entire, apex rounded. Inflorescences erect, 5-17 cm, (1 or)2-6-flowered, glabrous; peduncle terete, 0.3-0.4 mm thick; scales few, similar to bracts; bracts basisolute, ovate, ca. 1.3 mm, base truncate, margin denticulate, apex obtuse. Pedicel erect at anthesis and in fruit, 0.7-1 mm, minutely papillose; bracteoles basisolute, oblong, slightly shorter than bracts, base rounded to obliquely truncate, apex acute. Calyx lobes slightly convex, 2-3 mm, subequal, minutely papillose, glabrous; lower lobe oblong, apex emarginate; upper lobe broadly ovate, apex rounded. Corolla pale bluish purple, 6-8 mm; lower lip transversely elliptic, base with a conspicuous swelling, apex rounded; spur subulate, somewhat longer than lower corolla lip; palate with 2 curved hornlike processes; upper lip obovate-cuneate, apex emarginate. Filaments ca. 1 mm, straight; anther thecae ± distinct. Ovary ovoid; style short; stigma lower lip semicircular, upper lip deltoid. Capsule globose to ellipsoid, 1.8-2.2 mm, dehiscing by a short longitudinal ventral slit. Seeds obovoid, 0.2-0.3 mm; seed coat with prominent elongate reticulations and clavate papillae. Fl. May-Sep, fr. Jul-Oct.

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Flower Size: φ5mm

SONY α7R (ILCE-7R)

OLYMPUS OM Zuiko Macro 20mmF3.5 for Bellows

RMS Mount Lens

Back focus : 62mm (Lens to CMOS)

Helical Focus Extention Ring : 21～30mm

M42 Extention Ring : 12mm

M42 to RMS Moun Change Ring

The combination of deep twilight, full moon, and lightning attenuated through rainfall helped to create a very colorful stacked lightning image. The timelapse taken from these 20x5 sec exposures using Nikon d7000, Nikkor 35mm f/1.4, iso 560, can be viewed: www.flickr.com/photos/79387036@N07/33756344673/in/photost... I forgot to reset menu to 35mm (85mm is shown at right).

Plants were allowed to colonise the edges of the lakes on Nottingham University's Jubilee Campus - here the distinctive silhouette of Alder (Alnus glutinosa). Not only beneficial for wildlife, the lakes are used for stormwater attenuation. The site of the old Raleigh Factory.

This gem here is the Rosette Nebula, located about 5,200 light years away in the constellation Monoceros—crazy to think that the light that made this image was emitted about the time writing was being developed in ancient Sumer! Back to the nebula: it takes its name from its shape, which kind of looks like a rose. This photo is a little too zoomed in to see the whole thing, but maybe one day I’ll do a mosaic or something. Anyway. This, like most nebula I post, is an emission nebula, meaning it glows with its own light from ionized gases—in this case, I captured about 20 hours worth of light from ionized hydrogen and oxygen. And because it’s effectively a big ball of gas 100 light years across, it’s chock full of newborn stars, hence the clusters you see. Super cool target that I’ve been wanting to do for a while now. I’ve been having some equipment woes for the past several months so I was glad I got everything sorted just in time. . . .

OOUK CT8, Paracorr II, Moonlite Focuser ASI1600MM Pro Paramount MX+ ASI290MM guide cam Pegasus Ultimate PowerBoxv2 144 x 300” Chroma 5nm Ha gain 139 101 x 300” Chroma 3nm Oiii gain 139 ~20 hours total . . .

Processing Details

Calibrated, registered, and stacked in Pixinsight using WBPP

MureDenoise script on Oiii master

Deconvolution using star mask for local support, external PSF, and black-clipped attenuation mask

MaskedStretch and HT on Ha, STF>HT stretch on Oiii

Pixelmath to combine. Don’t remember the exact expression but it was one of a few I use to get an approximation of the Hubble palette via a synthetic free channel.

Some modest CurvesTransformations to colors

Applied Adam Block's Star De-Emphasis technique (see his website for more details)

More CurvesTransformations to taste

DarkStructureEnhance script

TGVDenoise using attenuation mask

Save to jpg for web posting

The sun had been up for about an hour and it was quite harsh at this point, so I had to stack an ND2-400 variable filter (from which I got the "base" exposure) on top of the ND1000, equating to around 13-14 stops of light attenuation in total.

Italy - Abruzzo National Park

Photography © Ercole Di Berardino 2014 - All Rights Reserved. Do not use without permission.

My Website

"Chiudo gli occhi, e sento il tocco gelido del cielo, sogno di riaprirli e di ritrovarmi in un piccolo paradiso, e lo sguardo ora si perde, in un candido paesaggio, non è l’immaginazione è il potere magico della neve, attutisce i rumori con il suo candido manto e mi regala.. un piccolo minuscolo, straordinario sogno."

"I close my eyes, and feel the icy touch of the sky, dream to reopen and finding myself in a little paradise, and the look now is lost, in a candid landscape, it is not your imagination and ’ the magical power of snow, attenuates the noises with his mantle and gives me white … a small lowercase, an extraordinary dream."

Stephen Littleword

[ UNTITLED-181 -- TRONA LO-FI UV IMAGING SPECTROMETER RAW DATA DETRITUS -- POTENTIALLY A BINARY TWIN AND ATYPICAL WHITE LIGHT AURORA ]

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# TRONA EXPERIMENTAL UV IMAGING SPECTROMETER DATA ...

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# an experiment from THE TRONA LO-FI SCIENCE OBSERVATORY

Cornfield in soft, cloud-attenuated, pre-sunset light near Alton Priors in the Valey of Pewsey, shot from Knapp Hill.

>>> aka "WORDS BACK TO THE TRADE WINDS"

[ BW MULTI EXPO VIA HOLGA 135 Y KODAK BW400CN ]

In a lab at NASA’s Johnson Space Center in Houston, engineers simulated conditions that astronauts in space suits would experience when the Orion spacecraft is vibrating during launch atop the agency’s powerful Space Launch System rocket on its way to deep space destinations. A series of tests occurring this month at Johnson will help human factors engineers assess how well the crew can interact with the displays and controls they will use to monitor Orion’s systems and operate the spacecraft when necessary.

Test subjects wore modified advanced crew escape suits that are being developed for astronauts in Orion, and sat in the latest design of the seat atop the crew impact attenuation system. This was the first time this key hardware was brought together to evaluate how launch vibrations may impact the astronaut’s ability to view the displays and controls. While Orion’s late 2018 mission will be uncrewed, engineers are hard at work performing all the necessary evaluations to make sure the spacecraft is ready for crewed missions beginning as early as 2021.

Image Credit: NASA/Rad Sinyak

NASA Media Usage Guidelines

This star trail image complements the point star image posted on Flickr at ...

www.flickr.com/photos/momentsforzen/39077527464/

This image was a single 34 minute 8 second exposure, which is the maximum exposure length for the CFV-50c sensor. The relative motion between the Earth and the rest of the galaxy produces an apparent rotation of the stars about the South Celestial Pole. I composed the shot such that this pole would be adjacent to the top of the Great Cross. This was a good choice as it produced a strong connection between the Great Cross and the star trails, the two main elements of the photograph.

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Links for background information ...

stmarks.edu.au/

My thanks to the staff of St Mark’s National Theological Centre (St Mark’s NTC) for their friendliness and encouragement of photographing on the grounds of their Barton campus.

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[ Location - Barton, Australian Capital Territory, Australia ]

Photography notes ...

The photographs were taken using the following hardware configuration ...

(Year of manufacture indicated in braces where known.)

- Hasselblad 501CM Body (Chrome) - S/N 10SH26953 (2002).

- Hasselblad CFV-50c Digital Back for Hasselblad V mount camera.

- Hasselblad Focusing Screen for the CFV-50c digital back, with focussing prism and crop markings.

- Hasselblad 45 Degree Viewfinder PME-45 42297 (2001).

- Hasselblad Carl Zeiss fisheye lens - F-Distagon 3.5/30 CF T* (1996).

- Really Right Stuff (RRS) TFC-14 Series 1 Carbon Fiber Tripod - MFR # 13996.

- Really Right Stuff (RRS) BH-30 Ball Head with Mini Screw-Knob Clamp - MFR # BH-30 PRO.

- Hasselblad HATQCH (3043326) Tripod Quick Coupling.

- Arca-Swiss ARUCP38 Universal Camera Plate 3/8”.

- Nikon AR-3 Shutter Release Cable.

- Artisan & Artist ACAM-302 Silk Cord for Hassleblad Cameras (Black).

To minimise the incidence of vibrations, I employed the following strategies :

a. Use of a sturdy tripod.

b. Pre-exposure mirror lock-up.

c. A mechanical shutter release cable.

I acquired the photograph (8272 x 6200 pixels) with an ISO of 100, exposure time of 34 minutes 8 seconds, and aperture of f/11.0.

Post-processing ...

Finder - Removed the CF card from the camera digital back and placed it in a Lexar 25-in-1 USB card reader. Then used Finder on my MacBook Air to download the raw image files (3FR extension) from the card.

Lightroom - Imported the 3FR image.

Lightroom - Exported the images as a 16-bit TIFF file.

Pixelmator - Used the repair tool to attenuate some distracting fetaures from the margins of the image.

Pixelmator - Output the result as a TIFF file.

Lightroom - Imported the TIFF image.

Lightroom - Used the Map module to add the location details to the EXIF header.

Lightroom - Applied various basic lighting and color adjustments in the Develop module to optimize the lighting of the sky region.

Lightroom - Saved the Develop module settings as a preset.

Lightroom - Output the image as a JPEG image using the “Maximum” quality option (8272 x 6200 pixels).

PhotoSync - Copied the JPEG file to my iPad Mini for any final processing, review, enjoyment, and posting to social media.

@MomentsForZen #MomentsForZen #MFZ #Hasselblad #501CM #CFV50c #Lightroom #Pixelmator #PhotoSync #Sky #Night #Dark #Stars #StarTrails #TheGreatCross #Trees #MilkyWay #SouthernPointers #Pointers #CoalsackNebula #SouthernCross #Carina #Canopus #SouthCelestialPole #StMarks #StMarksNationalTheologicalCentre #StMarksNTC

On Day 3 (part 1) of some extreme social distancing / camping / hiking with my son in Kansas we found a lot of snakes and lizards and some cool eastern birds also.

Slender Glass lizard (Ophisaurus attenuates)

One of the animals I was really hoping to see on this trip is the glass lizard which is a kind of legless lizard that lives in the great plains. To the casual observer these might look like snakes because of their lack of legs but there are some key differences between lizards and snakes that help you to know these are in fact lizards. Primarily, lizards can close their eyes. Snakes do not have eyelids and cannot close their eyes. They may have clear protective scales over their eyes but they don't have eyelids. Secondly, snakes do not have ears wheras lizards do. There are additional differences but If you look at this portrait of a legless lizard you can see that it does have ears and I have plenty of shots where it was closing its eyes but I prefer images with their eyes open. This was a really big individual that I found under a rock. We found another one a short while later.

Someone's gone to a lot of trouble.

LR1305

Esta es la cuarta foto consecutiva que subo de este tren. Quizás esté abusando de vuestra paciencia pero, dado que las anteriores han tenido buena acogida, continúo con este "monográfico" de la locomotora 601.005 con su nuevo "traje" de Captrain. El tren había salido de Bilbao Mercancías con un tremendo retraso pero subió el Puerto de Orduña como un tiro y, tras fotografiarlo en Delika, se nos escapó en la ya cásica curva de Pobes. Así que nos dirigimos hasta este también "clásico" punto entre Calzada y Briviesca para hacerle la segunda foto del día. Una vez más, el Alvia Barcelona-Vigo retuvo a este tren (en Miranda en esta ocasión) y tuvimos que esperarlo durante un largo rato porque había otro mercante afectado y le correspondía salir delante del Tramesa. Por suerte, durante la espera el tiempo mejoró notablemente y el paso del tren coincidió con un momento de sol aderezado por unas molestas nubes y sus correspondientes sombras que, una vez más, ha habido que atenuar durante el revelado.

This is the fourth consecutive photo I upload of this train. I may be abusing your patience but, since the previous ones have been well received, I continue with this "monograph" of locomotive 601.005 with its new "suit" of Captrain. The train had left Bilbao Mercancías with a tremendous delay but it climbed Orduña Pass like a shot and, after photographing it in Delika, we lost the photo in the already classic curve of Pobes. So we headed to this also "classic" point between Calzada and Briviesca to take the second picture of the day. Once again, Alvia Barcelona-Vigo retained this train (in Miranda on this occasion) and we had to wait for a long time because there was another freight affected and it was up to that train to leave in front of Tramesa. Luckily, during the wait the weather improved significantly and the passage of the train coincided with a moment of sun seasoned by annoying clouds and their corresponding shadows that, once again, had to be attenuated during the development.

This photo is unmanipulated. Light adjustment on the below part including the grass that I wanted to let it be seen burned-out by the sun & the light, to reflect the exact view my eyes, a lil blinded by the light, saw this scenery.

About its frame: under an aestetic point of view, I could have attenuated the peephole frame in a creamy semi-tansparent colour, but a peephole is a peephole! It allows you to blink and watch through it but not outside of its frame, so I prefeferred to apply a foreframe in a gradient dark smoky foreground, just slightly semi-transparent in oder to not appear as a solid colour frame (I usually don't like frames!)

The Peephole is a concept more than a frame, a doorway for viewers to see a piece of my world. I see it all, in few steps from my garden I am in the Groove & in the Wild, I don't need any peepholes: what I am so fortunate to see, experience and admire is all mine! Even the fields that don't belong to me ;-) Even the windows of my home are very special pictures hunging on the wall, ture pictures that changes accordingly to the season & the atmospheric facts, the weather conditions and not only ... Thank's Heaven I can see the magic of Nature! I can see the Magic!

For the friends & guests of my new Gallery Group "NATURAL PURE NATURE": this is an example of frame I could accept, but I highty encourage to post in here photos absent of any framing, black and especially white as I don't like thick white frames. Eventually ok thin frames, better black but white is ok if the colours of the background or of the subject photographed request the white better than the black).

There is something it matters me to this picture which I will express in a below comment.

Ref. land 060 (5300X7700). Shooting position: lying on the ground. Original upload size: 16,3 MB

©WhiteAngel Photography. All rights reserved.

#AtmosphericPhotography

The Valley Railroad's venerable Consolidation #97 pauses in one of the line's most distinctive locations - a narrow and deep rock cut at the north end of the Deep River Yard. Named for the imposing Tate House that overlooks the site, this cut is the location of the switch that allows Valley Railroad locomotives to utilize the passing track in the Deep River Yard to run around their passenger consists. This cut has always interested me as a great location for photos, but the lighting during daylight hours is always difficult. This is a north-south cut and the locomotives always face north. Even on cloudy days, the surrounding tree canopy seriously attenuates the light. About a year ago I became convinced that the only way to shoot this spot was at night. It took several attempts using various techniques, and it almost cost me a case of frostbite, but on one of Old 97s's last runs in 2010, I finally managed a keeper from the cut.

Morning Joy

Description: This bird is predominantly granivorous. The beak shape is efficient in crushing and sectioning seeds, but they might feed on insects occasionally. Their nest is bowl-shaped, and Sicalis flaveola are often seen usurping abandoned nests. Females lay an average of 4 eggs, which are incubated for 14 or 15 days. They like dry lands, but are often seen in urbanized areas, preferring to cling to groups. The male has a bright yellow coloring, while the female's coloring is less saturated, reaching a shade of grey. The subject portrayed in the picture is a female and was photographed in the Santa Catarina state in Brazil. Sicalis flaveola pelzeini is one of the two subspecies of saffron finch found in Brazil and belongs in the order Passeriformes, suborder Passeri, superfamily Passeroidea, family Thraupidae and subfamily Diglossinae.

According to this source (www.wikiaves.com.br/canario-da-terra), we have the following subspecies:

Sicalis flaveola brasiliensis (Gmelin, 1789) - Occurs in Brazil in the states of Maranhão, Minas Gerais, Piauí, Ceará, São Paulo, Pernambuco, Bahia, Rio de Janeiro and Espírito Santo. The Northwestern males of Sicalis flaveola brasiliensis display a stronger coloring, with a bigger reddish-orange crown. The dorso possesses a few thin stretch marks and is subtly greenish. Females are yellow and possess a reddish-orange crown, which is attenuated in comparison to the males.

Sicalis flaveola pelzelni (P. L. Sclater, 1872) - Occurs in Bolivia, East of the Andes. In Brazil, they are found in the states of Mato Grosso, Mato Grosso do Sul, Paraná, Rio Grande do Sul and Santa Catarina. Males possess stretch marks on the head and dorso. The ventral region is of an attenuated yellow, especially on the neck. Females possess stretch marks on the head and dorso, but these are less attenuated than those of S. f. brasiliensis, and the under tail covert is colored equally with the ventral area.

Sicalis flaveola flaveola (Linnaeus, 1766) - Occurs in Colombia, Guianas, Venezuela and Trinidad. Has been introduced to Panama, Porto Rico and Jamaica. The crown is orangeish and the back slightly green with a few attenuated stretch marks. The inferior is an yellowish-green. They're bigger than S. f. brasiliensis.

Sicalis flaveola valida (Bangs & T. E. Penard, 1921) - Occurs in Peru and Ecuador. They're the biggest subspecies. The yellow is darker than that of S. f. flaveola and the crown is reddish. They posses greener backs than S. f. flaveola. The beak is bigger and stronger and the legs are pinkish. Males and females are similar.

Sicalis flaveola koenigi (G. Hoy, 1978) - Occurs in the Northwest of Argentina, in the regions of Salta and Jujuy. They're similar to S. f. brasiliensis, but the beak is shorter and larger.

However, according to this source, S. f. brasiliensis can also be found in the region, so I'm leaving the subspecies as doubtful: www.cobrap.org.br/especie/5/can%C3%A1rio.

Feeding type: Granivorous. May feed on insects occasionally.

PROJECT NOAH (Português): www.projectnoah.org/spottings/1403863758

The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence.

The portrait is one of a pair that depict a recently married merchant and his wife.

Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.

But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels (which draw one's attention to the couple's wealth) is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.

These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.

Outre le train et la femme qui habitent l’œuvre de Delvaux avec constance, d’autres personnages récurrents peuplent son univers dont les savants qui impressionnèrent Delvaux durant sa jeunesse. Avide d’évasion, il se plongea dans la lecture des aventures de Jules Verne et en retint deux scientifiques : le géologue Otto Lidenbrock, issu du Voyage au centre de la Terre (1864) et le professeur Palmyrin Rosette, physicien tiré d’Hector

L'écrivain Jules Verne (1828-1905) est considéré comme l’un des

pionniers de la science-fiction avec ses récits d'exploration et d'aventure futuristes. Ses œuvres, telles que Voyage au centre de la Terre ou De la Terre à la Lune, ont fasciné de nombreuses générations par leur vision scientifique et imaginaire du monde

Servadac (1877). Ils évolueront dans la galaxie de Delvaux et seront réunis à l’occasion d’une peinture : Hommage à Jules Verne. Lidenbrock apparaît dès 1939 et révèle l’association entre nature et science qui s’opère dans l’imaginaire du peintre. Delvaux s’inspire du dessin d'Édouard Riou (1833-1900), illustrateur des œuvres de Jules Verne, et le transpose avec exactitude, sans chercher à atténuer son caractère étrange ni à l’intégrer avec fluidité dans son propre monde.

In addition to the train and the woman who constantly inhabit Delvaux's work, other recurring characters populate his universe, including the scientists who impressed Delvaux during his youth. Eager to escape, he immersed himself in the adventures of Jules Verne and retained two scientists: the geologist Otto Lidenbrock, from Journey to the Center of the Earth (1864), and Professor Palmyrin Rosette, a physicist from Hector.

The writer Jules Verne (1828-1905) is considered one of the pioneers of science fiction with his tales of futuristic exploration and adventure. His works, such as Journey to the Center of the Earth and From the Earth to the Moon, have fascinated many generations with their scientific and imaginative vision of the world.

Servadac (1877). They will evolve in the Delvaux galaxy and will be brought together on the occasion of a painting: Homage to Jules Verne. Lidenbrock appeared in 1939 and reveals the association between nature and science that takes place in the painter's imagination. Delvaux was inspired by the drawing of Édouard Riou (1833-1900), illustrator of the works of Jules Verne, and transposes it with precision, without seeking to attenuate its strange character or to integrate it fluidly into his own world.

Saltburn beach tractors wrapped up for winter - sea air attenuates temperatures but their engine blocks are open to frost damage so if the thermometer does plummet, they can freeze and even crack.

Where did mom go? In what seemingly appears to be a game of peek-a-boo, a female monk seal shovels her face into the beach sand as the pup looks around. After taking her 15-day old pup for a swimming lesson, the adult galumphed ashore and nosed into the sand. This is a frequently observed behavior attributed to a variety of reasons ranging from sun screening to molting itch to sensory attenuation. Whatever the motive, it was anthropomorphically amusing to watch. Monk seals are, unfortunately, among the rarest of marine mammals. A recent census indicated a slight increase in the total population to an estimated 1,600 individuals. The encouraging population increase may be due to diligent conservation efforts.

Site: Lac St-Charles (terrain privé / Private land)

J'ai eu beaucoup de chance. Ils sont venus se poser en avant de moi. Malheureusement l'avant-midi était assez avancé et il faisait un soleil de plomb; aucun nuage ou humidité pour atténuer la lumière. Tout de même ils m'ont fait vibrer ces 2 harles.

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I have been very lucky. They have landed on water ahead of me. Unfortunately the morning was quite advanced and the sun was very strong; no clouds or moisture to attenuate light. But these 2 mergansers have given me much pleasure.

La vida entre sorra.

Les sahrauís es vesteixen amb "melhfas" o teles de colors, porten sota pantalons texans i imiten algunes modes occidentals, encara que són fidels a les seves tradicions.

Les dones sahrauís dels campaments de Tindouf (Algèria) són guerreres que sobreviuen en un desert hostil que els resseca la pell i l'ànima.

El marró ho domina tot, fins que apareixen les dones amb les seves "melhfas" vermelles, grogues i blaves per pintar aquest bucòlic llenç que vibra cada vegada que una musulmana sahrauí emet un "zaghareet" o crit d'alegria.

Llavors, la solitud del desert atenua la seva imponent presència, els núvols es dispersen i el poble somriu.

La paleta saturada dels seus vestits, vivifica una terra estèril que s'ha convertit en un refugi obligat durant gairebé 41 anys, des que el Marroc ocupés el Sàhara Occidental el 1975.

Campaments Refugiats Sahrauís - la Fati a Smara.

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Fati.

Life among sand.

The Saharawi dress in "melhfas" or colored fabrics, wear under jeans and some imitate Western ways, although they are faithful to their traditions.

Women Sahrawi camps in Tindouf (Algeria) are warriors who survive in a hostile desert that dries the skin and soul.

Brown dominates everything, until they are women with their "melhfas" red, yellow and blue paint this bucolic canvas vibrates whenever a Muslim Sahrawi issue a "zaghareet" or cry of joy.

Then the solitude of the desert attenuates its imposing presence, the clouds disperse and the people smile.

The palette of saturated his clothes, revives a barren wasteland that has become a refuge for nearly forced 41 years since Morocco occupied Western Sahara in 1975.

Saharawi Refugee Camps - Fati in the Smara.

Last night (Feb 19, 2015) at ELCC Exhibition, the judge, Frank Frost, said he didn’t know whether or not this was a real photo or Photoshop art. I just wanted to clear this up for those interested that this is a REAL photo. Taken June 5, 2012 at Continental Divide, New Mexico during the last hour of the Venus transit of the Sun. I was shooting the Venus transit all afternoon, and when the Sun was only 3.5 degrees above the horizon, an airplane flew in front of the Sun and appears to be headed for the planet Venus (the roundish black circle on the right side of the solar disk). The airplane was a UPS MD-11 on a flight from Ontario, CA to Louisville, KY. The MD-11 was at a distance of 71 miles, Venus at 27 million miles, and the Sun at 92 million miles, all lined up within 0.05 degrees of one another! If my calculations are correct it took 3.8 seconds for the plane to cross the disk. I was watching in live view (only way to see the sun) and took only only two photos (cable release, mirror up/shutter release mode). In my humble opinion I made a pretty good composition, helped by the short contrail. There was no do-over. The black areas on the surface of the Sun are sunspots. The rest of the story (and how I contacted the pilots) of how this photo was taken is here: tinyurl.com/ob9e8b9

The next time Venus will be in front of the sun as viewed from planet Earth will be in December 2117, almost 103 years from now. So, this was a once-in-a-lifetime shot for me - just dumb luck. This photo was also featured on NASA’s Earth Science Picture of the Day: epod.usra.edu/blog/2014/10/flight-to-venus.html

Nikon D800, Nikkor 400mm f/2.8 with 1000X internal attenuation filter and 2X extender (800mm equivalent focal length). Shot at lens setting of f/5.6 (equivalent of f/11 with extender) and 1/4000 sec exposure.

Bob Fugate

I’ve recently had an opportunity to set up my little Redcat 51 telescope at a dark site - Starfront Observatories north of Rockwood, Texas - an upstart observatory by Bray Falls with prices for the rest of us. My friend here in Phoenix was taking his scope there for swap out and he offered to take mine. Hand carrying the rig made it a lot more appealing and the rent is per month and reasonable, so decided to try it. The first week has been a great experience working with the staff and getting my rig running. At this point I’d say highly recommended.

To be clear on how this works, I control my telescope installed at an observatory in Texas from my home in Phoenix by sending commands over the internet.

They did the install in less than 24 hours and, within my ability to measure, set the polar alignment to a few tens of arc seconds. The site is dark - a one minute luminance exposure shows the background about 50 ADUs above the offset. No site SQM yet but several people have meters on their scopes and are reading as high as 21.9.

So my first 3 nights I was trying for the supernova remnant (SNR) HB3 just below the Heart nebula - not normally seen in images because it is so faint. So here is my first light image from Starfront. Redcat 51, Chroma 3 nm filters, ASI6200MM, ZWO AM5N mount. They provide a pier, power, and an internet connection. Running the rig with a mini PC and using NINA for sequencing. I use a 2 megapixel astro camera pointed vertically mounted at the base of my pier to monitor my equipment and view the quality of the night sky.

This image built from 68 Ha, 49 SII, 148 OIII (5 minutes each) and 30X30s each R G and B subs for a total integration of 21 hours. Straightforward and easy processing (no gradients) as SHO then NarrowbandNormalization script in PixInsight and finally screened with SPCC calibrated RGB stars in Photoshop. The image is not cropped. I did somewhat attenuate the stars with a curves adjustment in PS since they are so dense (PI measured 122,000+) they hide the very faint SNR. I’ve included a starless version as it shows the nebulosity in more detail and the planetary nebulae just pop out of the star field - the small bright small circular objects.

The scientific literature suggests the distance to HB3 is between 5200 and 7825 light years. The Heart nebula is 7500 light years, so they could be at the same distance but there is no evidence they are related, so probably not at the same distance. This makes the SNR about 200 X 260 light years in physical size. Age is estimated to be 50,000 years.

HB3_Heart_Starfront_Redcat51_SHO_NBN_RGBStars_24hr20min_RQFugate_4096.jpg

Tiene partes de su sombrero y pie, cubiertas de flocones de amarillo dorado. Sombrero 3-8, de hemisférico a aplanado, con margen incurvado. Cutícula viscosa, blanca, con abundantes gránulos lanosos del citado color. Láminas blanquecinas, decurrentes, espaciadas, con lamélulas. Pie cilíndrico, atenuado en la base, con flocones en el ápice o por todo. Carne blanquecina, escasa. Olor penetrante, sabor dulce. Esporada blanca.Habitat bosques de coniferas, haya y roble.otoño He has parts of his hat and foot covered in golden yellow flocones. Cap 3-8, hemispherical to flattened, with curved margin. Viscous cuticle, white, with abundant woolly granules of the mentioned color. Whitish plates, decurrent, spaced, with lamellulae. Cylindrical stem, attenuated at the base, with flocons at the apex or throughout. Flesh whitish, sparse. Penetrating smell, sweet taste. White spore.Habitat coniferous, beech and oak forests.Autumn

Secondo il mio modesto parere, questa foto rappresenta bene la quintessenza della stagione autunnale ( nel senso dell’espressione diretta, compiuta e in certo modo condensata del periodo dell'anno) : colori tra i boschi, fievoli raggi di sole attenuati da un po' di nebbia, alberi in parte senza e in parte ancora con foglie.

__________________________

Autumn. The quintessence of the season.

In my humble opinion, this photo well represents the quintessence of the autumn season (in the sense of a direct, complete and in a certain way condensed expression of the time of year): colours among the woods, faint rays of sunshine attenuated by a bit of fog, trees partly without and partly still with leaves.

# null daten

There is a star cluster and nebula designated IC 348 in the constellation Perseus. It is just above the horizon in the north east at dark in late November in the northern hemisphere. It lies at the southern edge of the winter Milky Way between the Pleiades and the bright star Capella and goes directly overhead near midnight. It is approximately 1500 light years from Earth.

The very bright star Atik, also known as Omicron Persei is the brightest star in the cluster and lights up what we can see in the region, producing reflections from the surrounding dust and exciting hydrogen making a extensive red emission nebula. This star is just left of center in the image. It has a magnitude of 3.85 but is attenuated by nearly a magnitude by the intervening dust. The dust that appears white is behind the star and is seen in reflected light. The brown and black regions is dust between us and the star and blocks or partially blocks the visible light from stars behind it. The large reddish area is emission from excited and ionized hydrogen that is most likely created by Atik. This red region is about 25 light years wide.

The image was made in Mule Creek, New Mexico using my Takahashi Epsilon 160ED Hyperbolic Newtonian telescope and ZWO ASI6200 MM Pro monochromatic camera with a set of LRGB and Ha Chroma filters. The image was constructed in PixInsight from 129 2 min L, 40 1 min each R, G, and B and 62 3 min Ha exposures - 311 images totaling 9 hours and 24 min of integration. All images were made in one night on November 12, 2023.

IC348_region_LHaRGB_MuleCreek_NM_231112_RQFugate

Madurai (Inde) - Photo au cadrage approximatif, pied coupé… A ma décharge, j’étais encore dans le ricskaw qui venait de s’arrêter quand j’ai vu cette grand bouteille de soda et cet indien attendant son thé. Je ne sais pas pourquoi, contrairement à mon habitude, je me suis précipité, alors que j’avais tout mon temps ?

Indian soda ?

Madurai (India) - Photo with approximate framing, foot cut… Attenuating circumstance, I was still in the ricskaw which had just stopped when I saw this large bottle of soda and this Indian waiting for his tea. I don't know why, contrary to my habit, I rushed, when I had plenty of time?

Agave in flower .. Agave attenuate

Chapel Hill

Brisbane

- This Photo on Getty

- MASPhotography Getty Images Gallery

Last time I imaged this pair, I was using a t1i that I removed the IR filter from. I was impressed with how well the Horsehead showed up using a dslr that still had the IR filter one it. (The gas cloud that illuminates it is hydrogen and the light falls in the range attenuated by the filter.)

16 - 420 s lights

22 - 420 s darks

31 - flats

- Canon 6D @ ISO 1600

- 10" Orion f4 Newtonian Scope

- Celestrion CGEM mount

- QHY5L-II guidecamera

- Orion ST80 400 mm Guidescope

- QHY Polemaster

- PHD2

- AstroTortilla

- BackyardEOS

- Stellarium

- pixinsight

- photoshop

This incredibly attenuated drawing of the young queen makes her appear to have been tall. The truth is that she was probably less than 5'2". Her cousin, mary, Queen of Scots, on the other hand, was close to 6'.

This was my first photo shoot in December, as I've been trying to not be out of the house too often. There was some nice wave action going on at this location, and I somehow found a relatively safe position to get in on the action. I ended up liking this particular capture, which shows the water flowing off the rock in the distance after a wave hit. I was quite surprised not to get wet on this outing.

I had started out the evening with a 0.9H grad ND, but realized this wasn't enough to attenuate the bright cloudless sky, so I ended up stacking an additional 0.6S grad ND over the 0.9H. For safety, I made sure to stop the photo shoot a little early in order to have natural light while hiking back to the beach over the rocks. Single exposure.

From Wicki:

Iridescence (also known as goniochromism) is an optical phenomenon of surfaces in which hue changes in correspondence with the angle from which a surface is viewed.

Iridescence is caused by multiple reflections from multi-layered, semi-transparent surfaces in which phase shift and interference of the reflections modulates the incident light (by amplifying or attenuating some frequencies more than others).

The word iridescence is derived in part from the Greek word iris (pl. irides), meaning "rainbow", which in turn derives from the goddess Iris of Greek mythology, who is the personification of the rainbow and acted as a messenger of the gods. Goniochromism is derived from the Greek words gonia, which means angle, and chroma, which means color.

EXPLORED 2009-06-20 #261

Circa 1900 - Taylor Monument in the cemetry at Newport Pagnell 11Apr17 grade II listed.

The following is from Historic England.

Name: TAYLOR MONUMENT IN THE SOUTHERN PART OF EASTERN SECTION OF THE CEMETERY

Designation Type: Listing

Grade: II

List UID: 1380123

Monument. c.1900 for members of the Taylor family. Probably built by Wilford Bros, Builders and Funeral directors, of Union Street, Newport Pagnell. Built of brick, faced with Bath oolitic limestone in ashlar work, and carrying 5 copper/bronze plaques and two wooden tablets. The monument is in the form of an exedra backing into the terraced slope. Wide curved arms with terminal dentilled and corniced pilasters, rounding to a central arched aedicule between similar pilasters; a round-headed arch set in a channel-rusticated surround with an open modillion pediment, and a cushioned shield above the arch bearing the legend MORS JANVA VITAE. The curved wings have a continuous cornice and a seat, between which the plain ashlar walling has raised carved attenuated trees with roots and foliage in an Art-Nouveau style rising as fictive supports to the modillion cornice. Between each tree there are plaques with the names of members of two generations of the family, the earliest, of cast bronze, to Thomas Taylor (1832-1900), by Blunt and Wray of Clerkenwell, the others of sheet bronze making a total of seven. The floor is paved within the tangent of the outer piers. Lead screw mountings on the cornice suggest a missing metal cresting. The Taylor family was were eminent in the town, as chemists, mustard and mineral water manufacturers.

Oct 2011. Just as Queen Elizabeth 2nd and Prince Phillip arrived.

(Wikipedias)

Government House is the official residence of the governor of Western Australia, situated in the central business district of Perth, the state capital. It was built between 1859 and 1864, in the Jacobean Revival style.

Government House is located on St Georges Terrace (Perth's main thoroughfare), sitting on the same block as Council House and the Supreme Court buildings. The site has been used by governors since the establishment of the Swan River Colony in 1829; the current building is the third to have served that purpose on the site. The buildings and gardens of Government House are of exceptional heritage significance, being listed on the Western Australian Register of Heritage Places and classified by the National Trust. They are regularly opened for public viewing.

Description

The building is a two-storey mansion designed by Edmund Henderson in the early Stuart or Jacobean Revival style, set on 32,000 square metres (7.9 acres) of English gardens in the centre of the Perth business district, between St George's Terrace and the Swan River. The unique architectural character of the building is characterised by the use of stonework and bonded brickwork, incorporating square mullioned windows, decorated gables and ogival capped turrets. The attenuated gothic arcading at ground floor level derives from another form of Victorian Revival expression Fonthill Gothic. The building has 16 rooms on the ground floor and 25 on the first floor. According to the Western Australian Register of Heritage Places Assessment, Government House is a "unique example of a Victorian Gentleman's residence" set in landscaped gardens with mature plantings and a number of commemorative trees.

the Ic 4628 nebula in SHO filters, about 6.5 hours, telescope TEC APO 140mm, camera STF8300/AO-8, from La Colonia, Illapel, Chile. Still I could get another version with "normal RGB" in the stars, but this have to wait to next month...Color version always attenuates some details...

La nebulosa IC 4628 en filtros SHO, por casi 6.5 horas, telescopio TEC APO 140mm, camara STF8300/AO-8, desde la Colonia, Illapel, Chile. Aun podría subir otra version con colores normales "RGB" en las estrellas, pero esto deberá esperar otro mes...siempre las versiones en color pierden detalles comparado con el blanco y negro...

Mattheus van Helmont (Antwerp, 1623 - Brussels, about 1679) - four peasants in front of the fireplace (1650-1700) - oil on copper 22 x 17 cm. - Poldi Pezzoli Museum, Milan

In un interno rustico sono raffigurati quattro personaggi di fronte ad un camino: un uomo e una donna stanno seduti di spalle su una panca e parlano con due uomini in piedi. Il camino sullo sfondo illumina la scena. Il tipo di scena si inserisce nella tradizione della pittura fiamminga di genere, che ama rappresentare interni di taverne con personaggi che si intrattengono, molto spesso bevendo e fumando. Adriaen Brouwer (Oudenaerde, 1605/06 – Anversa, 1638) e David Teniers (Anversa, 1610 – Bruxelles, 1690) furono i capiscuola di questo filone e la loro opera influì notevolmente sugli artisti delle generazioni successive, tra cui lo stesso Van Hellemont, che svolse la sua attività di pittore tra il 1638 e il 1670. L’abbondante produzione di questo artista si caratterizza per la varietà dei temi: interni paesani, scene con alchimisti nel loro laboratorio e feste di villaggio. Rispetto ai modelli, soprattutto quelli di Brouwer, Hellemont offre un’immagine del mondo contadino generalmente più pacata, testimoniando la tendenza della pittura fiamminga “di genere” nel corso del Seicento ad attenuare la carica satirico-grottesca più fortemente perseguita nell’ambito protestante olandese.

In a rustic interior four people are depicted in front of a fireplace: a man and a woman sit with their backs to a bench and talk to two men standing there. The fireplace in the background illuminates the scene. The type of scene fits into the tradition of Flemish genre painting, which likes to depict tavern interiors with characters entertaining themselves, very often drinking and smoking. Adriaen Brouwer (Oudenaerde, 1605/06 - Antwerp, 1638) and David Teniers (Antwerp, 1610 - Brussels, 1690) were the leaders of this trend and their work greatly influenced the artists of later generations, including Van Hellemont himself, who worked as a painter between 1638 and 1670. The abundant production of this artist is characterized by the variety of themes: village interiors, scenes with alchemists in their workshop and village festivals. Compared to the models, especially those of Brouwer, Hellemont offers an image of the peasant world generally more subdued, testifying to the tendency of Flemish "genre" painting during the seventeenth century to attenuate the satirical-grotesque charge more strongly pursued in the Dutch Protestant sphere.

[Hawaii Vacation 2015, Day 10 of 11]

As we were driving back down the road, I looked to my left and noticed a small unofficial viewpoint at the side of the road. I quickly stopped the car and told my son I was going to take a look. I was amazed.

I quickly pulled the tripod out of the truck and set up for the shot. As minutes passed I watched the misty clouds descend to the mountain tops. I'm guessing this shot could have been sharper with a better lens, but I did the best I could with my 18-55mm kit lens.

There were actually helicopters flying between the mountains. In hindsight I wish I had captured a shot or two with a helicopter (which looked very tiny) to give a sense of scale. This capture does not adequately show how grand in scale the Waimea Canyon is!

Single exposure with 0.9H +0.9H stacked to attenuate the brightness in the clouds above the mountains.