London Bridges (Thames)
View allAll Photos Tagged constraining
The Upsala Glacier is a large valley glacier on the eastern side of the Southern Patagonian Ice Field. This glacier can be seen in the distance, behind this huge iceberg.
Its higher portion lies in a disputed territory between Chile and Argentina. While the glacier flows from north to south it has three lesser eastflowing tributary glacier: Bertacchi, Cono and Murallón.
Its importance lies in the fact that with a tongue of almost 54 km whose wall overlooks Lake Argentino, it is one of the longest glaciers in South America.
Approaching the Upsala Glacier is very dangerous due to its landslides and floating icebergs.
The name comes from the old spelling with one 'p' of Uppsala University, which sponsored the first glaciological studies in the area. The university is located in Uppsala, Sweden.
The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. In 2008, another period of even faster retreat started, reported as being about 10 times faster than the period recorded in the eight years prior.
As of 2018 Upsala Glacier has retreated to such degree that it no longer constrain its tributary Bertacchi Glacier. Likely this makes Bertacchi Glacier have higher flow rates reflected with a subsequent stretching and thinning out of parts of the glacier as well. At parts the velocity of flow is also thought to have increased in Bertacchi Glacier as result of the near-separation from Upsala Glacier.
📍 Los Glaciares National Park, El Calafate, Lago Argentino, Santa Cruz, Argentina
(english follow)
Note: Je dédie cette image à notre collègue Irina Dimulescu, pour son aide inestimable.
Un hiver sur Poësia
Un vent glacial balaie des champs sans voix, sans vie
Et l’ombre projeté par les arbres dénudés retient son souffle
Sous la lumière grise et déclinante
D’une journée d’hiver au ciel fatigué
Coloré de blanc et de gris
Sans dessus dessous.
L’hiver nordique est mal aimé.
Tellement la loi naturelle qui le sous-tend apparait contraignante pour une société qui se donne l’illusion de pouvoir s’en affranchir…
En tout confort.
Et pourtant… C’est en hiver…
…que la magie du ciel étoilé nous donne l’impression de pouvoir toucher, de la main, à l’infini
…que la pleine lune inonde la trop longue nuit de ses jeux d’ombres et de lumière impressionnistes
…que les enfants reviennent à la maison les joues rougies de bonheur
…que le paysage s’offre aux artistes en toute simplicité
…que l’on reconnait en soi cet irrésistible été, promesse de lendemains scintillants.
Là-bas, une clôture s’est affaissée sous la force combinée du vent et du poids de la neige. Le fermier devra la réparer.
L’hiver, comme la vie elle-même, est persévérance
Patrice photographiste
———————————————————-
Note: I dedicate this image to our colleague Irina Dimulescu, for her invaluable help.
Winter on Poësia
An icy wind sweeps across voiceless, lifeless fields
And the shadow cast by the bare trees holds its breath
Under the gray and fading light
From a winter day with tired sky
Colored in white and gray
Upside down.
The Nordic winter is badly loved. So is the natural law which is at its core, and seems constraining for a society under the illusion that could escape it. . . in complete comfort.
And yet ... It's in winter ...
... that the magic of the starry sky gives us the impression of being able to touch, with our hands, infinity
... that the full moon floods the too long nights with its play of impressionist light and shadows
… Let the children come home with their cheeks reddened with happiness
... that the landscape offers itself to artists unpretentiously
... that we recognize in ourselves this irresistible summer, the promise of a scintillating tomorrow.
There, a fence collapsed under the combined force of the wind and the weight of the snow. The farmer will have to fix it.
Winter, as life itself, means perseverance.
Patrice photographiste
Thank you all! FP Explore ..
I was there all alone when I was enjoying the beauty (was in a business trip)? I hope to take the family there once. That area mainly a ski resort ... on the way to the main ski resort (Granby) which I missed due to time constrain .. (I heard that Lake would have driven me insane due to its beauty .. so maybe next time) :-)
(english follow)
Outreterre
J’ai souvent visité ces Terres étrangères, à la fois improbables et inaccessibles dans la réalité qui est nôtre.
Ce sont des Terres intangibles, situées dans l’imaginaire des écrivains de science-fiction, des concepteurs graphique, des poètes et autres explorateurs de l’imagination.
Ce sont des mondes imaginés que peu d’entre-nous explore, prisonniers que nous sommes de la réalité de la vie quotidienne.
Mais, surtout, ce sont des espaces de liberté d’où on peut explorer sans contrainte des univers physiques et philosophiques qui seront peut-être ceux de nos enfants.
Entendez-vous les chants irrésistibles de notre Terre lointaine? Il est temps d’y revenir et de l’aimer.
Patrice photographiste
——————————
OUTLAND
I have often visited these foreign lands, both improbable and inaccessible in the reality that is ours.
They are intangible lands, located in the imagination of science-fiction writers, graphic designers, poets and other explorers of the imagination.
They are imaginary lands that few of us could explore prisoners as we are of the reality of everyday life.
But, above all, they are spaces of freedom one could explore, without constrains, physical and philosophical universes which will be perhaps those of our children.
Could you understand the irresistible songs of our faraway Earth? It is time to come back and love it.
Patrice photographiste
The Upsala Glacier is a large valley glacier on the eastern side of the Southern Patagonian Ice Field. This glacier can be seen in the distance, behind this huge iceberg.
Its higher portion lies in a disputed territory between Chile and Argentina. While the glacier flows from north to south it has three lesser eastflowing tributary glacier: Bertacchi, Cono and Murallón.
Its importance lies in the fact that with a tongue of almost 54 km whose wall overlooks Lake Argentino, it is one of the longest glaciers in South America.
Approaching the Upsala Glacier is very dangerous due to its landslides and floating icebergs.
The name comes from the old spelling with one 'p' of Uppsala University, which sponsored the first glaciological studies in the area. The university is located in Uppsala, Sweden.
The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. In 2008, another period of even faster retreat started, reported as being about 10 times faster than the period recorded in the eight years prior.
As of 2018 Upsala Glacier has retreated to such degree that it no longer constrain its tributary Bertacchi Glacier. Likely this makes Bertacchi Glacier have higher flow rates reflected with a subsequent stretching and thinning out of parts of the glacier as well. At parts the velocity of flow is also thought to have increased in Bertacchi Glacier as result of the near-separation from Upsala Glacier.
📍 Los Glaciares National Park, El Calafate, Lago Argentino, Santa Cruz, Argentina
I cannot give you solutions
to all life’s problems,
Nor do I have answers
to your doubts or fears
But I can listen to you
and share it with you
I cannot change
neither your past nor your future.
But when you need me
I’ll be by your side.
I cannot prevent you from stumbling
I can only offer you my hand
to hold on to you so you won’t fall.
Your joys, your victories, your successes
are not mine.
But I truly enjoy it when I see you happy.
I do not judge the decisions you take in life.
I constrain myself to support you,
to stimulate and to help you if you ask me to.
I cannot draw limits for you
within which you must act,
But I can offer you the space
needed to grow.
I cannot avert your sufferings
when some pain is breaking your heart.
But I can cry with you
and pick up the pieces
to armour it again.
I cannot tell you
who you are,
nor who you should be.
I can only love you
as you are and be your friend.
These days, I have been thinking
about my friends,
amongst whom you appeared.
You were neither on top,
nor at the bottom, nor in the middle.
You were not heading
nor concluding the list.
You were not the first number,
nor the last.
And neither do I pretend to be the first,
the second, or the third on your list.
It’s enough if you want me as a friend.
Thank you for being one.
(Jorge Luis Borges)
Vaska allows himself to be taken in the arms of our daughter, but only for one minute. Then it breaks free and falls on its side.. He seams to be saying: stroke me if you want, but do not constrain my freedom!
Thank you all for visits, favs and comments, it's greatly appreciated!
The Upsala Glacier is a large valley glacier on the eastern side of the Southern Patagonian Ice Field. This glacier can be seen in the distance, behind this huge iceberg.
Its higher portion lies in a disputed territory between Chile and Argentina. While the glacier flows from north to south it has three lesser eastflowing tributary glacier: Bertacchi, Cono and Murallón.
Its importance lies in the fact that with a tongue of almost 54 km whose wall overlooks Lake Argentino, it is one of the longest glaciers in South America.
Approaching the Upsala Glacier is very dangerous due to its landslides and floating icebergs.
The name comes from the old spelling with one 'p' of Uppsala University, which sponsored the first glaciological studies in the area. The university is located in Uppsala, Sweden.
The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. In 2008, another period of even faster retreat started, reported as being about 10 times faster than the period recorded in the eight years prior.
As of 2018 Upsala Glacier has retreated to such degree that it no longer constrain its tributary Bertacchi Glacier. Likely this makes Bertacchi Glacier have higher flow rates reflected with a subsequent stretching and thinning out of parts of the glacier as well. At parts the velocity of flow is also thought to have increased in Bertacchi Glacier as result of the near-separation from Upsala Glacier.
📍 Los Glaciares National Park, El Calafate, Lago Argentino, Santa Cruz, Argentina
These roses were (obviously) bought ages ago, but I kept them for the purpose of taking some shots. Time and light have been the constraining factors in the last few weeks (when I had the time there was no light and when there was light no time etc ) yesterday I briefly had both. There’s no direct sunlight into this part of the kitchen at this time of the year, but there was some reflective light which had some stunning effects on the roses ( a photo that will be uploaded another day).
Thanks for stopping
This is evidently the Royal Yacht Britannia, and she was obviously photographed from a warship that was going in the same direction. There is another large warship in the background, also going in the same direction. I suppose these two ships must have been part of an escort, so it seems likely that someone important was on board at the time, perhaps even HM the Queen.
The Royal Yacht Britannia was commissioned in January 1954, which constrains the earliest possible date at which this picture can have been taken.
It was shot by my father, and the horizon isn't quite .... horizontal, but as he was on an ocean going warship at speed, that can be excused.
It was printed on some shiny, knobbly paper, which made it rather difficult to scan.
Photo taken at Saint Hubert 1750
From Élise's diary
It was one of those mornings when the air tastes of change — not of rain, but of possibility.
I wandered through the garden, trying to outrun my thoughts, drifting almost dreamlike toward the wilder part of the grounds.
The place where symmetry has no hold, where no courtly corset constrains — only untamed nature.
I love it there.
Perhaps because I, too, am not always entirely in shape.
Website & Blog: Saint Hubert Roleplay 1750/
The Theme for Macro Monday is Rust.............This Massive Rusty Chain was seen in Porthgain in Wales ( it would miss the groups Size constrains by Miles !! )
Sponsored by: Cyber Fair Event
Featuring:
• Neo Kitsch ★ – Heavy Netrunner Implant
• Guapa – Tactical Cyber Mask
• TERIYAKI – Heavy Netrunner Implant
• :::SOLE::: – SA - Neuro Camber
• NSDesign – ExoLab
Full credits and links after the story
----------------------------------------------------------
For centuries, humans have believed that evolution was an accident.
A succession of events that somehow led us forward.
Primitive thinking.
Evolution is not a force of nature.
It is a design problem.
These prototypes are examples of the costs of evolution.
Iterations of a species that never understood its own limitations.
The human mind is a fascinating instrument when pushed in the right direction.
Some minds are capable of processing reality faster than the world itself.
Most of them failed.
Not because the science was flawed.
Because they were still human.
Fear. Doubt. Instinct.
Weak variables embedded in the architecture of the mind.
Barriers that constrain their potential.
The equation is actually very simple.
Remove the variables.
That is all.
Now I stand as the final step of this process.
Not an accident of evolution.
But its designer.
And its result.
Soon the world will understand what humanity was always capable of becoming.
Once the limitations are gone.
Once their eyes are finally opened.
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■ Advance bio-containmet structure
■ Automated vertical security entrance doors
■ Functional Elevator
■ Central medpad chamber with 3 floating suspension animations
■ Interactive side control station with typing animation
■ 262 LI - 63x - 55y - 12.6z
A geranium basking in the morning Sun I cannot yet see, entangled in processing artifacts.
On this first day of Spring 2022, we—that is, I—interrupt our usual program with a reminder that we—that is, Sol, Gaia, Humanity—are all connected. We—that is, other people—just don’t always notice. In this 27-image handheld focus stack, I understand the processing artifacts, which only constrain the photographer, not the flower, and so could easily fix them. Maybe that will get posted, in due course.
Heard our revered guide Sir David Attenborough, in his excellent program “Breaking Boundaries”—highly recommended, worth the price of Netflix all by itself if, say, your budget leaves you enough surplus wealth for a camera—use the word “we” twice in the same sentence, leaving the viewer to work out the shifting implied reference. He said words to the effect of, “We—that is, scientists and the aware public—know that our actions are converting Nature from friend to foe, and so we—that is, corporations and a yet-to-be developed plenipotential global governance structure—can fix it.” True enough, as far as it goes. The program was mostly about explaining why people say “We have only a decade to avert the worst of climate change”, which in context seems a challenging schedule.
21 Mar 2022; 11:30 CDT; Provia ++
244;38;5
So I would say the debate being how to structure such a simple shot.... Prescribed academic tenets would dictate to place it off from the center and apply the 1/3 principle.
However ask any New Topographics photographer and they would say take you artistry out of it and show it for what it is..
Just find a way that everything fits 'nicely' into the frame.
John Sarkowski did not rate photographic education very highly and in fact he thought it "could harm creativity, constraining one's personal visual exploration."
Hunt defines that "two colors are complementary when it is possible to reproduce the tristimulus values of a specified achromatic stimulus by an additive mixture of these two stimuli."[9] That is, when two colored lights can be mixed to match a specified white (achromatic, non-colored) light, the colors of those two lights are complementary. This definition, however, does not constrain what version of white will be specified. In the nineteenth century, the scientists Grassmann and Helmholtz did experiments in which they concluded that finding a good complement for spectral yellow was difficult, but that the result was indigo, that is, a wavelength that today's color scientists would call violet. Helmholtz says "Yellow and indigo blue" are complements.[10] Grassman reconstructs Newton's category boundaries in terms of wavelengths and says "This indigo therefore falls within the limits of color between which, according to Helmholtz, the complementary colors of yellow lie."[11] Newton's own color circle has yellow directly opposite the boundary between indigo and violet. These results, that the complement of yellow is a wavelength shorter than 450 nm, are derivable from the modern CIE 1931 system of colorimetry if it is assumed that the yellow is about 580 nm or shorter wavelength, and the specified white is the color of a blackbody radiator of temperature 2800 K or lower (that is, the white of an ordinary incandescent light bulb). More typically, with a daylight-colored or around 5000 to 6000 K white, the complement of yellow will be in the blue wavelength range, which is the standard modern answer for the complement of yellow
Loch Ryan Lighthouse Cairn Point. A round tower, 15m high, first lit 1847, with cottage.
W M'Ilwraith 1877; J R Butt 1967; D B Hague and A Christie 1975
Following a proposal for the demolition and redevelopment of parts of this lighthouse complex, RCAHMS carried out a photographic survey.
Visited by RCAHMS (MKO), September 1999.
This shore lighthouse guards the E side of the entrance to Loch Ryan from a point just SE of it. It stands on Cairn Point which projects into Loch Ryan from a narrow shelf in front of the main (A77) road; a solid portion on the E side of the lantern constrains the light to seaward. The lighthouse was built by Alan Stevenson and first lit in 1847. It was converted to oil burning in 1897, and automated (electrified and made 'unattended') in 1964.
.
Have you noticed that sometimes aspen seem to be watching us?
This is a composite, slud quite a bit in Lr and then in Ps.
The original, seen below in the first comment box (and if that comment doesn't show, hitting the browser's refresh button should do the trick), is an intentional camera movement image.
Using a pretty slow shutter speed, and panning the camera vertically created the original image.
The result of sliding in Lr is the next image in the first comment box. Clarity and Vibrance sliders were utilized. Tone curve sliders were adjusted.
At the same time that I had created the intentional camera movement image, I had also made some standard still images of this group of aspen.
In Ps, I composited in bits of the same trees from the still image, using masks, then sliding opacity.
I've often talked about using luminosity alpha channels to constrain adjustments to areas based on luminosity. I had created those channels and used them to increase contrast only within the mid tones, leaving the brightest and darkest tones untouched from the version created in Lr. Googling for Tony Kuyper's tutorials will give lots of wonderful information.
Lastly, I felt that the image was too far toward the yellow and green end of the color temperature range, so a photo filter adjustment layer was added with a magenta filter at the top of the Ps layer stack. And of course its density and opacity sliders were adjusted.
I hope your sliders sunday is going well. I haven't been able to be online much in the past few weeks. Work has been extremely busy. I've been needing to go in early and so have been unable to post to groups and properly view and comment on photos. So I haven't felt right about posting and running. Been getting home late after work and so haven't even had time to be working on photos. We've been helping friends move. We've had friends in and out of the hospital.
So today is especially appreciated. I haven't gone in to work, I'm staying home, and I get to now go visit the sliders sunday pool and see the intriguing images everyone has posted!
hss!
Robert Adams sought to portray isolation experienced by suburban residents by photographing spaces with constraining barriers such as automotive space, domestic space, commercial space, all fragmenting the landscape. - - - 'Reframing The New topographics' book 2010 page 37.
Canon sure shot WP-1
🌿 Marbella by small 🌿
There are moments when summer feels less like a season and more like a secret.
I found Marbella in one of those moments - stretched across soft striped linens in a secluded coastal retreat, surrounded by weathered wood, warm stone textures, and endless summer light. The air carried traces of salt and jasmine, while every passing breeze felt like a whispered invitation. Here, Marbella feels completely at home - not merely a garment to be worn, but something that becomes part of the atmosphere itself. The afternoon sun dances across sheer fabric and bare skin alike, blurring the line between what is revealed and what is merely suggested. ✨
Marbella is built upon the language of restraint. Its silhouette is fluid and elongated, skimming the body rather than constraining it. A delicate halter neckline frames the shoulders and collarbone, while a softly draped translucent mesh overlay floats effortlessly over the figure. The cut is daring yet elegant, creating a graceful balance between intimacy and sophistication.
The styling evokes the glamorous resort fashions of the late 1960s and early 1970s - when jet-set icons drifted between Mediterranean villas and private beaches wearing garments designed to move with light and shadow. Marbella captures that same effortless sensuality while translating it into a thoroughly modern statement. 🌊
What I adore most are the subtle details. The sheer layered mesh creates shifting dimensions as the body moves. Fine edging defines the garment without interrupting its airy softness. Delicate side ties introduce a playful touch, while the semi-transparent construction allows the underlying textures and contours to become part of the design itself. Every angle reveals something new without ever surrendering its elegance.
The included PBR materials elevate Marbella beautifully. Advanced Physically Based Rendering technology allows the fabric to respond naturally to environmental lighting, producing realistic highlights, depth, and tonal variation. Soft reflections ripple across the sheer mesh while the satin-like sections capture light with remarkable realism. Whether beneath brilliant sunlight or soft evening illumination, the garment continually transforms with its surroundings. ✨
🎨 HUD Features
• A refined color palette for both the primary fabric and sheer overlay
• Independent tinting options for personalized styling
• Full PBR material support for enhanced realism
• Rich fabric finishes ranging from subtle matte tones to luminous resort-inspired hues
• Flexible mix-and-match styling possibilities
💕 Compatible Mesh Bodies
• LaraX
• PetiteX
• Legacy
• Perky
• Reborn
• Waifu
• Reborn Petite
• Reborn Squish
• Reborn BabyLoons
Sometimes fashion shouts. Marbella simply leans closer and lets you discover it. 🌿
Exclusively premiering at the FaMESHed Event:
www.seraphimsl.com/2026/06/01/escape-the-ordinary-with-fa...
Discover more alluring creations at the small mainstore:
maps.secondlife.com/secondlife/small/128/128/23
“True allure is never found in what is revealed, but in what is beautifully imagined.” - Becky Kénaan ✨
Create Your Own Planet Shaped Amazing Circle.
- First create a Full 360 Degrees Panorama (Tips&Tricks), or download my example file.
- Load the file in Photoshop.
- Change the Image Size. Set width to the same size as heigth (uncheck 'Constrain Proporties') to create a 1:1 square. (example file: change 8000x2000 into 2000x2000 pixels).
- Rotate the image 180 degrees.
- Use the 'Polar Coordinates' filter (Rectangular to Polar) to create the planet.
And now you'll understand where the Polar Coordinates filter is meant for ;-)
Note: if you skip the rotation of 180 degrees you'll get the Wheel Shaped Amazing Circle (on the right).
Discussion and more great ideas here.
The Upsala Glacier is a large valley glacier on the eastern side of the Southern Patagonian Ice Field.
Its higher portion lies in a disputed territory between Chile and Argentina. While the glacier flows from north to south it has three lesser eastflowing tributary glacier: Bertacchi, Cono and Murallón.
Its importance lies in the fact that with a tongue of almost 54 km whose wall overlooks Lake Argentino, it is one of the longest glaciers in South America.
Approaching the Upsala Glacier is very dangerous due to its landslides and floating icebergs.
The name comes from the old spelling with one 'p' of Uppsala University, which sponsored the first glaciological studies in the area. The university is located in Uppsala, Sweden.
The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. In 2008, another period of even faster retreat started, reported as being about 10 times faster than the period recorded in the eight years prior.
As of 2018 Upsala Glacier has retreated to such degree that it no longer constrain its tributary Bertacchi Glacier. Likely this makes Bertacchi Glacier have higher flow rates reflected with a subsequent stretching and thinning out of parts of the glacier as well. At parts the velocity of flow is also thought to have increased in Bertacchi Glacier as result of the near-separation from Upsala Glacier.
📍 Los Glaciares National Park, El Calafate, Lago Argentino, Santa Cruz, Argentina
Lena Outfit — Newphe
I slip into Lena the way I slip into a mood—effortless, confident, quietly expressive. This is casual chic with intention: a softly sculpted silhouette that skims the body without constraining it, inviting movement, creativity, and the freedom to be exactly who I feel like being today.
The top is a modern nod to classic corsetry—clean lines, a gently contoured bust, and wide straps that frame the shoulders with understated strength. It hugs just enough to define, never to dictate. The skirt balances it perfectly: a sleek mini with a subtle asymmetric notch that elongates the leg and adds a whisper of flirtation. Together, they speak in harmony—refined, wearable, and quietly bold.
There’s history woven into this simplicity. I feel echoes of 1950s fitted bodices, the mod confidence of ’90s minimalism, and the ease of modern street style—all distilled into something that feels now. Lena doesn’t costume me; it collaborates with me. Fashion, after all, is where self-expression meets imagination. It’s where I decide the story.
✨ Styling & HUD Details
* Top HUD: a rich palette of wearable tones—from classic neutrals to expressive seasonal hues—each with smooth, modern texturing that keeps the look polished day or night.
* Skirt HUD: coordinated color options designed to mix, match, or mirror the top, letting me play with contrast or keep things beautifully cohesive.
Compatible Mesh Bodies
* Legacy
* Legacy Perky
* Bombshell
* Lara X
* Petite X
* Reborn
* Juicy
* Waifu
Where to Find It
The Lena Outfit by Newphe is available at Happy Weekend with a special event price (60–90L$)—a perfect excuse to indulge in creativity without compromise.
Taxi:
maps.secondlife.com/secondlife/Maribella/80/216/2288
I wear Lena when I want my style to feel like a thought I’ve been meaning to say out loud—casual, chic, and entirely my own.
Another image from my wonderful journey to California this summer of 2019 with my west coast damsel who took me to the city by the bay, or more precisely across the Golden Gate Bridge into Marin County, on the grounds of what once was a military installation defending San Francisco and Northern California but today is largest urban national park in the United States, the Golden Gate National Recreation Area (GGNRA). While at the San Francisco Bay Area and as we traveled up the Pacific Coast Highway, I was constantly hampered or tasked by the eerie fog or marine layer which is the result of prevailing northwest winds actually change because of the in the summer the inland temperatures are quite hot, 90’ + so the bay is often subject to low clouds and fog. I was forewarned by my sweet companion but it’s one of those things that you got to see to believe. So the day we ventured into Sausalito into the Marin Highlands was such a day and in addition, the hand carved passage tunnel to the Point Bonita Lighthouse was closed which a very kind and helpful NPS Ranger informed us and told us of vantage point that the Point Bonita Lighthouse could be view. We hiked up there, the constraining marine layer notwithstanding, I was able to capture this image of the Point Bonita Lighthouse through substantial fog from that vantage point, thank you NPS Park Ranger. I hope to convince my west coast damsel to venture here again on my next trip out west, so we may venture to the actual lighthouse.
I never had real toy cars. Economical constrains ruled when I was little. Now I collect special toy cars like this one. A red Ferrari bought in a toy car shop that is worth a whole trip to Como, Italy because it has existed for more than 40 years... An unforgettable experience, an unforgettable car and a feeling of (cheap) happiness :-)
Overview of the Nezu Jinja sanctum constructed in a Gongen-zukuri style. The wooden structure in the left is the main shrine, while the one in the right is the prayer hall. The two structures are combined with Ishinoma, another structure, to form an "H" shaped complex.
Although the main shrine is built to be hidden from the worshippers, it does not mean that sighting the main shrine is forbidden.
The main shrine is partly spotted from the prayer hall in many Shintou shrines like Meiji Jinguu. In Nezu Jinja, it is not visible from the prayer hall, but instead, the shrine complex is surrounded by Sukashi-bei (透塀 see-trough walls), through which you can peek the main shrine inside. Moreover, the whole complex can be seen from the Inari shrine built on the slope where I took this photo.
The loosely hidden main shrine is probably intended to emphasise its sacredness by constraining the sight.
Decided to present myself a challenge....find an item for each letter of the alphabet that could be of photographic interest, and constrain the search to inside the house. Admittedly, some stretching was inevitable, but it was really quite enjoyable.
Articulated model
Books
Calipers
Doll
Elf (made by Louie Gizyn)
Figure
Glasses
The Reality – I wanted to show the reality that dominates not only the life of this primate, but our lives also. We are the prisoners of our biology and our limited intellect. The evanescent nature of our short lives and hopelessness in the face of imminent death, defines our ultimate limitation. The constrains imposed by our crude society, religion, economy and other factors of human civilization, draws me to see the great cage similar to this one, which holds this fellow and will be the place of his death. In the future, things may change for the better – I see the signs. But our generation may not be able to profit from the changes that will come. Like the countless people that came before us, death will catch up with all of us who lives in the present. It is the ultimate cage and ultimate limiter of life. This is “The Reality”.
Older thing I played with. I have been very immersed in my music creation and not so much here. I do miss you all but Flickr has made things more difficult and my energies are now elsewhere. I find connecting with friends constraining here. clicking in then clicking out to go onto the next.
Oh well.
Happy Sliders Sunday
Persistance du vivant sur surface neutre
Cette image explore la tension entre l’organique et la structure. Les branches, plaquées contre un mur quadrillé, semblent prises dans un espace qui les contraint, révélant un vivant fragmenté.
Présentée en quatre vues disjointes, la scène se morcelle plutôt qu’elle ne se rassemble. L’ombre d’un arbre, visible dans un seul des cadres, agit comme une apparition discrète : une trace, une présence absente qui introduit l’idée d'une possible disparition.
Persistence of the living on a neutral surface
This image explores the tension between the organic and the structural. The branches, pressed against a grid-like wall, seem trapped in a space that constrains them, revealing a fragmented living being.
Presented in four disjointed views, the scene fragments rather than coming together. The shadow of a tree, visible in only one of the frames, acts as a subtle apparition: a trace, an absent presence that introduces the idea of a possible disappearance.
I could get all Freudian and say that My children are constraining me,
but that is probably backwards
The prairie-grass dividing—its special odor breathing,
I demand of it the spiritual corresponding,
Demand the most copious and close companionship of men,
Demand the blades to rise of words, acts, beings,
Those of the open atmosphere, coarse, sunlit, fresh, nutritious,
Those that go their own gait, erect, stepping with freedom and command—leading, not following,
Those with a never-quell'd audacity—those with sweet and lusty flesh, clear of taint,
Those that look carelessly in the faces of Presidents and Governors, as to say, Who are you?
Those of earth-born passion, simple, never constrain'd' never obedient,
Those of inland America.
Walt Whitman
- John Keats.
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On our recent trip to the Bishop/Mammoth lakes area, I had a chance to add a quick visit to the south tufa beach during sunset. I have a bit of history with the place and have never missed an opportunity to visit. The sunset light was gorgeous on this day, but it was a rare clear day. If you are not familiar with the area, golden hour cloud formations tend to be quite dramatic due to the Tioga pass nearby. As I walked towards the tufa formations, I noticed that the sunset colors were intense by the horizon but quickly became softer at higher elevations. To take full advantage of the colors and cut the sky as much as possible, I switched to my 70-200mm lens. It was one of those rare windless days at the lake with water mimicking glass, and I wanted to include it in my image. After a bit of frantic searching, I came across this swooping curve on the coastline, and the whole scene looked perfect.
Composing with a telephoto lens is often tricky, and when you add the constrain of quickly dying light, the process often comes down to luck. Thankfully I remembered that I had a leveling base on my tripod head and set up a quick pano shot. I was hoping that I got all the images in good focus and that the light was consistent. Thankfully everything came together perfectly, and I love the results.
Probably the most well tried location after Barnetby it's self in this area. Knabs Bridge is a decent view both ways, but high Summer growth constrains things a bit. A midday Lindsey to Kingsbury loaded oil is over 2800 tons, so will make the class 66 puff and pant a bit!
A harmless Huntsman spider (c. 60mm across, Holconia sp.?) found stranded by another spider's web this morning. I managed to remove some of the constraining web strands, but it remained on the window for about three hours before a Butcher Bird flew in and grabbed it for lunch. C'est la vie!
There are some ICM photographers whom I admire who carefully select their subjects, wait for the just-right-light, and then use tripods to constrain the movement into controlled, replicable, regularity.
Moi? I go for a walk in the village, point the camera at various things, wobble it… and just see what happens…
I tell myself that I delight in the fun, the spontaneity, the serendipity. But there is this little voice over my right shoulder: could it be that I just can’t be bothered?
This is a wobbly view of a passing car in the village on today’s constitutional walk; a failed panning ICM. That's a Cotswold stone house wall behind it. Kind of totally random, and randomly resulting in one of those ‘oooh that’s interesting’ captures. For me (I won’t impose on you!) it’s one of the delights of this sort of photography.
It’s even more random as I make a point of not having the camera to my eye when photographing oncoming cars. That may be OK in towns and cities, but in a village, I think I am far too likely to distract the driver, and that would be a Bad Thing especially in this bit of wiggly road. So a waist-high wobbly to boot.
So a bit of joyous serendipitous blurriness for the weekend. Have a good one everybody :)
Thank you for taking the time to look. I hope you enjoy the wobble. Happy 100x, weekend, and fun with your camera :)
[Hand wobbled in morning light.
Developed in Capture One for contrast and colour. High on the Clarity low on the structure; a bit of Haze removal.
Colours strengthened in Affinity Photo; no further sharpening.
A bit of magic in Nik Color Efex (Color Contrast; Glamour Glow; blue Vignette; Darken Lighten Center).
Light vignette in AP. No crop…]
Anyone who follows me work knows that I do a lot of tabletop macro work. I’ve been using Platypod gear for many years, but recently approached them to make a “Don Kom Bundle” of the stuff I use on a regular basis, in almost every setup You can find that gear all together here: www.platypod.com/products/don-kom-macro-bundle
- Platypod eXtreme
- 2x LumeCube 2.0
- 4x gooseneck arms (2 pairs)
- 2x Super-Mini Clamps
Lighting from multiple angles with some nice modifier options, and the ability to swing everything into position is fantastic. I have a permanent spot for this equipment in my studio, but it’s easy to disassemble in a minute to take into the field as well.
Here’s a new image I created using just the gear in the kit. Shot with the Lumix S1R, Laowa 90mm F/2.8 2x macro lens (my current daily driver – recommended!), ISO 100, 1/13sec exposure. It’s amazing what I can do when I can be creative without technical constrains. Anyone shopping for a Christmas gift this year, or just looking to up their macro game, I encourage you to check it out.
It’s funny, I had recommended people to buy the Super-Mini Clamps when Platypod first started offering them, and to buy more than one; I own 8 of them. They decided to act on that advice and also make a four-pack with a great discount: www.platypod.com/products/don-kom-super-clamp-bundle
If you take a look at my studio shooting table, it’s filled with this equipment.
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Dogs barking like mad in the neighborhood. Looked out and saw a balloon landing. Walked up the street to find that it was being deflated in the street, but one street over.
Cropped and some basic adjustment sliding done in Lr. Then in Ps, using luminosity masks, to bring back some of the shadow detail that had darkened too much from the Lr adjustments. Curves set to mulitply and using luminosity masks to darken blown highlights. Sliding opacity of curves layers constrained by luminosity masks to create specific dodging and burning.
Spot saturation and desaturation using a layer set to saturation mode. Painting with any color on it enhances saturation. Painting with neutral grey reduces saturation. And sliding the opacity or flow while painting allows gradual build up of the effect.
High pass on a merged up layer, soft light mode for sharpening, using luminosity mask to constrain to only dark pixels. This prevents those halos associated with over sharpening.
Color glow layer created by merging up, set to soft light blend mode, then gaussian blur. Merged up to a new layer above that, set to color blend mode. Slide opacity to reduce the effect. Delete the layer that had been at soft light mode.
Then an Orton effect to further brighten the highlights and create a bit of a glow. A curves adjustment layer above everything, set to screen blend mode. Merge up to a new layer above it. Set that to multiply mode, gaussian blur. Combine these two layers into a group. Mask with a luminosity channel to constrain the effect to only light pixels. Slide opacity of the whole group or an individual layer within the group.
Et voilà, something for sliders sunday! Exaggerated sliding toward a point where it's just under too much. At least I hope it's just under too much.
The unretouched version in first comment box below. If that comment doesn't show, clicking on your browser's refresh button should fix things.
I had hoped to get her posing somewhere different but she always skedaddled when I stood up holding the phone and looked at her. I did ask her to look up at me here and she did comply nicely, this being the best image from that. (Yes she looks a bit like a goober, but hey she is MY sweet goober...)
I couldn't leave her out of having a current photo for Happy Caturday 25 April 2026 - 10th Anniversary! Perhaps some day Jet will take up the lap cat hobby, but I am not going to pressure her. She already doesn't love being held if it is constraining movement. Loves getting pets, loves being nearby, doesn't like being picked up. That's what it said in her adoption description on line from the shelter, so I shouldn't be surprised...
Hmmmm, so it seems I was REALLY lucky with the previous render I made that it came out so nicely. There was no denoising needed so all of the detail was kept. Here... not so much...
One of the reasons I wanted to use blender for rendering was so that I could make more realistic backdrop materials. I spent a bit setting up the one here with a paper-y texture based on photos I've seen around and in the noisy image, it came out really well. But there were a ton of fireflies in the gangway so I used the basic denoising techniques and suddenly, bye bye paper. I will be looking into using masks to better direct the denoising. Maybe I can constrain it to only look at noise on the model itself and to ignore the backdrop? I may revisit this render from another angle when I have this all figured out. It just looks too soft...
The other reason I wanted to use blender was so that I could add more non-Lego objects, such as the paper cut-out lines here. I think the line came out really well with its thickness, slight imperfections, etc. As for the model, you may recognize it as the base model from the Hibernia Roto-Lift. In fact, the only reused portion is the angled setup of the gangway door. Everything else is new to this build and the structure is far more robust. It is still based on the same concept art though and serves generally the same purpose. The rear landing legs tuck away and the vertical fins fold down into their place for flight. I think I made this pigeon large enough to carry an Imperial tank or ATST.
Oh, and I couldn't decide which mouse droid I liked more, so here are both!
Macro Mondays - Magnetic
Loudspeakers rely on ring magnets (the large silver ring); the audio signal passes into a coil of wire which is in the centre of a magnetic field. That causes the coil to move in and out and pushes the cone at the front of the speaker producing sound as it 'pushes' air. The yellow concentric woven part is in effect a spring that constrains the movement of the coil
Watching a piece of photographic art unfold, that is. It’s still a heart pounding moment. Wildlife photography is fluid, dynamic, and to a large extent, unpredictable. Many are the photographers vexed by the inability to constrain nature into producing “the shot” in their mind’s eye. I much prefer to see what nature offers up as gifts to those of us who wait patiently. My only regret is having just one short life and too many other demands. Unlike us, nature doesn’t get old. Given the opportunity, it changes, adapts, evolves, and lives on.
The photo is of a large bull elephant on the Maasai Mara. He was the last of the evening. He approached after the sun had dropped below the horizon, stepping up to the edge of the roadway. Towering over our vehicle, he lifted his foot to step forward. #Elephants
multiple figures move through darkness toward inevitable light. the grittered window above constrains, but cannot stop what's coming. passage is not movement â it's transformation.
Its about 30-45 min. hike up, some area is single track with a steep incline, you may need a hand from tour guide but manageable. Its a breath taking view at the top outlook, photo don't give it justice.
The Upsala Glacier is a large valley glacier on the eastern side of the Southern Patagonian Ice Field. Its higher portion lies in a disputed territory between Chile and Argentina. While the glacier flows from north to south it has three lesser eastflowing tributary glacier: Bertacchi, Cono and Murallón.
The glacier terminus is at Upsala channel of Lake Argentino. The Upsala Glacier is well known for its rapid retreat, which many see as evidence for global warming. Its retreat has been ongoing since the glacier was first documented in 1810.
The name comes from the old spelling with one p of Uppsala University, which sponsored the first glaciological studies in the area. The University is located in Uppsala, Sweden.
The glacier showed almost continual recession up until 1999. The acceleration in ice motion during the two decades preceding 1999 may have been augmented by the release of backstress when the glacier retreated beyond the islands in Brazo Upsala. Another period of even faster retreat started in 2008.
As of 2018 Upsala Glacier has retreated to such degree that it no longer constrain its tributary Bertacchi Glacier. Likely this makes Bertacchi Glacier have higher flow rates reflected with a subsequent stretching and thinning out of parts of the glacier as well. At parts the velocity of flow is also thought to have increased in Bertacchi Glacier as result of the near-separation from Upsala Glacier.
Downtown Farmington, New Mexico. The fenced-off street demolition really constrains composition.
Built and opened in 1949 and run by the Allen family as a movie theatre until 1982, the Totah Theater had a seating capacity for 500. Home of San Juan Stage company for a few years then closed and used for storage.
Purchased in May 2004 by Thomas Taylor. In 2006, the Totah Theater was converted into a multi-use performance hall for concerts, independent and classic film, plays, and much more.
Not quite a direct recreation of the classic Elvis Costello album cover, but the expression made me think of that as I edited it. It also suggested then the square format, which worked quite well to constrain the background clutter :)
This worked quite well as a black and white shot, but I've posted too many black and white shots of late, so I felt the need for some colour.
Listen - www.youtube.com/watch?v=EKOcfZtKvYQ
SOUL
O who shall, from this dungeon, raise
A soul enslav’d so many ways?
With bolts of bones, that fetter’d stands
In feet, and manacled in hands;
Here blinded with an eye, and there
Deaf with the drumming of an ear;
A soul hung up, as ’twere, in chains
Of nerves, and arteries, and veins;
Tortur’d, besides each other part,
In a vain head, and double heart.
BODY
O who shall me deliver whole
From bonds of this tyrannic soul?
Which, stretch’d upright, impales me so
That mine own precipice I go;
And warms and moves this needless frame,
(A fever could but do the same)
And, wanting where its spite to try,
Has made me live to let me die.
A body that could never rest,
Since this ill spirit it possest.
SOUL
What magic could me thus confine
Within another’s grief to pine?
Where whatsoever it complain,
I feel, that cannot feel, the pain;
And all my care itself employs;
That to preserve which me destroys;
Constrain’d not only to endure
Diseases, but, what’s worse, the cure;
And ready oft the port to gain,
Am shipwreck’d into health again.
BODY
But physic yet could never reach
The maladies thou me dost teach;
Whom first the cramp of hope does tear,
And then the palsy shakes of fear;
The pestilence of love does heat,
Or hatred’s hidden ulcer eat;
Joy’s cheerful madness does perplex,
Or sorrow’s other madness vex;
Which knowledge forces me to know,
And memory will not forego.
What but a soul could have the wit
To build me up for sin so fit?
So architects do square and hew
Green trees that in the forest grew.