Developing world
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This is developed in DDG with the T2D tool using the sunset image I posted yesterday as a base. No further edits.
As you can see the structure of the image is almost identical. This is an impasto palette knife version with the emphasis on the light reflections and flaming colors. To me this is a lot more alike to what I saw than the camera image. The sky was ablaze!
when you get old, people won't think you're going gaga :-)
David Ogilvy
HMM! HPPT!!
Loebner magnolia, 'Leonard Messel', sarah p duke gardens, duke university, durham, north carolina
The New Merwede River: protection through depolderization
The Netherlands has long been associated with polders, ever since its engineers became renowned for developing techniques to drain wetlands or reclaim land from the sea and make them usable for agriculture and other development. This is well illustrated by the English saying: “God created the world but the Dutch created Holland.” In an unusual project, one of the famous Dutch polders is being handed back to nature. To reduce the risk of flooding on the New Merwede River, water has to flow faster when its level rises. A large-scale ‘depoldering’ project was embarked upon.
Taking place between 2011 and 2015, this project involves creating a floodplain at the ‘Noordwaard’. This is an area covering approximately 4,450 hectares — approximately 6,000 soccer pitches — in the province of Noord Brabant. Part of the Noordwaard will be ‘depolderized’, restructured and transformed into an intertidal area, through which large amounts of river water will flow to the sea.
Work includes the construction of creeks, dikes, mounds, bridges, pumping stations, roads and channels and a range of soil remediation operations. Sustainable solutions are characteristic features of the approach. Cooperation with local residents, businesses and stakeholders has been crucial to the success of this project.
The number of areas with dike protection in the Noordwaard was reduced and a new ‘Green Wave reducing dike’ was built. To spare the local residents from having to look out onto a higher newly-built dike, a 100 meter-wide willow forest was planted on the river side of the dike. Every other year the willows will be pruned back so that the stumps produce shoots which will catch a large part of the wash. By regularly replacing the willows they are expected to be able to absorb up to 80 per cent of the waves’ energy. Farmers and local residents were given the option of staying in the ‘depolderized’ Noordwaard by relocating their houses and some buildings to the tops of mounds to protect them.
The new landscape will be a resting place for birds throughout the year and the combination of the river discharge and the tides will create opportunities for major nature developments that are unique in Western Europe.
This is a hybrid iris, developed from species native to Portugal, Spain, and North Africa.
Photo taken while on my visit to the Tower Hill Botanical Gardens, Boylston, Ma. June 8, 2023.
Thanks in advance for any likes or comments. I appreciate your support.
Eurasian Jay (Garrulus glandarius)
My best photos are here: www.lacerta-bilineata.com/ticino-best-photos-of-southern-...
More TICINO/TESSIN Wildlife Photos (all taken in my garden in Monteggio/Ti, Switzerland): it.lacerta-bilineata.com/ramarro-occidentale-lacerta-bili...
If you're interested, you'll find a more detailed closeup here (it's the 8th photo from the top): www.lacerta-bilineata.com/western-green-lizard-lacerta-bi...
My latest ANIMAL VIDEO (it's very brief but pretty unusual: a tiny wall lizard attacks two young great tits): www.youtube.com/watch?v=FQqkSsyrm7E
THE STORY BEHIND THE PHOTO: MY LONG AND ARDUOUS JOURNEY TO BIRD PHOTOGRAPHY
If you've set yourself the challenge of exclusively shooting the wildlife in your own back yard, you might find - as I did - that bird photography is really, really hard.
It's not that reptiles are easy to photograph either, mind - but at least the ones in my garden stay (for the most part) on the ground, and one can learn how to carefully approach them with a camera. They're also clearly egoists, which from a photographer's point of view is is a great character trait: if a lizard detects a human in its vicinity, it's only interested in saving its own skin, and it won't alarm its buddies.
But birds... oh man. Over the years, my feathered friends and I have developed a lovely routine that now defines our peaceful co-existence. As soon as I as much as open a window (let alone the door), I'm instantly greeted by an eruption of panicky fluttering and hysterical shouts from my garden: "SAVE YOUR WOMEN AND CHILDREN AND FLY FOR YOUR LIVES: THE HAIRLESS, PINK MONSTER IS COMING!!! (Yes, I speak bird, and I know that this is exactly what they are shouting 😉).
Needless to say, with the exception of the redstart I already showed here, all my efforts to get the kind of detailed shots I usually strive for with my nature photography ended in complete failure and utter disillusionment. I was ready to give up on stalking the winged misanthropes in my garden altogether, but then winter came - and changed everything.
One day this past January I observed my neighbor Signora P - a kind, elderly Italian lady - putting something on the low garden wall in front of my house. At first I thought she was just putting some treat there for her cat Romeo; the young tom patrols that wall constantly (it's his favorite spot in the garden, and during the warmer months he usually lurks in the thick foliage next to it to prey on lizards).
But once I detected a lot of movement on that wall through my window, I understood she had put a little pile of bread crumbs there; she was feeding the birds who soon arrived in flocks. This was certainly well-intended on my neighbor's part, but her noble action came with a catch, and I'm afraid quite literally.
When I took a stroll through my garden the next day I discovered a suspicious amount of feathers on the ground next to the wall. Romeo had apparently switched from his low-calorie summer diet (lizard) to more energy-rich meals consisting of "fowl" (it was winter after all, so from a nutritionist's point of view this made sense).
I would find fresh traces of Romeo's victims (mostly feathers, but also the odd wing) in my garden over the following days; so my first intuition that my neighbor was feeding her cat hadn't been that far off after all, as Romeo was now clearly being "served" fresh birds on a daily basis. And although the hungry visitors seemed to be aware of the danger and became slightly more prudent, they just couldn't resist the tasty snacks Signora P put on that wall - and neither could Romeo.
It was obvious that I had to act, but talking to my neighbor - who is as stubborn as she is kind - would have been futile, I knew that much. I pondered the matter long and hard - until a light bulb went off in my head. The idea was genius. If successful, what I had in mind would not only increase the birds' chances of surviving Romeo's appetite, but also greatly benefit my own photographic endeavors.
I started to enact my master plan the very next day by buying a giant bag of bird feed (consisting mainly of sunflower seeds) from the store. Then I dragged a huge piece of a tree trunk (approx. 120 cm in height) that we normally chop firewood on from the shed out into the garden and emptied almost half of the bag's content on top of it. Signora P's buffet for birds (and cats) was about to get some serious competition 😊.
My reasoning was as follows: not only would the birds be lured away from the fatally low garden wall to a place where they were safe from the cat - there was nothing around that tree trunk that provided cover for a predator, and the birds had a nice 360° view around it at all times - but I was also able to photograph them while hiding in the shed.
However, in order for my plan to work there was one little extra measure I had to take, and it was one that risked lowering my own life expectancy considerably once the owner of the property - my mom - discovered it. You see, our shed is completely windowless, so if I wanted to use it as a blind, I had no choice but to cut a hole into one of its wooden walls... which I promptly did (I figured all's fair in love - and photography 😉).
Granted, I have absolutely zero carpentering skills, and it showed. That hole was an ugly mess: the shed's wall seemed to have had an encounter with Jack Nicholson's ax-wielding lunatic character from the film 'The Shining'. Needless to say, I was incredibly proud of my work (I mean, come on: there now was a hole where before there wasn't a hole, and it was big enough for the lens of my camera to peek through, so it was mission accomplished as far as I was concerned).
Now all I had to do was wait for the birds to discover the tree trunk. In the meantime I started to mentally prepare myself for the inevitable confrontation with my mom and go through possible explanations for that splintering hole in the wall (it was either gonna be a rabid woodpecker attack or an emergency rescue mission with a feeding tube for a little kid that had accidentally locked himself inside the shed - both seemed valid options, though I slightly preferred the locked-in kid due to the involved drama and heroism 😉).
A whole day went by, and not a single bird visited the sunflower seeds. I had expected that it might take a few hours until the first of the ever curious great tits or blue tits would show up, but given how tiny my garden is, an entire day seemed excessive. Then another day came and went: the birds kept flocking to the bread crumbs on the wall, and my tree trunk kept collecting dust. To add injury to insult, a few fresh feathers on the ground were proof that Romeo was still feasting.
It was incredibly frustrating: I provided my winged guests with a much better view - plus a higher chance of surviving the cuisine - than Signora P's place; I risked (almost) certain death at the hands of my own mother (OK, the act of vandalism on the shed I had committed for my own benefit, but still), yet the birds kept ignoring me.
Then, after three days, just before sunset, I spotted a single blue tit on the tree trunk picking away at the sunflower seeds.
When I got up the next morning I immediately realized that the loud noise that accompanies each and every tit activity had shifted from the wall to the shed. At last the dam had broken: there was a flurry of movement around the tree trunk, and I counted at least 5 different species of birds feasting on the sunflower seeds.
From day 4 onward my plan worked beautifully: the birds now indeed mostly ignored Romeo's "snack wall" and kept to the tree trunk. And yes, I was able to play peeping tom from behind the shed's wall and photograph them!! 😊
Thus, dear readers, I finally managed to produce some acceptable bird photos, and I had even saved my feathered friends from a deadly foe in the process. All through winter and spring I took advantage of my new bird hide, and in late May I started mixing some cherries with the sunflower seeds. The idea was to attract a Eurasian jay (Garrulus glandarius), and as you can see, it worked!
It took me almost three weeks and more than a few tricks to capture that clever fella, but given how long I've been rambling here already, that's a story for another day. As for my mom, she still doesn't know about the hole in the wall, so please don't snitch! 😉.
I hope you like the photo and wish you all a wonderful weekend! Many greetings from Switzerland, and as always: let me know what you think in the comments 🙏 😊 ❤!
P.S. if anyone has their own funny tale about the obstacles we photographers are prepared to overcome for a desired photo, please write it in the comments: I love such stories 😊
working in the berry patch
sitting with 3 of the 5 dogs
adventures in color processing:
Zenit-E
Psych Blues # 2, 400 ISO
home developed in tetenal colortec C-41 chemicals
Nikon FM10 | Ilford HP5 400
Digitized with Sony A7riii | Skier Sunray Copy Box 3
Home developed in Cinestill Monobath | 3:30, 80 F
Negative Lab Pro v2.2.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: Auto-Neutral | LUT: Frontier
Windmills have become part of the Canarian landscape, silent witnesses of a past in which they played an important role in the economy of the islands. In the case of Fuerteventura, they existed profusely because this typology is developed mainly in arid or desert regions, taking the wind as a source of energy, to make up for the lack of water currents. To this contributed the almost permanent presence of air currents in the islands and the orography of the island, characterized by vast plains only "interrupted" by these peculiar constructions.
Their typologies are made up of two very different types, but one of them predominates numerically. The most abundant is defined by an architectural structure of flat circular plant, with truncated cone shape made of masonry, topped by an irregular conical or pyramidal wooden roof of which one of its parts is open to give exit to the axis of the blades. The interior is divided into two floors, with access to the upper floor by an interior staircase, in some cases, or exterior, in others. The other typology, of which there are fewer examples, is defined by a quadrangular building, on which rises a tower made with a framework of wooden railings, which supports the blades. In the center of the tower descends an axis that connects the gearing of the blades with the stones.
La Oliva, Fuerteventura, Islas Canarias
planted under roses
zenit-E with lomography color 100 film, home developed
lumen print using Oriental Seagull VC-RC II paper.
With this colorful photo, which was deliberately taken with this motion blur, I wish you all a wonderful Poppy-Monday and of course the rest of the week.
We can see a lot of ourselves by looking at the poppy flowers and grasses moving back and forth in the summer wind.
As a rule, we too are firmly anchored to the earth, even if only because of our personal values. Each of us has something within us that is immovable. No matter what is happening around and no matter how much the wind of life pulls and shakes us. We shape these values ourselves. Based on the experiences we have in our lives. The strongest of them usually come from our childhood.
Most of the time, these roots serve our protection and stability. With them we are able to withstand even the harshest storms, to stand against the wind or, if necessary, to bend to it at times. Thanks to the anchor, we always stay where and who we are despite everything and are able to pick ourselves up again and again.
But sometimes we realize that our values, or rather the way we weight them, prevent us from developing ourselves. That we are trying to bloom in the wrong place, so to speak. Then it is up to us (because no one else can do this for us) to change our anchor point.
The key is always to be aware or make ourselves aware of what makes us flourish and what makes us wither.
And so I wish you all a stable and at the same time dynamic week. With lots of sun and fresh wind.
Mit diesem farbenfrohen Foto, welches bewusst mit dieser Bewegungsunschärfe fotografiert wurde, wünsche ich Euch allen einen wunderschönen Mo(h)ntag und natürlich auch eine ebensolche Restwoche.
Durch den Anblick die Mohnblüten und Gräser, die sich im Sommerwind hin und her bewegen, können wir viel von uns selbst erkennen.
Auch wir stehen, in der Regel, fest verankert auf der Erde und sei es auch nur auf Grund unserer persönlichen Werte. Jeder von uns trägt etwas in sich, was unverrrückbar ist. Ganz gleich was um und herum geschieht und ganz gleich wie sehr der Wind des Lebens an uns zieht und rüttelt. Diese Werte prägen wir selbst. Und zwar auf Grund der Erfahrungen, die wir in unserem Leben machen. Wobei die stärksten davon meist aus unserer Kindheit stammen.
Meist dienen diese Wurzeln unserem Schutz und unserer Stabilität. Mit Ihnen sind wir in der Lage auch härtesten Stürmen zu trotzden, uns dem Wind entgegen zu stellen oder uns ihm, wenn erforderlich, auch zeitweise beugen. Durch den Anker bleiben wir trotz Allem immer wo und wer wir sind und sind in der Lage uns immer wieder aufzurichten.
Doch manchmal stellen wir fest, das unsere Werte oder besser gesagt die Art, wie wir sie gewichten, uns an der eigenen Entfaltung hindern. Das wir sozusagen am falschen Ort versuchen zu blühen. Dann liegt es an uns (denn kein anderer kann dies für uns tun) unseren Ankerpunkt zu verändern.
Das Entscheidende dabei ist immer, sich bewusst zu sein oder sich bewusst zu machen, was uns blühen und was uns welken lässt.
Und so wünsche ich Euch allen eine stabile und gleichzeitig dynamische Woche. Mit viel Sonne und frischen Wind.
more of this on my website at: www.shoot-to-catch.de
Rolleiflex 2.8F
Carl Zeiss Planar 80mm/F2.8
Rollei RPX 100
Self Developing
ILford 3 - （1+9） 5 mins
Epson V800 Scaner
© All Rights Reserved
No.188 with the No.25.
Safe to say I adore the look of this Nocolorstudio film. Not your everyday stuff, but it looks crazy good with the right subject(s). Sadly, it looks like its not available any more (for the time being at least).
Røros, Norway
Nikon FM2
NoColorStudio No.25 @ISO25
Heliopan orange filter
Dev; Kodak D-76
Developed and scanned at home
Scanned wet cyano.
Mike Ware's one part "new" senstizer. Printed on 30x40 cm generic aquarell paper.
Developed in tap water and cleared in Citric Acid 3%.
Untoned.
PS borders.
More of that glowy stuff at the car cemetery
Båstnäs, Sweden
Canon P
Washi F
Dev; 510 Pyro
Developed and scanned at home
IN ENGLISH BELOW THE LINE
Foto presa amb una KMZ FT-2 soviètica, fabricada el 1965; Kodak Ektar 100, revelat a casa amb el kit C-41 d'Adox.
Vista panoràmica de la carretera que mena a L'Ametlla de Segarra, envoltada de preciosos camps de primavera.
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Panoramic picture taken with a Soviet KMZ FT-2 camera, made in 1965; Kodak Ektar 100 film, home developed with the C-41 Adox kit.
Panoramic view of the road that leads to L'Ametlla de Segarra, in Catalonia, surrounded with gorgeous spring fields around it.
ROLLEIFLEX 3.5F | Carl Zeiss Planar 75mm f3.5 | Fomapan Action 400 400 @ 250, -1 dev
Scanned with Canonscan 9000F | Yes
Home developed in Rodinal 1:50 | 12min | Semi Stand
The Corsa 505 program is focused on developing drivers into accomplished racers by competing in the deepest and most competitive fields in the nation.
To that end, the Spec Racer Ford is the most successful purpose built road racing car in the United States, with fields of over 30 cars at regional SCCA races and over 60 cars at the National Championship Runoffs. Additionally the Spec Racer Ford (SRF/SRF3) rules, stipulate that no performance enhancing modifications can be made to the car and thus the success of any racer in this class, is solely based on his or her own skill and nothing else. These attributes make the SRF3 Class the ideal platform for our Driver Development Program.
We are proud to have MBI Racing as our technical partner, providing full service 'arrive and drive' track support and driver coaching.
Located at Buttonwillow Raceway Park, MBI Racing is a full service race shop. The MBI team primarily races Spec Racer Fords (SRF/SRF3) but has considerable knowledge and experience in racing Formula Mazda, Formula Continental, and Formula F. To date, MBI has won thirteen Regional Championships and four National Championships.
lilies
hydrangea
these are from the old diana mini roll I just developed. dunno when they were taken.
Byzantine aesthetics had a developed theory of color symbolism to create an image of the Divine world. One of its cornerstones was the symbolism of golden light. In this symbolism, a special place was reserved for gold, it was the role of a kind of color module of the Divine world that belonged to it.
Нинішній сосново-липовий іконостас довжиною 25 м та висотою 21 м складається з п'яти ярусів і загалом відтворює пам'ятник часів Скоропадського.
«Збережений живопис українських православних храмів є віддзеркаленням розвитку естетичних поглядів від візантійського канону до модерну. На етнічних теренах України за часів правління Миколая І на державному рівні підтримувалась орієнтація на культурну спадщину Візантії. Візантійська естетика мала розвинуту теорію символіки кольору для створення образу Божественного світу. Однією з її наріжних засад була символіка золотого світла.
В цій символіці особливе місце відводила золоту, саме йому належала роль своєрідного колірного модуля Божественного світу. Золотий простір храму на візуально-чуттєвому рівні відтворював невимовно прекрасний Божественний світ, пронизаний Божою благодаттю, що сходила під час літургії, під час молитов. Золотий колірний модуль мозаїчних композицій створював надреальність, де перебували віруючі.
.......
Візантійську естетичну концепцію намагалися втілити в нових розписах Успенського собору Києво-Печерської лаври в 1894–1900 роках (В. Верещагін, В. Фартусов, Г. Попов та ін.). Маючи за мету наблизитися до стінопису візантійських церков ХІ–ХІІ століть, автори проекту (1894) побудували художній простір основного об‘єму храму за допомогою традиційного для сакрального мистецтва Візантії колірного модуля. На золотому тлі виконали композиції в центральній частині собору, яку вважали найдавнішою (нижні бічні приділи тоді не розписували). У головному квадраті церкви, в жертовнику і дияконнику від верху до рівня хорів, а в головному вівтарі – майже до підлоги, живопис було виконано на золотому тлі; таке ж тло мали плафони верхніх приділів Преображення Господнього та Андрія Первозваного. Нижче карнизів, що йдуть по лінії підлоги хорів, тло було виконано олійними фарбами із золотими вінчиками. Основний об‘єм та доступні для огляду знизу верхні компартименти собору вражали розкішшю і красою, нагадували про вічну красу Божественного світу і про далекі часи, коли церква була оздоблена мозаїкою грецькими художниками.»
/Бардік Марина Афанасіївна, кандидат мистецтвознавства,
Колірний модуль божественного світу в украінському сакральному стінописі 1850–1900-х років/