Evoking Pictures
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The first references to the Château de Fontainebleau date back to the 12th century. Since then, all the kings of France have lived in the palace, and have continuously enlarged and embellished it. It is a unique example of a royal residence, loved and cherished for over eight centuries.
State Apartments
The château was one of the major artistic centres of 16th-century Europe. The Renaissance Rooms, unique in France, have retained their stunning fresco and stucco décor created by the Italian artists Rosso and Primaticcio under the reigns of François I and Henri II.
The apartments of the sovereigns evoke all the pomp and splendour of the French court ; antechambers, drawing rooms, ceremonial rooms, the Council Room and the Throne Room all paint a vivid picture of the life of the monarchy. The carved woodwork, paintings, tapestries and furnishings provide evidence of the apartments occupancy from the 16th to the 19th century.
Refurbishment of Napoleon I’s interior apartments began in 1804. Comprised of a series of rooms for the Emperor’s private use (bedchamber, office, private drawing room, bathroom, aide-de-camp’s common room and antechamber). From here, Napoleon I abdicated on 6 April 1814.
Private Apartments
Located on the ground floor of the château, they complete the changes made for Napoleon I, who wanted two private adjoining apartments, one for himself, and the other for Josephine (later occupied by Marie-Louise). There are also rooms that were reserved for the use of the Emperor’s close advisors and the Stag Gallery.
Evoking a quiet sense of tranquility, a pair of mute swans glide past silently as a late day sun produces warm golden reflections on the gently rippling waters beyond.
CC Most Versatile February: High Key
Generated By Midjourney V8.2
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> Composition frontale impériale en **très gros plan**, parfaitement équilibrée et presque symétrique. Au centre, une souveraine extraterrestre au visage féminin puissant fixe directement l’objectif avec une expression calme, dominatrice, mystérieuse et inquiétante. Son visage doit rester immédiatement lisible malgré sa transformation reptilienne et biomécanique.
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> Ses **yeux bleu électrique extrêmement lumineux** constituent le principal point focal. Iris surnaturels d’un bleu intense, détails internes complexes, pupilles nettes, profondeur optique réaliste et microreflets cohérents. Leur lumière doit sembler provenir de l’intérieur tout en interagissant physiquement avec les paupières et les surfaces voisines. **Conserver exactement cette intensité bleu électrique**, spectaculaire mais maîtrisée, sans halo excessif.
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> Le visage présente une fusion anatomiquement crédible de **trois familles de matières parfaitement distinctes** : peau humaine organique, écailles reptiliennes kératinisées et structures biomécaniques cuivre-bronze.
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> Les zones humaines révèlent une peau extrêmement réaliste : pores microscopiques irréguliers, très légères variations de carnation, microreliefs cutanés, petites imperfections presque imperceptibles, lèvres organiques légèrement satinées et transitions naturelles autour du nez, de la bouche et des yeux. Aucun effet plastique, cire, porcelaine ou texture artificiellement répétitive.
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> Les **écailles reptiliennes** émergent progressivement de la peau et suivent précisément les volumes anatomiques du visage. Elles présentent des tailles, formes, épaisseurs, orientations et espacements légèrement différents, avec de petites asymétries organiques. Certaines sont mates, d’autres légèrement satinées ou humides, avec microreliefs et variations subtiles de rugosité. Aucun motif cloné ou répétition géométrique parfaite.
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> Une spectaculaire structure frontale en **cuivre-bronze biomécanique** s’élève au-dessus du crâne, évoquant simultanément une couronne impériale, une carapace reptilienne et une architecture extraterrestre vivante. Une ligne centrale de plaques articulées descend verticalement sur le front jusqu’au nez, créant un axe majestueux sans masquer l’identité du visage.
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> Les structures biomécaniques doivent présenter interfaces fonctionnelles, articulations plausibles, microassemblages, points d’ancrage anatomiques et variations de matière. Alterner subtilement cuivre poli, bronze satiné, surfaces plus mates et zones légèrement patinées. Éviter tout aspect de métal simplement collé sur la peau.
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> Autour du visage se déploient de nombreux **appendices serpentins biomécaniques**, épais, puissants et organiquement intégrés à la créature. Préserver leur architecture spectaculaire et leur mouvement enveloppant. Leurs diamètres, tensions, courbures et profondeurs doivent légèrement varier. Certains passent devant d’autres et créent de véritables ombres de contact ; certaines courbes montrent des zones de compression ou d’étirement. Ils doivent sembler anatomiquement reliés à l’impératrice plutôt que disposés autour d’elle comme des câbles décoratifs.
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> Leur surface combine écailles reptiliennes sombres, microstructures métalliques cuivre-bronze et reflets bleu-cyan localisés. Les microtextures suivent réellement les courbures des appendices et changent progressivement selon l’orientation par rapport aux sources lumineuses.
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> **Palette chromatique impérative : cuivre-bronze / bleu électrique-cyan / noir profond.** Aucun ajout de couleur dominante. Le cuivre chaud doit entrer en contraste spectaculaire avec le bleu froid tandis que les noirs fournissent profondeur, silence visuel et monumentalité.
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> Éclairage cinématographique complexe mais physiquement cohérent : lumière principale sombre et sculpturale, **rim light bleu-cyan** longeant certaines écailles et appendices, reflets froids localisés sur le cuivre, petites zones chaudes révélant les volumes métalliques. Les surfaces orientées à l’opposé des sources restent profondément sombres. Aucun éclairage bleu uniforme.
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> En arrière-plan, immense **architecture Science-Fiction extraterrestre**, sombre, abyssale et presque cathédrale biomécanique : arches concentriques, structures verticales gigantesques, minuscules lumières bleues éloignées et profonde obscurité. L’environnement doit suggérer une civilisation technologiquement incompréhensible sans détourner le regard de l’impératrice.
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> Profondeur cinématographique précise : visage et yeux extrêmement détaillés au premier plan, appendices progressivement moins nets selon leur distance, architecture lointaine absorbée par les noirs et le bleu profond. Quelques micro-points lumineux peuvent exister dans l’environnement, mais **aucune surcharge de particules ou d’effets lumineux**.
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> Préserver la **symétrie impériale globale**, tout en introduisant de minuscules asymétries biologiques dans la peau, les écailles, les appendices et les matières. La symétrie doit exprimer le pouvoir ; les micro-asymétries doivent donner la vie.
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> Atmosphère : majestueuse, extraterrestre, abyssale, inquiétante, hypnotique, souveraine, mystérieuse et merveilleuse. L’image doit donner l’impression d’un véritable portrait photographique réalisé face à une créature biologiquement impossible mais physiquement présente.
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> Imperial frontal composition in an **extreme close-up**, perfectly balanced and nearly symmetrical. At the center, a powerful female extraterrestrial sovereign stares directly into the camera with a calm, dominant, mysterious, and unsettling expression. Her face must remain immediately readable despite her reptilian and biomechanical transformation.
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> Her **intensely luminous electric-blue eyes** are the primary focal point. Supernatural deep-blue irises, intricate internal details, sharp pupils, realistic optical depth, and physically coherent micro-reflections. Their light should appear to originate from within while interacting naturally with the eyelids and surrounding surfaces. **Preserve exactly this electric-blue intensity**, spectacular yet controlled, with no excessive halo.
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> The face displays an anatomically credible fusion of **three clearly distinct families of materials**: organic human skin, keratinized reptilian scales, and rigid copper-bronze biomechanical structures.
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> The human areas reveal extremely realistic skin: microscopic irregular pores, very subtle variations in complexion, delicate skin micro-relief, almost imperceptible natural imperfections, organically satin-finished lips, and natural transitions around the nose, mouth, and eyes. No plastic, wax, porcelain, or artificially repetitive skin texture.
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> The **reptilian scales** progressively emerge from the skin and precisely follow the anatomical volumes of the face. They feature subtly different sizes, shapes, thicknesses, orientations, and spacing, with slight organic asymmetries. Some scales are matte, others subtly satin-finished or moist, with micro-relief and delicate variations in surface roughness. No cloned patterns or perfectly repetitive geometry.
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> A spectacular **copper-bronze biomechanical structure** rises above the skull, simultaneously evoking an imperial crown, reptilian carapace, and living extraterrestrial architecture. A central line of articulated plates descends vertically along the forehead toward the nose, creating a majestic axis without obscuring the identity of the face.
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> The biomechanical structures must feature functional interfaces, plausible articulations, microscopic assemblies, anatomically credible anchor points, and material variations. Subtly alternate polished copper, satin bronze, more matte surfaces, and lightly patinated areas. Avoid any impression of metal simply attached to the skin.
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> Numerous powerful **biomechanical serpentine appendages** unfold around the face, thick, organic, and anatomically integrated into the creature. Preserve their spectacular architecture and enveloping movement. Their diameters, tensions, curves, and depths should vary slightly. Some pass in front of others, producing genuine contact shadows; certain curves show physically plausible compression or stretching. They must appear biologically connected to the Empress rather than arranged around her as decorative cables.
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> Their surfaces combine dark reptilian scales, copper-bronze metallic microstructures, and localized blue-cyan reflections. Microtextures must genuinely follow the curvature of the appendages and progressively change according to their orientation relative to the light sources.
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> **Mandatory color palette: copper-bronze / electric blue-cyan / deep black.** Introduce no additional dominant color. Warm copper must create a spectacular contrast with the cold blue, while deep blacks provide depth, visual silence, and monumentality.
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> Complex yet physically coherent cinematic lighting: dark sculptural key light, **blue-cyan rim lighting** tracing selected scales and appendages, localized cool reflections across the copper, and small warm highlights revealing metallic volumes. Surfaces facing away from the light sources must remain deeply shadowed. No uniform blue illumination.
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> In the background, an immense **extraterrestrial Science-Fiction architecture**, dark, abyssal, and reminiscent of a biomechanical cathedral: concentric arches, gigantic vertical structures, tiny distant blue lights, and profound darkness. The environment should suggest a technologically incomprehensible civilization without distracting from the Empress.
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> Precise cinematic depth: face and eyes rendered with extreme detail in the foreground, appendages becoming progressively softer according to their distance, distant architecture absorbed into deep blacks and dark blue. A few tiny points of light may exist within the environment, but **no excessive particles or luminous effects**.
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> Preserve the **overall imperial symmetry**, while introducing minute biological asymmetries within the skin, scales, appendages, and materials. Symmetry must express power; micro-asymmetries must create life.
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> Atmosphere: majestic, extraterrestrial, abyssal, unsettling, hypnotic, sovereign, mysterious, and wondrous. The image should feel like a genuine photographic portrait captured face-to-face with a biologically impossible yet physically present creature.
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**🎬 Prompt (FR) :**
Trois chatons ultra réalistes blottis dans un panier en osier tressé, posé sur une surface douce aux tons pastel, dans une ambiance chaleureuse et onirique. Le premier chaton, à gauche, est gris tigré avec les yeux fermés, profondément endormi, ses petites pattes repliées sous son museau. Le second, au centre, est un chaton roux aux yeux bleu clair perçants, regardant directement l’objectif avec une expression curieuse et innocente. Le troisième, à droite, est crème très clair, presque ivoire, avec des yeux bleu pâle légèrement humides, donnant une impression de douceur fragile.
Le panier est orné d’un ruban rouge satiné scintillant, noué en un large nœud parfaitement détaillé, avec des reflets lumineux subtils. À côté du panier repose une petite souris en tissu cousue main, avec des coutures visibles et une texture textile réaliste.
L’éclairage est cinématographique, doux et diffus, type golden hour, avec un léger contre-jour créant un halo délicat autour des chatons. Profondeur de champ très faible (bokeh crémeux), arrière-plan flou composé de fleurs pastel roses et beiges, ambiance rêveuse et romantique.
Textures extrêmement détaillées : chaque poil est visible, légèrement duveteux avec micro-reflets, les moustaches fines captent la lumière, le panier montre des irrégularités naturelles du bois tressé. L’atmosphère est légèrement brumeuse avec des particules flottantes lumineuses, ajoutant une touche magique.
Palette de couleurs harmonieuse : tons chauds, pastel, crème, pêche, rose poudré, avec contraste doux. Style photographique hyperréaliste, rendu 8K, netteté extrême sur les sujets, dynamique de lumière naturelle, HDR subtil.
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**🎬 Prompt (EN):**
Three ultra-realistic kittens nestled together inside a handwoven wicker basket, resting on a soft pastel-toned surface in a warm, dreamy atmosphere. The kitten on the left is a gray tabby, peacefully asleep with eyes closed, tiny paws tucked under its chin, fur slightly ruffled like brushed velvet. The center kitten is a ginger tabby with striking light blue eyes, gazing directly into the camera with an innocent, curious expression that feels almost human. The kitten on the right is a very pale cream, nearly ivory, with soft bluish eyes slightly glossy, conveying delicate tenderness.
The basket is wrapped with a shimmering red satin ribbon tied into a large, perfectly shaped bow, catching light with subtle specular highlights. Beside the basket lies a small handmade fabric mouse toy, with visible stitching, textured cloth, and tiny button-like eyes.
Lighting is cinematic and soft, reminiscent of golden hour, with gentle backlighting that creates a delicate halo around the kittens’ fur. Extremely shallow depth of field with creamy bokeh; the background melts into a blur of pastel flowers in pink and beige tones, evoking a romantic, storybook mood.
Textures are hyper-detailed: every strand of fur visible with fine micro-highlights, whiskers catching glints of light, the wicker basket showing natural imperfections and organic fiber detail. The air carries faint floating dust particles glowing softly, adding a magical, ethereal touch.
Color palette is harmonious and warm: soft creams, peach, blush pink, warm beige, balanced with gentle contrast. Style is hyperrealistic photography, ultra high resolution (8K), razor-sharp focus on subjects, subtle HDR, natural light rendering.
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The contrast in styles between the Orchids and this overgrown Spider Plant evoked a very old memory of a classic Disney film. The whole shoot was meant to try out focus stacking in PS. Something I'd never tried before this morning. Seems to be a good way to extend DOF with resorting to those diffraction producing high f-stops.
"Purer colors... have in themselves, independently of the objects they serve to express, a significant action on the feelings of those who look at them."
Henri Matisse
Please take note we do not participate in any acts of vandalism. we admire graffiti and photograph the work of certain artists
issuu.com/fashiontellersl/docs/fth-dreamsmaycome_final
Model: Eleseren Brianna
Photographers: Nimoe Constantine
Falling is one of the most common dreams that we have. Falling can mean you are not in control of situation and surroundings. Falling can also signify that you are possibly “falling” for someone. Falling can evoke many emotions in your dream. Fear of falling means you’re insecure about something. Falling from clouds and enjoying it means you are not afraid of change and you are actually embracing it. Pay attention to how you felt during your fall, those emotions can reveal what you are feeling about whatever circumstances you are facing.
Explore the dream world:
issuu.com/fashiontellersl/docs/fth-dreamsmaycome_final
<3
To invoke the imagination, provoke the senses and evoke the emotions of people around the world... [Cirque du Soleil's mission]... www.cirquedusoleil.com/en/home/shows.aspx
Re-worked
Cirque du Soleil, Toronto, Ontario:
a collaboration by Henry Peirson, artistic director, and Ellyn, window dressing
ALEGRIA HAS RETURNED to the bigtop in Ontario Place! And we're all going again (hope I can make It!) on Nov. 3.
Everything is re-worked in celebration! www.youtu.be/hSwgpfMT0dE
A view of the iconic bridge over the Ebro River in Zaragoza, captured from a dry field in the heart of winter. The steel structure stands out against the clear sky, framed by withered vegetation that reflects the season’s quiet stillness. This shot captures the contrast between the urban and the natural, evoking a sense of calm and distance.
Evoking memories of World War I, Replica Plans SE.5A biplane F8010/Z (G-BDWJ), a 1978 built Royal Aircraft Factory SE.5A replica, taxiing in after a display at the Sywell Classic event on 25th September 2022.
These Four images are reflected versions of,
Mediobogdum Roman Fort Wall slightly rebuilt defending history and evoking mystery against a backdrop of towering majesty in Eskdale
www.flickr.com/photos/phhsykes/albums/72177720308600510
This historic site needs no reflection to admire the work of our ancestors and of nature, but the reflections do add to my consideration and appreciation.
Evening approaches and the shadow slightly encroaches on your imagination building and extending possible former construction and stirring ideas of formal occupation and informal habitation. This fort is built near the mountain passes that vehicles struggle across. To see the well set stone amongst the transformed landscape is to be amongst living food for the soul. Well it is if you have your way of enjoying history.
The feelings so easily generated here give you an insight into the way we humans focus on an importance and build around it, but when our human systems change we walk away from our former focus and take away the resources we were investing. Then the historic value gives us focus renewed to map, to rebuild a little and to conserve the memory making place. The history of this one Roman Fort positioned along a trade route near the edge of a vast Empire still standing near the narrow single track byway that never attracted industrial traffic and road building tells us much about ourselves and human interest.
Mediobogdum Roman Fort on Hardknott Pass in the Lake District has some great slightly rebuilt ruins. The light on this evening was a splendid Sun bath and banquet lighting the way to older notions and even initiation upon a ladder of lights that illuminated all of the ways to become enlightened, ignited and rejoicing in the light. This remote mountain pass with amazing ruin is an almost unbelievable location to find history and to enjoy mystery.
© PHH Sykes 2023
phhsykes@gmail.com
HARDKNOTT ROMAN FORT
www.english-heritage.org.uk/visit/places/hardknott-roman-...
Step back in time at Pasadena City Hall ✨ A lady in a neoclassical gown gracefully walks through the grand arches, bathed in golden sunlight, evoking the elegance of a bygone era. Built in 1927, Pasadena City Hall stands as a stunning example of the City Beautiful movement, blending Spanish and Mediterranean Revival styles. A true architectural gem, it remains a timeless symbol of Pasadena’s rich history. #PasadenaCityHall #TimelessElegance #ArchitecturalBeauty
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
WIKIPIDEA
I thought the red color of Death Angels cover from the "Veil of Deception" record would perfectly fit to the former red curtains of this stage... sadly no good quality of this print was to find in the internet.
Manders easily spends 10 years on a sculpture. The work process can stall and be put on hold for years. If he suspects there's more to an idea, he doesn't want to force its maturation.
To evoke that steady work process in his enormous studio, the layout of Museum Voorlinden has been significantly altered. Pieces of wood are propped up against makeshift partitions, and here and there, debris lies scattered on the floor. A clay sculpture is covered in plastic, as if the material can't dry too quickly, or it will crack.
But don't be fooled. The unfinished clay sculpture, with its unruly skin, has already been cast in bronze (a highly specialized task) and then carefully painted as if the sculpture were still made of clay.
"What you get is not what you see," to paraphrase a well-known computer wisdom. The urge to check that with your finger is almost irresistible. Despite the enormous size, modern art museums all over the world make space to show and collect them.
Mt. Sneffels, Ouray, CO
Excited to say that this image of mine has been accepted into my 3rd photo show. This show's theme is "Evoke". Hoping to have some luck with this black and white image as a 20x30 metal print.
I shot this image while on a Thanksgiving trip down to Ouray and Telluride. My fiancé and I were on our way back from Telluride and we stopped along the Dallas Divide. The clouds were rolling across the Sneffels range and I waited about 25 minutes for the light to finally pop through and illuminate this gorgeous peak.
Have a great weekend, everyone!
Sculpture devant l'entrée principale du siège social du Cirque du Soleil.
Montréal, Qc
Sculpture in front of the Cirque du Soleil headquarters.
Scylla just the name evokes enchantment amongst local storytellers, long held myths told and retold about a nymph turned into one half of a tag team that guard the “Straits of Messina” the other guardian being Charybdis the whirlpool master. With a name like Scilla you have a lot to overcome, your six headed monstrous side with big belly full of many sailors needs some compensation and I feel that she has done this with one of the most beautiful coastal villages I have ever visited Chianalea. I think this little village may be a siren child of the Scylla given the way the lapping of the sea against the houses seems to pull you forward with its song but try to resist its pull and pause along the way to explore every nook.
I took this on Sept 15th 2023 with my D850 and Tamron 24-70mm f2.8 G2 Lens at 52mm, 1/250s, f2.8 ISO 2000 processed in LR, PS +Lumenzia ,Topaz, and DXO
Disclaimer: My style is a study of romantic realism and still a work in progress
Today’s post is inspired by the very beautiful work of my dear friend Charlotte. Charlotte excels in many different genres of photography and digital art and if you don’t already follow her I encourage you to check out her photostream.
This particular technique, called the Adamski effect after Israeli photographer Joshua Adamski, is one that I learnt from Charlotte. If you’d like to check out some of her “Adamski effect” images you can do so by clicking here.
The Adamski effect involves duplicating your photo (in Photoshop or similar editing program), and then on the top layer selecting just your main subject so that it remains in sharper focus, then on the lower background layer using some type of motion or path blur to create a beautiful blurry, dreamy background.
My effort uses a photo of some surfers that I took on a recent trip down the Great Ocean Road, on Logan’s Beach in Warrnambool, original photo linked in the first comment.
I'm also making this my post for the Definitely Dreaming week 15 theme of "Mood" because I think this technique evokes a very dreamy mood, and being on a beach always puts me in a good mood.
Explored! 20 Apr 2023 # 72
Another new artwork.
Its a symbolic series where I want to project the poetic connection between human feelings and the fascinating force of nature.
Copyright © Ioannis Lelakis.
All rights reserved.
Geometry in its purest form: circles, segments, and radiating lines merge into an abstract composition. The round structure evokes the shape of a ball, reduced to lines, forms, and materials.
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Kreisgedanken aus Stein und Stahl
Geometrie in ihrer einfachsten Form: Kreise, Segmente und Radien verschmelzen zu einem abstrakten Bild. Die runde Struktur erinnert an einen Ball – reduziert auf Linien, Formen und Materialien.
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BALL - BALLS - EVERYTHING ROUND is the topic for June 13–19, 2026, Group Our Daily Challenge
Fireworks displays are something that evoke a lot of emotion in people as they aren't only colorful, beautiful and spectacular to watch but they also are often used to celebrate different occasions/festivals all around the world, and here's my first attempt at photographing fireworks!
All rights reserved - ©KS Photography
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without written permission of the photographer!
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NEW product can be found here:
marketplace.secondlife.com/p/EVOKE-Project-Cherry-tattoo/...
*Evoke illustrations are originally hand-drawn and protected. Do not use them in any form and shape without permission*
First things first about this image… no, I have not Photoshopped in the pink hues. They are real... as genuine as the curious wonderment they may have evoked in you.
Want to know more? Sure, but I will need three minutes of your precious time… wanna trade? Nothing’s for free, my friend. I will give you my story, if you give me your time.
If you are still reading, you have likely chosen to trade. Well then, thank you for your time! I know you have many things to spend your time on; appreciate you choosing to do so today at this little mote of creativity.
Alright, alright… here’s the story.
The plan was to view a Maine sunset from the highest point in the land, the Cadillac mountain, an old shield volcano right by the ocean. NPS has strictly limited visitation here citing parking issues, which is all fine for the crowd factor, but is a nasty yank on the trip planning aspect. Undeterred, I secured passes for this evening three months in advance with the hope of seeing the Acadian Atlantic get drunk on some sweet sunset nectar. However, on that day, up there on the highs of the beautiful Cadillac mountain, an armada of clouds sauntered in. Yes, yes… clouds don’t always roll, they sometimes amble, as fishes sometimes fly. Our cloud of the day was thick, moist, and relentless in restricting the visibility to a few palms (new unit for metrics as my feet were not always clearly visible then). Dejection hung effortlessly in those misty clouds like a nagging nuisance. Forget viewing the nearby Atlantic, I could barely tell if all the surrounding vegetation was swaying to the chilly wind or to my frustrations.
Then something happened.
The sun, somewhere out there in the west, sank below the horizon. And the cloud, like an eager toddler, latched on to some of the prettiest colors in the palette. First, it turned soft yellow, then a pale orange, and ultimately an unapologetic pink (above). You see, the cloud was purloining the setting sun's gifts for the dying day. And I was right in the middle of that steal! Feeling it on my skin, kneading it in my bones! I was inhaling that fleeting apparition and letting the ethereal air diffuse past my lungs deep into aphotic depths where my words don’t reach. About then, I was colored identically as the mountain, the cloud, and the moment. In Cadillac.
Yeah, that’s why I said what I said in the title.
Did you like the story? Want to tip me for entertaining you? Alright, I will gratefully accept a minute or two more of your time, which you could spend looking at the above image. Just be warned, like me, you too could get splashed and spoiled in Cadillac.
This photo was taken at Blue Mountains. I used camera's blue filter setting to enhance the blue hue of the photo and to evoke the sense of serenity.
Minor editing with Lightroom to remove dust spots around the sky area.
McNicoll evokes the simple joy of young children at the water's edge. Bathed in a dazzling light, the scene offers an idyllic vision of childhood, where time seems suspended in innocent play. Water takes a central role in the composition, as both a representational and a formal element. Through its shimmering reflections and shifting surface, the artist captures the fleeting moment while exploring the effects of light and colour inherent to Impressionist aesthetics.
Excerpt from w-hotels.marriott.com/about-w/:
We view luxury as the freedom to be yourself. To be as you are and to pursue what you want, whenever you want. Unencumbered and at ease. Letting go and letting loose is half of the fun; boldly living in the now, even if just taking a moment to reflect in the thrilling comfort of a new city, is what we’re all about. The term luxury as we’ve all known is changing. Liberating it is the way forward.
W Hotels was forged in the social electricity of New York over two decades ago, and we’ve been at the forefront of lifestyle hospitality ever since. Yet the vanguard has shifted. We now see this leading edge as being more design-forward, more localized and more personal – without giving up the community connections we’ve long catalyzed.
Our design evokes a sense of curiosity; we reimagine luxury’s aesthetic codes, and we’re not afraid to have fun in doing so. W Hotels is unexpected and fresh, bold yet discernible, and designed to spark a feeling of connection and community. Our materials are luxurious and natural. We are big on color, especially with how it connects to our locations. And we’re all for playful moments and daring design moves.