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As its name implies, Andrena caerulae, is a bee with a deep blue shimmer to its skin. Unlike the plain black models of most of the other 500+ species of Andrena this species stands out, making identification a bit easier. In the face you can see the darkened patches of short hairs that line the depressions between eye, ocelli, and antennae (fovea) that characterize the genus Andrena. This one was caught on the Channel Islands as part of a National Park Service study of bees along the coasts. A little bedraggled, but the only one we caught, so its picture is taken.
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All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
Beauty is truth, truth beauty - that is all
Ye know on earth and all ye need to know
" Ode on a Grecian Urn"
John Keats
You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
20160914 Copyright onEdition 2016©
Free for editorial use image, please credit: onEdition
Cyclist Dame Sarah Storey DBE (C4-5) from Manchester, wins a gold medal for ParalympicsGB in the Woman's Road Cycling Time Trail C5 at the Rio Paralympic Games 2016.
ParalympicsGB is the name for the Great Britain and Northern Ireland Paralympic Team that competes at the summer and winter Paralympic Games. The Team is selected and managed by the British Paralympic Association, in conjunction with the national governing bodies, and is made up of the best sportsmen and women who compete in the 22 summer and 4 winter sports on the Paralympic Programme.
For additional Images please visit: www.w-w-i.com/paralympicsgb_2016/
For more information please contact the press office via press@paralympics.org.uk or on +44 (0) 7717 587 055
If you require a higher resolution image or you have any other onEdition photographic enquiries, please contact onEdition on 0845 900 2 900 or email info@onEdition.com
This image is copyright onEdition 2016©.
This image has been supplied by onEdition and must be credited onEdition. The author is asserting his full Moral rights in relation to the publication of this image. Rights for onward transmission of any image or file is not granted or implied. Changing or deleting Copyright information is illegal as specified in the Copyright, Design and Patents Act 1988. If you are in any way unsure of your right to publish this image please contact onEdition on 0845 900 2 900 or email info@onEdition.com
These are only implied nudes. She wore a swimsuit under the fabric in all photos and just hid the ties when she needed to.
CASTRO STREET FAIR 2012- Beautiful Women !
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A small number of philosophers claim that the self implies an other in mind. Generally this other is a linguistic listening, speaking or whispering thing. I argue that for the Japanese the Other watches. But recently, in Japan too, there have arrived whispering Others such as Philip in Masked Rider Double, and Whisper in Youkai Watch. Both are surrounded by the printed word: a virtual library in the case of Philip and a tablet PC in the case of Whisper. They are portrayed somewhat comically. My take is that these whisipering others represent the Westernized Japanese mind. The Japanese too also now whisper to their other self as well as letting themselves be watched.
The recent Pokemon movie "Pokémon the Movie 20: I Choose You!" was for me a moving, and religious experience! It featured a baddie in the form of "Ma-shado-" Ma-shado- Ma-shado- is a "ghost" pocket monster, like the ghoul (youkai) "Whisper" from the recent cross over series "Youkai Wachi". Ma-shado- encourages whispering, like Whisper, as we can tell from the whispering noises made when Satoshi is possessed by Ma-shado-.
Still more philosophical is the world which Satoshi sees a dream of a pokemon-less, scientific world while possessed by Ma-shado-. I think that the movie is extremely realistic! As long as we are aware of our duality we can see the monster in our pockets and the conditioned intersubjective nature of the scientific, black and white world. But when we are possessed by the Whispering pocket monster, then the whispering is internalised and then we doomed to the monocrome lie (?) of materialism. Fortunately, one way of escaping the whispering is, according to this movie, by running when one will realise the the presence of the other, the irreality of the monotone world of science, and the fact that one is accompanied by a non-whispering, only-own-name-saying pocket monster. And finally, in a surprisingly moving schizo moment, the man of the hour spoke: Pikachu explained that the reason why he does not disappear into the the "monster ball" is because, paraphrasing, Pikachu does not want to miss a thing.
Nyua-zu is another speaking pocket monster but at least he speaks out loud. How can one encourage "pocket monsters" to say only their names, and not to whisper to themselves?
It seems to me that many of the traditional features of Japanese companies such as on the check list on the belt of (太田肇, 2017) were design to minimise whispering.
And doing Nembutsu -- chanting the name of a Buddha - may be a way of turning ones "pocket monster" from a Ma-shadow into a Pika-Chu. As I cycle along chanting, in a visored helmet thinking about Steve horseman Harley claiming we have stolen someone's face I wonder about what I might write, or imagine is written, on my helmet.
Among the collateral events of the 55th Venice Biennale, Dora Garcia’s “The Joycean Society” at Spazio Punch on the island of Giudecca is one of the most compelling, despite a presentation that looks forbidding at first glance.
Garcia is the winner of the 45th International Contemporary Art Prize (PIAC), which is awarded every three years by Monaco’s Pierre Foundation. For the first time, the winner’s work is being shown in Venice, though Garcia herself was also here two years ago when she represented Spain at the 2011 Biennale. The artist is also known for participating in international exhibitions such as Documenta 13 and the Lyon Biennale; her work has been exhibited at Tate Modern, MACBA, and the Pompidou Center.
With artistic direction by Abdellah Karoum, a permanent member of the prize committee and the future director of Mathaf in Doha, Garcia devoted several years of research to a project that consists of a show and a film about a group of readers of James Joyce’s “Finnegans Wake.”
The setting includes wallpaper with enigmatic diagrams and sketches and a table with several annotated works by Joyce, including “Finnegans Wake” and a book on the exhibition. In a video playing on a parallel wall, different protagonists are plunged into the hermeneutics of texts by Joyce, with some Freud thrown in.
“It’s a natural process where I translate my thinking into the physical space, so to speak. The books on the table are the three works by Joyce: 'Ulysses,' 'Finnegans Wake,' and 'Dubliners,' altered and annotated by me — enhanced, you could say,” Garcia told BLOUIN ARTINFO.
The video is the culmination of the artist’s lengthy observations of this book club over the course of several meetings where the commentators developed their interpretations. According to Garcia, “The Joycean community are all the book’s potential readers — this strange book was written for this enigmatic public.”
“The film’s structure is very simple: the length is determined by a reading session, almost in real time. Already this gives meaning, structure, and a time frame. Afterwards I inserted other conversations that helped me to construct the four characters of the story: the book club, Joyce’s grave, the academics, and the devoted Joycean,” Garcia said.
This installation thus becomes an invitation to the literary journey that is “Finnegans Wake.” Between the project's filmed scenes and the reality of the space and the tools presented by the installation, a “critical” space is opened up. Here, the viewer is confronted with the cognitive difficulty that this book represents and is led to activate his/her senses, especially the imagination. Garcia’s exhibition offers an exploration that is connected to knowledge without making knowledge its goal.
“‘Finnegans Wake’ is a book that chooses its readers; however, it’s not a book that touches everyone,” Garcia says. “It’s a book for people who want to understand the world absolutely, almost Indiana Joneses of language. So it’s an elitist book, but not for the rich or the beautiful, but for the brave who are skeptical at the same time.”
The uniqueness of this project lies in the deep understanding of Joyce’s writing and the dialogue that Garcia sets up with the Irish author's work: The viewer doesn’t learn anything, but something is shown that resembles a horizon for intellectual fulfillment. This, it seems, is what Garcia is getting at when she says, “I think that ‘Finnegans Wake’ is utopian because this text is written for the future, for a viewer who is not there yet…. I don’t question this utopia, I celebrate it.”
To this, we might add that this “viewer who is not there yet,” in addition to perhaps implying a messianic reference, also supports the idea that knowledge is developed not through a linear and discrete process, but through the interplay of connections within language itself.
implicity 8418
copyright 1969
Size Young Junior 15/16
Waist 27
Hips 38
Cut & complete.
Young Junior/Teens' Skirt in Two Lengths and Mini-Pant skirt: Including a Tissue Lesson Chart ... "How To Handle Pockets"). The skirt V. 1 & 2 and the mini-pant skirt V. 3 & 4 with patch pockets have side zipper and waistband. V. 1 is regular length. V. 1 & 4 have shaped pockets with button trimmed flaps. Mini-length V. 2 has round pockets. V. 3 has top-stitched contrasting round pockets with flaps.
Day flying MOTH
As its name implies, its larvae are considered a pest species in Northern South America. Young larvae make a small cavity and then tunnel into the heart of the cane of the host plant. They tunnel upwards and downwards, and create a shelter in the rootstock where they rest. Pupation takes place in the rootstock or at the base of the cane
Model: Laura
MUA: Mera
Another shot from my first studio shoot at Contrast 30/10/08. Thanks again to Mera, Weeping Willow, Laura, Jacquilne and Jamie!