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I suck at picking my favorite; More in comments; I was exploring flickr a few days ago and I saw an interesting photo. A person attached a tag to their toe with their name, age, and cause of death on it. I thought it was an amazing idea!! So I wanted to try. I wish I remembered the person's name so I can give them credit for the idea. Im sure other people have done it before him but I would still like to give them credit for giving me the idea. While doing this I got the idea of rape from a recent experience. It didn't personally happen to me but it was something I would enjoy not mentioning on flickr. So this photo was not only for fun but it was also to display a purpose.
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تعلم التصوير بخطوات سهلة ومبسطة مع زهراء حسين
Taken & Edit by ; Me
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“You will learn the hard way that on the long journey of life you will encounter many masks and few faces“
“Imparerai a tue spese che nel lungo tragitto della vita incontrerai tante maschere e pochi volti.”
Luigi Pirandello
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1995-2015.undo.net/Pressrelease/foto/1202921455b.jpg
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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I was working on two of my photographic projects, then Carnival arrived, I put aside what I had done up until then, and so I created this group of photographs; they are shots taken during the Carnival which took place in Taormina center (Taormina alta) and in Trappitello (fraction of Taormina, the plain part of Taormina, located towards the hinterland; there is also Taormina seaside, but this part is not was affected by the Carnival). Carnival, from a photographic point of view, has always interested me not for its allegorical floats, not for its beautiful or refined masks, but for the people who find themselves "behind the masks", for their emotions, the their ability to have fun, to uninhibit themselves, even in front of the camera. I photographed a detail of the float dedicated to the mayor of Taormina, Cateno De Luca, I photographed boys and girls from the masked groups who paraded through the city streets, as well as boys and girls not belonging to any group, who had fun with clothes invented for the 'occasion; despite having placed heterogeneous photographs, I mostly followed a theme that refers to a work by Andy Warhol, an iconic figure of Pop Art as well as being one of the most important artists of the 20th century, ideally linking myself for its creation to the allegorical float of Pop Art of Taormina.
I conclude, I dedicate this work to the flicker-friend White Angel, hoping to please her.
www.flickr.com/photos/white-angel/
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Stavo lavorando a due miei progetti fotografici, poi è arrivato il Carnevale, ho messo da parte quanto avevo fino ad allora fatto, ed ho così realizzato questo gruppo di fotografie; sono scatti realizzati durante il Carnevale che si è svolto a Taormina centro (Taormina alta) ed a Trappitello (frazione di Taormina, la parte in pianura di Taormina, sita verso l’entroterra; c’è anche Taormina mare, ma questa parte non è stata interessata dal Carnevale). Il Carnevale, dal punto di vista fotografico, mi ha sempre interessato non per i suoi carri allegorici, non per le sue maschere belle o ricercate che siano, ma per le persone che si trovano “dietro le maschere”, per le loro emozioni, la loro capacità di divertirsi, di disinibirsi, anche davanti la macchina fotografica. Ho fotografato un dettaglio del carro dedicato al sindaco di Taormina, Cateno De Luca, ho fotografato ragazzi e ragazze dei gruppi in maschera che sfilavano per le vie cittadine, come ragazzi e ragazze non appartenenti a nessun gruppo, che si divertivano con vestiti inventati per l’occasione; pur avendo messo fotografie eterogenee, ho seguito maggiormente un tema che fa riferimento ad un lavoro di Andy Warhol, figura iconica della Pop Art oltre che essere uno dei più importanti artisti del XX secolo, agganciandomi idealmente per la sua realizzazione, al carro allegorico della Pop Art di Taormina.
Concludo, dedico questo lavoro alla flicker-friend White Angel, sperando di farle cosa gradita.
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The important thing is to not stop questioning :-) Albert Einstein
sarah p duke gardens, duke university, durham, north carolina
that men never learn anything from experience. George Bernard Shaw.
little theatre rose garden, raleigh, north carolina.
Explorabulous!
Learn how to make this fun and sweet new soap design, made just for The Soap Queen blog! soap-queen.blogspot.com/2008/08/tutorial-birthday-cake-lo...
I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.
From New York Magazine
Written by: Justin Davidson
nymag.com/intelligencer/2019/10/review-of-the-redeveloped...
“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.
I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.
Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.
There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.
The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)
The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.
It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”
And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.
When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.
The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.
One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”
Source: New York Magazine
Now this is inspiration that should've struck a month ago. Still, I had a laugh making them. They're small squares of tea-stained watercolor paper painted with deep scarlet watercolor and accented with black ink. What's fun with these is you can put them in any order you want, or get a couple sets and watch kitty really never learn - repeatedly.
Pssssst: Zazzle Store
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Another photo from the Common Merganser (Mergus merganser) mother and chicks from early June.
This image is the exclusive property of its author, Roger P. Kirchen, and is protected by Canadian and international copyright laws. The use of this image, in whole or in part, for any purpose other than the private online viewing, including, but not limited to copying, reproduction, publication (including web sites and blogs), "hotlinking", storage in a retrieval system (other than an internet browser as part of its normal operation), manipulation and alteration (digital or otherwise), transmission in any form or by any means (such as, but not limited to: electronic, mechanical, photocopying, photographing, recording) is expressly prohibited without the prior written permission by Roger P. Kirchen.
All artistic and moral rights of the author are hereby asserted. Copyright © by Roger P. Kirchen. All Rights Reserved.
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Today's terrifying acts in Ukraine remind us that humans never learn and that power hungry dictators still exist!
This piece of steel contains actual bullet holes from the Hungarian Revolution of 1956!
The Hungarian Revolution of 1956 (or Hungarian Uprising of 1956) was a spontaneous nationwide revolt against the Communist government of Hungary and its Soviet imposed policies, lasting from October 23 until November 10, 1956. It began as a student demonstration which attracted thousands as it marched through central Budapest to the Parliament building. A student delegation entering the radio building in an attempt to broadcast their demands was detained. When the delegation's release was demanded by the demonstrators outside, they were fired upon by the State Security Police (ÁVH) from within the building. The news spread quickly and disorder and violence erupted throughout the capital.
The revolt spread quickly across Hungary, and the government fell. Thousands organized into militias, battling the State Security Police (ÁVH) and Soviet troops. Pro-Soviet communists and ÁVH members were often executed or imprisoned, as former prisoners were released and armed. Impromptu councils wrested municipal control from the communist party, and demanded political changes. The new government formally disbanded the ÁVH, declared its intention to withdraw from the Warsaw Pact and pledged to re-establish free elections. By the end of October, fighting had almost stopped and a sense of normalcy began to return.
After announcing a willingness to negotiate a withdrawal of Soviet forces, the Politburo changed its mind and moved to quash the revolution. On November 4, a large Soviet force invaded Budapest, killing thousands of civilians. Organized resistance ceased by November 10, and mass arrests began. An estimated 200,000 Hungarians fled as refugees. By January 1957, the new Soviet-installed government had suppressed all public opposition. These Soviet actions alienated many Western Marxists, yet strengthened Soviet control over Central Europe, cultivating the perception that communism was both irreversible and monolithic.
Public discussion about this revolution was suppressed in Hungary for over 30 years, but since the thaw of the 1980s it has been a subject of intense study and debate. At the inauguration of the Third Hungarian Republic in 1989, October 23 was declared a national holiday.
"Lest We Forget"!!
Underground near the Parliament buildings, Budapest, Hungary.
givemehope . com
this website brings me to tears everytime i read those beautiful stories.
you may ALL know bout the webstie
but im just gonna share it with you again
A mother/grandmother teach her daughter/granddaughter throw some small stone into the sea. I think sometime we can use the same method to throw away our distress...
you only learn be experimenting, here is a shot I took yesterday at the #Severn crossing using a Variable #NDFilter for the first time
#D600 #Nikon #longexposure #landscape #Wales #Bristol #Photographer #DandKPhotos
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kimakazii: 👌👌
I'm trying to learn some techniques from my very inspiring daughter, Gina.
ginaballerina on Flickr.
She was kind enough to be my model...thank you sweetie! Anyway, she inspires me. <3