This
View allAll Photos Tagged negotiations
Mood ♫ Black Atlass & Jessie Reyez - Sacrifice ♫
Yeah, we could call it love, or we could call it nothing
But you got what I want, so baby, give me something
Yeah, we could call it love, or we could call it nothing
But you got what I want, you know I do, too
Wadi Rum Collection - RAW Cont. Tiff crp ad21 df dn dn sh expos psdR sk PNG 12.7 MB. 2RP.
Photo subject: Wadi Rum Desert.
Negotiations with the locals to (Rent a Camel).
A photo with nice people in the view, however, if there is any objection from anyone, then he or she should write to me at the following address:
hastephan51@gmail.com
In that case, I will gladly remove the photo from my collection.
" One moment my friend , the mystical artifact you had me retrieve
cost me the life of one of my men , the price has gone up."
"You failed to mention it was a dark object and quite dangerous" said MR. Crow
Tofu and his cousin Filou often seem to share secrets. I'm not sure if I would really like to know what they are talking about. Sometimes ignorance is bliss ...
A squirrel clings to the side of a tree like it’s halfway through deciding whether you’re worth trusting or just worth ignoring. Sunlight catches the edge of its tail, turning the fur into a soft halo against the rough, textured bark. The white chest and belly pop against the darker tones, giving the whole frame a clean, high‑contrast look that feels both wild and intimate.
The shallow depth of field isolates the squirrel perfectly, blurring the background into soft greens and browns so every whisker, claw, and patch of fur becomes the story. It’s a classic Florida backyard wildlife moment, elevated by tight framing and timing that catches the animal in that split second of stillness before it bolts.
My latest photography is now available for purchase at crsimages.pixels.com, featuring prints, framed art, and more from my curated collections.
Week19:Roll of Film
We want to introduce you to our new friend Caricoli, known as "Cari" for friends and family :) He or she is a young snail that we found in our little daily outing last week. Miguel is in love with him since he has a great caring instinct. I plan to liberate him soon, but negotiations are going to be tough...
This week picture is not my idea but Miguel's. He asked me to have a picture with Cari on his shoulder like a pirate with his parrot. I wasn't sure if this would work out, but It has turned out that we have a super sociable snail <3
A pair of royal terns appear to be negotiating over a fish (in the male's beak) and what could follow. Will she or won't she? Stay tuned!
Taken at Fort De Soto in Florida.
My sincere thanks to all who spend the time to view, like or comment on my photos. It is much appreciated!
© 2024 Craig Goettsch - All rights reserved. Any unauthorized use without permission is prohibited.
"No refunds for rain damanged goods."
"Wait, what?"
I'm showing you what's possible with an old, broken emergency laptop and Gimp (my main computer died) so photography in SL isn't impossible, just more...challenging. I crashed several times trying to take this as my potato objected to the shadows.
Its actually a great week for RPers in SL - Fantasy Fair is now open with many sims to explore. Several of the Engine Room creators are present too.
Fantasy Fair 2024: Building a World Without Cancer Store List/TP's
Engine Room is closing soon. More details and previews here
Featuring:
⦿ SOMNIUM - - Thief's Plunder Set (fatpack)
At the Engine Room Event March/April 2024
Creator's Flickr
⦿ toksik - Modest Dress (This dress shows the feet, we made it more historical by lowering it - many colour options available)
At the Engine Room Event March/April 2024
Creator's image
⦿ Raven Bell - Starling Hair (Many colour options available)
At the Engine Room Event March/April 2024
Creator's Flickr
⦿ [CABALPIER] - Antique Carpet Stack (in different shades)
At the Engine Room Event March/April 2024
Creator's Flickr
⦿ LVL9 - Royal Game of Ur (On the table - this is a working, playable game)
At the Engine Room Event March/April 2024
Creator's Flickr
⦿ *Arts & Gear* - Crash Objects[Vol.1] (attackable and breakable decor for RP and fights!)
At the Engine Room Event March/April 2024
Creator's image
⦿ Volkstone - Alex Facial Hair
⦿ ROZOREGALIA - BJYAN*NECKLACE
⦿ Game Wylder - Leaf Umbrella
Backdrop buildings:
⦿ Del-ka Aedilis - House Guthrum C/M - Summer
Fantasy Fair 2024
Additional clutter by Apple Fall and 8f8.
Some items used in decor are not available anymore :(
Head: LeLUTKA AARON 4.0
Head: LeLUTKA Lake Head 3.1
Legacy Athletic & LaraX bodies
Shapes our own.
Poses my own.
It is not controversial that the Iranian regime was and is a dictatorial one without respect for human rights. The issue now is rather that the "Operation Epic Fury" is outside international law, a war of aggression whilst negotiations were still happening, and an international gamble without a clearly defined outcome. Encouraging the Iranian population to rise up is certainly not a replacement for a proper strategy. If one invokes the law of the jungle one should not be surprised when one is judged by it. Fuji X-Pro1 plus Helios 44M-7 at F8.
In the busy market of Rasheed, Egypt, a courier waits with his horse-drawn cart while a conversation unfolds around him.
I don't know what was being negotiated that day. What caught me was the moment itself — the people, the horse, the cart and the quiet concentration of everyone involved.
A small piece of everyday life, caught in the middle of the story.
Were they bartering? Probably not, but it sure looks like it!
Thanks so much to everyone who takes the time to view, like or comment on my photos!
© 2020 Craig Goettsch - All rights reserved. Any unauthorized use without permission is prohibited.
Museo Guggenheim, Bilbao, Vizcaya, País Vasco, España.
El Museo Guggenheim Bilbao (en euskera, Guggenheim Bilbao Museoa; en inglés, Guggenheim Museum Bilbao) es un museo de arte contemporáneo diseñado por el arquitecto canadiense Frank O. Gehry y localizado en la villa de Bilbao (País Vasco), España. Es uno de los museos vinculados en régimen de franquicia o colaboración con la Fundación Solomon R. Guggenheim. Fue inaugurado el 18 de octubre de 1997 por el rey Juan Carlos I de España.
Las negociaciones para la construcción del museo entre las autoridades públicas de la comunidad autónoma del País Vasco y los directivos de la Fundación Guggenheim comenzaron en febrero de 1991. El acuerdo se firmó a finales de ese año, seleccionándose el arquitecto y el emplazamiento del edificio a mediados de 1992. Desde su inauguración en 1997, el museo ha recibido una media superior al millón de visitantes anuales, causando un impacto extraordinario en la economía y la sociedad vasca, impulsando el turismo en la región y promoviendo la revitalización de múltiples espacios públicos y privados en la villa, además de mejorar la imagen de la ciudad. Todo este fenómeno, bautizado por los medios de comunicación como «efecto Guggenheim» o «efecto Bilbao», ha puesto de relieve la importancia del turismo cultural, y ha generado un efecto de emulación en otros países, con desiguales resultados.
La característica más llamativa del museo es el innovador edificio en el que se emplaza, constituido por formas curvilíneas y retorcidas, recubiertas de piedra caliza, cortinas de cristal y planchas de titanio. Cuenta con una superficie total de 24.000 m², de los cuales 10.540 m² están reservados para las exposiciones, distribuidos en 19 galerías, siendo el museo con más metros expositivos del Estado. Se ubica a orillas de la ría de Bilbao, en una zona denominada Abandoibarra, junto al puente de La Salve, que está rodeado por una torre hueca.
Tanto el edificio como su colección permanente pertenecen a las autoridades vascas. El 3 de diciembre de 2014 el patronato del Museo Guggenheim Bilbao aprobó renovar por otros 20 años la colaboración con la Fundación Solomon R. Guggenheim de Nueva York, suscrita en 1994 y cuya vigencia vencía el 31 de diciembre.
Diseñado por el gabinete de arquitectos de Frank Gehry, fue abierto al público en 1997 y alberga exposiciones de arte de obras pertenecientes a la fundación Guggenheim y exposiciones itinerantes. Muy pronto el edificio se reveló como uno de los más espectaculares edificios deconstructivistas. El diseño del museo y su construcción siguen el estilo y métodos de Frank Gehry. Como muchos de sus trabajos anteriores la estructura principal está radicalmente esculpida siguiendo contornos casi orgánicos. El museo afirma no contener una sola superficie plana en toda su estructura. Parte del edificio es cruzado por un puente elevado y el exterior está recubierto por placas de titanio y por una piedra caliza que fue muy difícil de encontrar (al final se logró encontrar en Huéscar, Granada) de un color similar a la que se utilizó para construir la Universidad de Deusto.
El edificio visto desde el río aparenta tener la forma de un barco rindiendo homenaje a la ciudad portuaria en la que se inscribe. Sus paneles brillantes se asemejan a las escamas de un pez recordándonos las influencias de formas orgánicas presentes en muchos de los trabajos de Gehry. Visto desde arriba, sin embargo, el edificio posee la forma de una flor. Para su diseño el equipo de Gehry utilizó intensamente simulaciones por ordenador de las estructuras necesarias para mantener el edificio, consiguiendo unas formas que hubieran sido imposibles de realizar unas pocas décadas antes.
Mientras que el museo domina las vistas de la zona desde el nivel del río, su aspecto desde el nivel superior de la calle es mucho más modesto por lo que no desentona con su entorno de edificios más tradicionales.
The Guggenheim Museum Bilbao (in Basque, Guggenheim Bilbao Museoa; in English, Guggenheim Museum Bilbao) is a contemporary art museum designed by Canadian architect Frank O. Gehry and located in the town of Bilbao (Basque Country), Spain. It is one of the museums linked by franchise or collaboration with the Solomon R. Guggenheim Foundation. It was inaugurated on October 18, 1997 by King Juan Carlos I of Spain.
The negotiations for the construction of the museum between the public authorities of the autonomous community of the Basque Country and the directors of the Guggenheim Foundation began in February 1991. The agreement was signed at the end of that year, selecting the architect and the location of the building mid-1992. Since its inauguration in 1997, the museum has received an average of more than a million visitors per year, causing an extraordinary impact on the Basque economy and society, boosting tourism in the region and promoting the revitalization of multiple public spaces and in the town, in addition to improving the image of the city. All this phenomenon, baptized by the media as the "Guggenheim effect" or "Bilbao effect", has highlighted the importance of cultural tourism, and has generated an effect of emulation in other countries, with uneven results.
The most striking feature of the museum is the innovative building in which it is located, made up of curvilinear and twisted shapes, covered in limestone, glass curtains and titanium plates. It has a total area of 24,000 m², of which 10,540 m² are reserved for exhibitions, distributed in 19 galleries, making it the museum with the most exhibition meters in the State. It is located on the banks of the Bilbao estuary, in an area called Abandoibarra, next to the La Salve bridge, which is surrounded by a hollow tower.
Both the building and its permanent collection belong to the Basque authorities. On December 3, 2014, the Board of Trustees of the Guggenheim Museum Bilbao approved renewing for another 20 years the collaboration with the Solomon R. Guggenheim Foundation of New York, signed in 1994 and whose validity expired on December 31.
Designed by the firm of architects of Frank Gehry, it was opened to the public in 1997 and houses art exhibitions of works belonging to the Guggenheim Foundation and traveling exhibitions. Very soon the building was revealed as one of the most spectacular deconstructivist buildings. The design of the museum and its construction follow the style and methods of Frank Gehry. Like many of his earlier works the main structure is radically sculpted following almost organic contours. The museum claims not to contain a single flat surface in its entire structure. Part of the building is crossed by an elevated bridge and the exterior is covered by titanium plates and by a limestone that was very difficult to find (in the end it was found in Huéscar, Granada) of a similar color to the one used for build the University of Deusto.
Seen from the river, the building appears to have the shape of a ship, paying homage to the port city in which it is part. Its glossy panels resemble the scales of a fish, reminding us of the organic shape influences present in much of Gehry's work. Seen from above, however, the building has the shape of a flower. Gehry's team extensively used computer simulations of the structures needed to support the building for its design, achieving shapes that would have been impossible a few decades earlier.
While the museum commands views of the area from river level, its appearance from the upper street level is much more modest, fitting in with its setting of more traditional buildings.
Venturing into the sandswept terrain of the Empire of Khadim was a long and treacherous journey, spanning countless miles from my homeland within the icy highlands of Vyrrth. The relentless sunlight that bore down upon me was a sharp contrast to the world I had known—snow-laden peaks and dark spruce forests that formed the Vyrran frontier.
I had been dispatched as an escort, tasked with accommodating a local diplomat who was bound for negotiations with a faction of freedom fighters in Khadim. These warriors chose to forsake their previous duties associated with the dominant imperial military force and its prevailing school of thought, known as the Emperor’s Fist. Where the Fist regime enforced the will of their distant and merciless ruler, the splinter group chose another path. Formed from remnants of the imperial ranks, the band of rebels rebranded themselves as the Keshai’i—a name borrowed from the capital state, which they had self-appointed to their militia as both symbol and defiance, declaring their hopes for a future of freedom to be forged from the Empire’s own bones.
Although Khadim’s influence stretched far and wide across the nation, empires of such vast scale cast shadows where authority can begin to fray. Upon our arrival at their outpost—a small, debilitated watchtower on the outskirts of the land—I instructed the diplomat to hang back while I made a first impression, though the fashion in which I was greeted proved to be a mixed bag. It was in this way that I came to realize the Keshai’i are not a unified group; while cooler heads may see the potential value in an alliance with our nation, seeking peace and legitimacy, others are far more protective of the movement and actively seek revenge against Khadim.
As for the faction leader, Nomasir—easily identifiable in all black, sporting striped, claw-like markings on his armour cast in blood—he seemed to desire a show of force: a demonstration of strength and resolve from both sides. To that end, he gave his own people the choice to strike, issuing no direct order of his own, but granting them the freedom to act of their own volition.
Winnie here is probably very used to tourists with cameras in the botanical gardens. The water dragons stand their ground; not that they come up to you for treats but if you choose to cross their path you have to tread carefully. I was on the ground for this one to catch the flower collection in the background.
I had requested Winnie move closer to the flower bed but negotiations broke down - I think it was language thing.
Agnes: Um, Dave, can I go outside?
Dave: I though you were just outside.
Agnes: I was.
Dave: See, no reason to go out again.
Agnes: I disagree. I want to go out now.
Dave: Does this have anything to do with the squirrel?
Agnes: Nope.
Dave: Good to know. Then what does it have to do with?
Agnes: The squirrel.
Dave: Pardon me?
Agnes: You asked if it had 'anything' to do with the squirrel. That was wrong because it has 'everything' to do with the squirrel!
Dave: You don't need to run outside to yell chase him down whenever you hear him chirping.
Agnes: That's where you're wrong. He needs me to chase him.
Dave: Really? Why can't he live his life peacefully?
Agnes: Because he's a jerk. Total jerk.
Dave: You don't need to go outside and chase him just because you think he's a jerk.
Agnes: Okay.... Can I go outside now?
Dave: Really? I though we settled this.
Agnes: You might think so, but we didn't. You said I couldn't go outside and chase him 'just because' I think he's a jerk. And I don't just think he's a jerk. I think he's both a jerk and annoying.
Dave: Really? This is how you're playing this?
Agnes: I have a long list of other things I think he is too. If I tell you all of them will you let me go outside again?
---------
Agnes pleading to go outside at the cabin. The squirrel was being particularly annoying on Saturday morning.