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Les Vielles tours de Montréal, Québec, Canada
composite HDR* (using mean and minimum function) - 7 exposures - EXIF from +3ev - Curves and levels adjustments - 10mm
More of the set Discovering Montreal | More of the set Night Scenes
See my most interesting pictures here or take some time to view the slideshow .
[ email | website | alamy | facebook | model mayhem | twitter ]
Las obras de la Fuente de la Cibeles comenzaron en 1780, encargándose de su realización los escultores Francisco Gutiérrez y Roberto Michel, así como el adornista Miguel Ximénez.
Esculpida en mármol de Montesclaros, consiste en un gran pilono circular sobre el que se sitúan unas rocas que hacen de soporte al carro de la diosa, el cual está tirado por dos leones. Sentada en el carro aparece la diosa Cibeles vestida con un fino manto. En la mano derecha sostiene un cetro, símbolo del poder universal, mientras que con la izquierda muestra las llaves de la ciudad.
La mayoría de la obra fue realizada por Francisco Gutiérrez, mientras que Roberto Michel se encargó de realizar los leones y parte del carro, y Miguel Ximénez realizó la ornamentación general.
Por último, a instancias de Juan de Villanueva, Alfonso Giraldo Vergaz completó su ornamentación con las figuras de un dragón y un oso, de cuya cabeza salían dos surtidores de agua potable, y que fueron retirados a mediados del siglo XIX.
Las obras finalizaron en 1792, situándose en un principio a la entrada del Paseo de Recoletos, mirando hacia Neptuno. Allí estuvo Cibeles hasta que en 1895, con motivo de la ordenación de la glorieta de Emilio Castelar, fue trasladada a su emplazamiento actual.
Lamentablemente, a lo largo de su historia, este símbolo de la ciudad de Madrid ha sido objeto de numerosos actos vandálicos que la han ocasionado importantes desperfectos; en 1841 fue robado el cañón de bronce que asomaba por la boca del oso, costando su reparación 1.800 reales. En 1931 fue arrancada su mano izquierda, y posteriormente, durante la Guerra Civil, hubo de protegerla mediante una compleja obra de ingeniería puesto que durante un bombardeo quedó muy dañada en su brazo derecho, nariz, así como en el morro de uno de los leones.
Suconversión en 'musa futbolera' le está ocasionando graves desperfectos, ya que por este motivo, varias veces ha sido mutilada, e incluso teñida de pintura fosforescente.
Este monumento simboliza la presencia de madrileños en otras ciudades hermanas a Madrid. Existe una réplica exacta en Mexico DF.
ENGLISH
Espresso or caffè espresso is a concentrated coffee beverage brewed by forcing very hot, but not boiling water under high pressure through coffee that has been ground to a consistency between extremely fine and powder.
Espresso was developed in Milan, Italy in the early 20th century, but up until the mid-1940s it was a beverage produced solely with steam pressure. The invention of the spring piston lever machine and its subsequent commercial success changed espresso into the beverage we know today. Espresso is now produced with between 8.2 and 18 atmospheres or bars (0.82 to 1.8 megapascals; 120 to 265 PSI) of pressure.
The defining characteristics of espresso include a thicker consistency than drip coffee, a higher amount of dissolved solids than drip coffee per relative volume, and a serving size that is usually measured in shots, which are between 25 and 30 ml (30ml=1 fluid ounce) in size. Espresso is chemically complex and volatile, with many of its chemical components quickly degrading from oxidation or loss of temperature. Properly brewed espresso has three major parts: the heart, body, and the most distinguishing factor, the presence of crema, a reddish-brown foam that floats on the surface of the espresso. It is composed of vegetable oils, proteins and sugars. Crema has elements of both emulsion and foam colloid.
As a result of the high-pressure brewing process, all of the flavors and chemicals in a typical cup of coffee are concentrated. Because of its intense and high concentration of ingredients (including caffeine), espresso lends itself to mixing into other coffee based drinks, such as lattes, cappuccini, macchiato and mochas, without being diluted in the resulting drink.
***
Fair trade is an organized social movement and market-based approach to alleviating global poverty and promoting sustainability. The movement advocates the payment of a fair price as well as social and environmental standards in areas related to the production of a wide variety of goods. It focuses in particular on exports from developing countries to developed countries, most notably handicrafts, coffee, cocoa, sugar, tea, bananas, honey, cotton, wine, fresh fruit, and so on.
Fair trade's strategic intent is to deliberately work with marginalised producers and workers in order to help them move from a position of vulnerability to security and economic self-sufficiency. It also aims at empowering them to become stakeholders in their own organizations and actively play a wider role in the global arena to achieve greater equity in international trade.
More info: en.wikipedia.org/wiki/Espresso, en.wikipedia.org/wiki/Fair_trade
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CASTELLANO
El café expreso (también café espresso o café exprés) es un tipo de preparación del café. Debe su término a la obtención de esta bebida a través de una cafetera expreso. Se caracteriza por su rápida preparación y por su sabor más concentrado. A juicio de expertos representa la mejor forma de preparar un café.
Para la obtención de un café expreso, se hace pasar agua a alta presión (entre 5 y 10 Bar, dependiendo de la máquina) a través del café. Para que el agua atraviese el café extrayendo todo su sabor y aroma, es necesario que el molido se haga muy fino.
***
Consumo responsable es un concepto defendido por organizaciones ecológicas, sociales y políticas que consideran que los seres humanos harían bien en cambiar sus hábitos de consumo ajustándolos a sus necesidades reales y optando en el mercado por opciones que favorezcan la conservación del medio ambiente y la igualdad social. Entre las citadas organizaciones se encuentran Ecologistas en acción, algunos partidos verdes y en especial aquéllas organizaciónes e individuos que propugnan una Ecología social.
Se esgrime que el acto de consumir no sólamente es la satisfacción de una necesidad, sino que implica colaborar en los procesos económicos, medioambientales y sociales que posibilitan el bien o producto consumido. Por ello se postula que deberían tenerse en cuenta en el momento de elegir entre las opciones disponibles en el mercado las que menos repercusiones negativas tengan.
Más info: es.wikipedia.org/wiki/Espresso, es.wikipedia.org/wiki/Consumo_responsable
This one's for Bill for the beautiful testimonial he wrote for me. You're pretty special, my friend. You'll always be in my heart. Thank you for your loving friendship! xxx
I took this shot the same night as the one below. It's a bit grainy but I love how the stars are already visible with the fading sunset. I just love how the light brightens the otherwise dark night.
www.youtube.com/watch?v=B3XdXEJEI4E
www.youtube.com/watch?v=Ujn4tocR4Qs
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Definitely worth viewing on black
I took the title from this 1937 Pullman poster.
This 1912 Pullman private car was custom-built in Chicago for Clara Baldwin Stocker, the eldest daughter of Elias “Lucky” Baldwin (link). It has been completely restored to its 1912 condition, and is on display at The Nethercutt Collection (link) in Sylmar, CA. Two great things about The Nethercutt Collection: 1. It has hundreds of beautifully restored antique and classic cars, musical instruments, this Pullman car, and a 1937 Canadian Royal locomotive. 2. Entrance is 100% free.
If you're in the Los Angeles/San Fernando Valley area, it's definitely worth a visit.
Press L to view in Lightbox / F to add to Favorites
More of my HDR photos can be found here.
=> For those interested in learning about HDR, Trey Ratcliff (Flickr handle: Stuck in Customs) is widely considered an HDR guru/expert/pioneer. His website has a few free basic instructional videos on how to create HDR images as well as info on how to learn more advanced techniques. Highly, highly recommend!
Did a sunrise today with no Joy :-(
The an attempt in Brecon for the ellusive sunset Upper Neuadd as i drove up there the skies were awesome - yes as all ways the Brecon weather soon clouded over and rained :-( one day wiffsmiff one day !!!!! Maybe its 3rd time lucky for Sunrise in the morning chasing light can be frustrating .
- Beastie Boys, Professor Booty
**EXPLORED**
I know it's not polite to toot your own horn, but holy hell do I ever love the way today's shots turned out! I was totally inspired by this shot, and knew I wanted to do my own version with blues instead of pinks. Of course, in post processing I wound up falling in love with this shot, which is decidedly more muted. Whatever. Don't you just love those days where shoots go even better than expected and you totally feel like you rocked it out? This is one of those days for me. So let me enjoy it!! Ha!
That said, there were a bunch of outtakes that I really liked too, so I'm posting them in the comments. Let me know what you think of them. And as a side note, when I started my self portrait 365 project, I wasn't sure I could handle it. I mean, I'm self conscious of the way I look and usually hate pictures of me. So how was I going to do a whole year of it, right? But what I've discovered in the course of doing these daily self portraits, is that I love the way I can totally transform my look for different shots. Wigs, makeup, angles, processing...it's become this total obsession of mine. I love making myself look like somebody else, while still retaining the bits of me that I love. This shot is such a good example of that.
Ok, I'll stop rambling about how much I love these shots. Ha. If you read this far, you must really like me a lot! ;)
365 Days (self portraits): Day 163
30 Songs in 30 Days: Day 10 (Professor Booty - Beastie Boys)
Hilo de la Fotohistoria en Pullip .es: MUSE CONCERT AT BARCELONA: PALAU SANT JORDI (8 of 9): MUSE LIVE! /
CONCIERTO DE MUSE EN BARCELONA: PALAU SANT JORDI (8 de 9): MUSE en Directo!
(Read in order, this is: SHOT/FOTO 84 of 115) PAG: Entrada, 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115.
PHOTOSTORY: In English / En Español
Akari: Heeeeeey!!! Dooom!! (He is so handsome... *_____*)
/
Akari: Eeeeeeey!!! Dooom!! (Que guapo está... *_____*)
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
The church stands on a plain at the foot of the road. It is a building with a single nave with a semicircular apse oriented east, the two bodies together directly through the opening arc of the apse. The nave is covered with a barrel vault point, reinforced by two arcs that twist off a simple imposta. The apse is covered by a fourth round of a sphere. Four windows give light to the interior: two in front of the lunch, one in the west and the center of the apse, all with double-stroke and a round arch, the inner monolithic adovellat and a la outside. The entrance gate is located on one side of the south wall and is composed of two semicircular arches adovellats and degradation. The walls that enclose the sides of the ship lift and speaker, beyond the height of the roof with a gable double arc located on the west. This wall was a door open late to edge which was walled up in the restoration done by the Barcelona between 1970 and 1973, while reopening the door for lunch. The work is arranged in small blocks horizontal rows and tied with lime mortar rather sandy. Front door, a bastion of low wall was a small close where there is a sink stone named above were on the inside. We must remember that in the era of the house there are Santamaria anthropomorphic tombs that are part of the ancient necropolis of the church and is now hidden.
The first document which mentions Santa Maria is the consecration of the church of the monastery of San Lorenzo near Bagà, dated 21 November 983, in which the count of Cerdanya-Oliba Besalú and his wife Ermegarda donations made between some underwater the Sta. Maria has five houses, lands, tithes and first, and in a more clear: "Et in Avizano ecclesiam Sanctae Marie et hamlets V et terras et vineas, cum suas decimas et primitias (Parchment n. 1110, AM). The church was therefore within the limits of the old county of Berga and under the ecclesiastical jurisdiction of the Bishop of Urgell, depending on the Benedictine monastery of San Lorenzo near Bagà. The 1003 Count Oliba Cabreta the cedi to the monastery of Santa Maria de Serrateix (which depended on St. Lawrence nearly Bagà). In the tenth century Bishop of Urgell religious communities became the rule of Saint Benedict, taking care of the Benedictine parishes dependents. For this reason, some historians believe that Santamaria's house, next to the church, could have been the seat of a monastery that women would care about the cult of the Virgin Mary. The year 1312 remained the category of the parish as confirmed at the deanery of Berga. Currently depends on the parish of St. Martí as a covered (BENEDICT, 1993). During the Civil War (1936-1939) was leaving the cult and was converted into storage until 1970, the Heritage Service of the Barcelona are carried out important restoration work, returning the cult on 14 May 1973 . From inside the church comes to the front altar of Santa Maria attributed to the Master of Avià, preserved in the National Art Museum of Catalonia and which n'exposa back inside the church . The Virgin Mary was venerated Avià of this church and was known as Our Lady of La Leche, because it calls for pregnant women to assist in the delivery and give them strength to have the baby milk (Joys of Santa Maria de Avià).
Explored 4th June #93
Some cold, hard facts:
• 17 babies die every day in the UK (10 are stillbirths, 7 are neonatal deaths) totalling almost 6,500 baby deaths a year - the equivalent of 16 jumbo jets crashing every year with no survivors
• This is four times the number of people who die every year of MRSA
• This is double the number of adults who lose their lives on Britain’s roads every year
• Ten times more babies are stillborn than die of cot death every year in the UK.
• The stillbirth rate has remained almost unchanged for the past 10 years. (CEMACH)
• 1 in every 200 babies are stillborn in the UK
• 1 in every 300 babies born in the UK die in the first four weeks of life
• In half of all stillbirths the cause remains unexplained, although in more than half of these pregnancies the baby is smaller than it should be
• Many of these babies are born perfectly formed, with no clear reason why they died. We need to understand what is causing these deaths and take action to prevent avoidable losses
• The majority of unexplained stillbirths are in pregnancies that were previously considered low risk
Sands is the UK’s Stillbirth and Neonatal Death charity, an organisation which offers support to everyone affected by the death of a baby during pregnancy or after birth.
Sands’ core aims are to:
• Support anyone affected by the death of a baby;
• To work in partnership with health professionals to improve the quality of care and services offered to bereaved families; and
• To promote research and changes in practice that could help to reduce the loss of babies' lives
The death of a baby is a devastating experience. The effects of grief can be overwhelming and parents, their families and friends can be left feeling dazed, disorientated, isolated and exhausted.
The death of a baby can happen to any one of us. It has happened to too many of us.
What brings people together through Sands is the common experience of this painful loss.
June is the national awareness month; with this photograph I hope to do something to raise awareness of the work of this charity. What can you do?
Back to the frost series!
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For someone who lives in a place where it never snows, it was pretty exciting to wake up the other day and have such a thick layer of frost on everything! Skylar and I had some fun running around in our yard and garden taking photos before school.
The frost was beautiful and so was the light! A perfect opportunity! I haven't been this photographically excited in a while! ;)
View On Black | Original Size | Facebook Fan Page
Details:
Camera: Canon EOS 5D Mk II
Lens: Canon EF 16-35mm f/2.8L II USM
Exposure: 30 sec
Aperture: f/3.5
Focal Length: 16mm
ISO Speed: 1600
Accessories: Manfrotto 190XB Tripod, Manfrotto 322RC2 Heavy Duty Grip Ball Head, Canon RC1 Wireless Remote
Date and Time: 12 January 2011 9.08pm
Post Processing:
Imported into Lightroom
Exported image to CS5
Noise reduction layer
Unsharp mask filter
Crop tool
Re-imported back into Lightroom
Added keyword metadata
Exported as JPEG
From The CSIRO website
The Australia Telescope Compact Array (ATCA), at the Paul Wild Observatory, is an array of six 22-m antennas used for radio astronomy. It is located about 25 km west of the town of Narrabri in rural NSW (about 500 km north-west of Sydney). It is operated by CSIRO's Astronomy and Space Science division...
The "Compact Array'' is the premier instrument of its kind in the southern hemisphere. It operates 365-days per year, 24-hours per day. Its business is pure science. It is not used for any military activities.
This antennas work together using a technique called "interferometry'' which allows the antennas to mimic a much larger antenna. This gives the telescope the ability to see very fine detail. Effectively "radio interferometry'' works by replacing the lens of a conventional imaging system with sophisticated electronics, supercomputer-like hardware and complex software. Using this technique, a image of a small section of the sky can be formed in a 12-hour period. Whereas the Array uses six antennas spread over 6km, the same interferometry principles can be applied to antennas spread over a continent. For example, several times a year, the Array is used together with other radio telescopes spread across Australia (such as the Parkes antenna) to make images with extremely fine detail.
El castillo de Montbui ya consta como organizado en el año 936. El conde Borrell II lo cedió al obispo Ató de Vic en el año 970. Las primeras noticias de la iglesia datan de los años 972 y 993, cuando el obispo Fruià levantó, en la cumbre del Montbui, un nuevo castillo y una iglesia, pero esta quedó inacabada a causa de una fuerte sequía que obliga a emigrar a los repobladores de la comarca. En el año 1023 el obispo Oliba enfeudó la fortaleza al levita Guillem de Oló, que repobló definitivamente el término, restauró el castillo y acabó la iglesia. La iglesia es un edificio construido a finales del siglo X e inicios del XI. Es de planta basilical de tres naves, cabeceadas por ábsides semicirculares, cubiertos con bóvedas de cuarto de esfera. El perímetro de la iglesia se ensancha hacia la cabecera y únicamente es roto por unos contrafuertes ataludados y una capilla moderna. Los ábsides llevan decoración lombarda con arquerías entre lesenas. Las naves laterales quedan separadas por dos series de seis arcadas de donde arrancan las vueltas que las cubren. Los dos primeros tramos, seguramente corresponden a la iglesia más antigua, anterior al 990 y quizás nunca acabada. Estas dos primeras arcadas apoyan sobre pilares cuadrangulares, las restantes, hacia la cabecera, reposan sobre columnas cortas y gruesas. Las vueltas de las naves son irregulares, ya que a lo largo de su recorrido adoptan diferentes perfiles, pasando por un arco de medio punto, hasta convertirse en un arco ultrapasado o de ligera herradura. El muro oeste es coronado por un campanario de pared de dos aperturas que se erigió posteriormente. Debajo hay una ventana en forma de cruz. La puerta de acceso, abierta al muro sur, corresponde a un remodelaje posterior, seguramente del siglo XVI. En el interior se conserva una sencilla pila bautismal y otra pieza utilizada como pila benditera. Muy cerca se conservan los restos del castillo del siglo X. De planta rectangular con los ángulos redondeados. El interior bastante modificado, se organiza a partir de una planta baja, desdoblada en un recibidor y una sala cubierta con bóveda de medio punto. La planta superior solo conserva los muros. La puerta de entrada original se encuentra más arriba, a nivel del primer piso, a modo de ventanal.
The castle has already Montbui as organized in 936. Count Borrell II Atomic traded him to the bishop of Vic in the year 970. The first news of the church dating from 972 and 993, when Bishop frui up, Montbui on top of a new castle and a church, but this remained unfinished because of a severe drought that forced the settlers to emigrate of the region. In 1023 the bishop Oliba feuded strength to coat Guillem de Olo, who repopulated the term finally, restored the castle and the church ended. The church is a building built in the late tenth century and the beginning of XI. It has a basilica with three naves, apses doze by semicircular arches covered with quarter-sphere. The perimeter of the church widens toward the top and is only broken by buttresses ataludados and a modern chapel. The apses are decorated with arches between lesen Lombard. The aisles are separated by two series of six arches where they dig up the laps that cover. The first two installments, probably corresponding to the oldest church, before the 990 and perhaps never finished. These first two arches resting on square pillars, the other, toward the head, resting on short columns and thick. The turns of the vessels are irregular, because along its course take different profiles, to a semicircular arch, into an arc or slightly surpassed horseshoe. The west wall is topped by a tower wall was erected two starts later. Below is a cross-shaped window. The access door is open to the south wall, represents a later remodeling, probably sixteenth century. In Inside is a simple font and another room used as benditera stack. Nearby is the remains of the castle of the tenth century The rectangular with rounded corners. The much modified inside, is organized from the ground floor, split into a reception room and a roof deck with a half-point. The upper floor retains only the walls. The original entrance is located above the first floor level, as a window.
Looks great viewed LARGE!
Took this Photograph today in a local street :) The Poinciana has to be one of the most beautiful Trees in the World.
Link to Closer View www.flickr.com/photos/22271740@N07/3021093927/
Link to Single Flower www.flickr.com/photos/22271740@N07/3021107157/
Nov 11th, decided to stay local because the weather forcast looked so grim.
Dudmaston Hall is closed from Sept through till April and the only way to get to it is to park a couple of miles away and hike the rest.
When I got there it was 11.00 am and willingly observed my 2 minutes silence, then headed off into the woods.
On the way I set up to takes some shots of autumn looking stuff, not till now did I notice the "V" in the composition.
Do you think it means anything.......
Best viewed On white
Slightly manipulated (added circular blur centered on the man and some "grain"). Taken in Beaugrenelle.
Part of "A stroll in Paris"
www.sandiapeak.com/index.php?page=history-technology
This dude was crazy, but I'm sure that he had all the fun in the world.
10300 Feet above sea level, about 3100
meters above sea level, correct me if I'm wrong.
Well, we are back at home.
It feels good, but the memories of driving across country, the views, the food, the people, will forever be in my mind....
Obrigado Leley and Sussu for the nice stay in your house.
If I was ever poor, I forgot.
It was better than a five star hotel staying with you guys.
Again, thank you.
Este rapaz ai era doido mesmo, lembrei da Bel Matos, que ta meia sumidinha, mas eu aposto tambem que ele teve o maior prazer do mundo, pois bater as assas a 3100 metros nao eh para qualquer um nao.
Ele esperou muito tempo para ter um ventinho, para ele poder decolar.
Enquanto isso todo mundo esperava.
Ja estamos em casa, a viajem foi otima, a comida, o povo, as vistas, ficarao para sempre registradas em minha memoria.
Obrigado Leley pela otima estadia em sua casa...
Se fui pobre eu esqueci...
Um abraco a todos.
Tanjung Keling, Malacca
Transportation service:
交通服務:
Servicio de transporte:
Service de transport:
خدمة النقل:
Транспортные услуги：
Please click here to have a look at my mom's picture from Gold King Mine and Ghost town.
Beat Up Ford
By Jack Ingram
A young man drivin' down a dusty road
Like he's got somewhere to go
Driving like he's got a destination
Like he's got somewhere to go in that beat up ford
See there was a time when he was a young lost soul
He was chasin' butterflies and rainbows
Until one day when he found his pot of gold
In the words on the young man he turned old
And the old man said
Chorus
You gotta have a good imagination
If your gonna live the life of old
He said you've got to drive that Ford like its a stallion
And you've got to wear your heart just like a gun
The old man said, the old man said
The boy walked out with a new found hero
Yea the boy well he walked away a man
And he said to himself that dusty day way down in Texas
Well I'm never gonna walk this path again
And the old man said
Chorus
You gotta have a good imagination
If your gonna live the life of old
He said you've got to drive that Ford like its a stallion
And you've got to wear your heart just like a gun
The old man said, the old man said
The boys walked out he was dreaming of wild times
With old cowboys and broke down cattle lines
Now those fields are all but gone
But his hearts still free and he rides on
The old man said, the old man said, the old man said, the old man said
A young man drivin' down a dusty road
Like he's got somewhere to go
Driving like he's got a destination
Like he's got somewhere to go in that beat up ford
Thanks to Pareeerica for the use of your textures.
Para escuchar... a Silvio Rodríguez en: La Gota de Rocío
La gota de rocío
Silvio Rodríguez
La gota de rocío
del cielo se cayó
y en ella el amor mío
la carita se lavó.
Pero era tan temprano
que no salía el sol
y se helaron las manos
y mejillas de mi amor.
Creí que las estrellas
la iban a buscar
y que en su cara bella
se ponían a jugar.
Me dijo: "tengo frío,
acércame calor"
y fui con tanto brío
que encendí su corazón.
Y mientras la besaba
me dijo en un temblor:
"esto es lo que faltaba
para que saliera el sol".
!Oh! gota de rocío
no dejes de caer
para que el amor mío
siempre me quiera tener.
(1980)
Large on black canvas | My favorite shots
Real HDR 101
After the pseudo HDR restoration treatment on my previous post , I thought it's about time to get my hands dirty on some real HDR, for a change. With a tripod in the back of my ride I drove to a place nearby and started fiddling around with the automatic exposure bracketing settings of my camera. With a 4-stop range across three exposures (-2 Ev, +/-0 Ev and +2 Ev) I finally hit the shutter in aperture priority mode.
The HDR approuch
With the help of Photomatrix I was able to combine my differently exposed RAW files into one HDR image. With the Tone Mapping tool applied throughout the image I was able to visually reveal its higher dynamic range.
Final touchups
In PS the copper hues throughout the scene was created by different Hue/Saturation layers on top of the 32-bit HDR representation. Locally I painted in or out from the accompanying masks to enhance the color-contrast of different parts in the sky. As a final touch up I used a contrast adjustment layer with a value of 10 for a tiny bit of extra eye popping awe, which I very like in here. Selective sharpening was done with a high-pass layer in overlay mode with a value of just below 0.8 pixels in the High Pass filter settings dialog. Irrelevant sharpened parts - such as noise - were painted out from its layer mask afterwards, to enhance the edges of the trees throughout. Personally I am quite satisfied with the results right now and I hope you folks will like it too.
Was it fun?
Yes. I must admit that visually less treatment - thus time - was needed to achieve better result compared to conventional techniques I am using for over a decade. Within approximately one hour - without noticeable loss of detail - I am quite content with the end results.
Location: At the borders of Holland and Germany nearby the North-Eastern region of the province of Groningen.
Ya sé que las fotos son muy parecidas, pero para mí lo son, y en esta foto he querido aparentar como una aparición de algo que sabemos que hay pero que no lo vemos, por lo menos yo no lo he experimentado nunca, esta foto prácticamente la he retocado con el Adobe Photoshop Lightroom 2.4, sobretodo, le he bajado temperatura para poder conseguir ese color azul, y luego con el Photoshop, ajustes de curvas y el brillo y contraste - Playa de Cueva de los Lobos – Bolnuevo.
Mi pequeño homenaje Dedicado a Dani Jarque, y a toda esa afición del Español
Modo De Exposición: Manual + Trípode
ISO: 200
Hora: 23.25.19
Velocidad: 8 Segundos
Focal: 26.0 mm
F/ 5.6
Objetivo: 18.0-55.0 mm F/ 3.5 -5.6
Procesado: Light room 2 V2.4
Camera Raw 4.3
Photoshop Cs 3
Supporters of the PPP at a popular rally in Nasirabad, in the suburbs of Rawalpindi on Jan.4, 2008. At some point, people (incl. children) were praying for Benazir Bhutto, a scene that I've seen repeatedly at every gathering. As in many other aspects of life in Pakistan, it seems that politics and religion are closely intricated.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Elections (Recommended as a slideshow)
The opening of the Wall at Berlin Bornholmer Strasse 1989
Dedicated to all the berliner friends, to the city of Berlin, to its glorious history and to all who cares about freedom and friendship - hoping the all the existing walls - also those who still are living in our minds - will fall down, brick by brick .
have a great week :-)
...chi apre la porta deve richiuderla
sia che resti
sia che decida di andare via...
www.youtube.com/watch?v=0HhckmZqQ1s&feature=fvwrel
Coldplay - Lost
...Solo perchè sto perdendo
non significa che sono perso
non significa che mi fermerò
non significa che mi opporrò
solo perchè sto ferendo
non significa che io sia ferito
non significa che non otterrò
quello che merito
niente di meglio e niente di peggio
mi sono appena perso
ogni fiume che ho provato ad attraversare
ogni porta che abbia mai provato
ad aprire era chiusa a chiave
e sto solo aspettando che svanisca la luce ...
Explore # 61
HDRI from 3 exposurs (see below), Cross Processing in Alien Skin Exposure 2 (Plug-In for PS CS 3), Tonemapping in LucisArt, Diffusion in Red Paw Media Beautifier (free Plug-In), Unsharp Mask, adding a border.
Info:
Exposures: 15 Sec.; 4 Sec.; 30 Sec.;
Aperture: f/16
ISO-Speed: 100
Focal Length: 30mm
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fontana dei Quattro Fiumi
Following, a text, in english, from Wikipedia, the free encyclopedia:
The Fontana dei Quattro Fiumi or "Fountain of the Four Rivers" is a fountain in Rome, Italy, located in the Piazza Navona. Designed by Gianlorenzo Bernini, it is emblematic of the dynamic and dramatic effects sought by High Baroque artists. It was erected in 1651 in front of the church of Sant'Agnese in Agone, and yards from the Pamphilj Palace belonging to this fountain's patron, Innocent X (1644-1655).
The four gods on the corners of the fountain represent the four major rivers of the world known at the time: the Nile, Danube, Ganges, and Plate. The design of each god figure has symbolic importance.
Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows:
So strong was the sinister influence of the rivals of Bernini on the mind of Innocent that when he planned to set up in Piazza Navona the great obelisk brought to Rome by the Emperor Caracalla, which had been buried for a long time at Capo di Bove for the adornment of a magnificent fountain, the Pope had designs made by the leading architects of Rome without an order for one to Bernini. Prince Niccolò Ludovisi, whose wife was niece to the pope, persuaded Bernini to prepare a model, and arrange for it to be secretly installed in a room in the Palazzo Pamphili that the Pope had to pass. When the meal was finished, seeing such a noble creation, he stopped almost in ecstasy. Being prince of the keenest judgment and the loftiest ideas, after admiring it, said: “This is a trick … It will be necessary to employ Bernini in spite of those who do not wish it, for he who desires not to use Bernini’s designs, must take care not to see them.”
Paraphrase from Filippo Baldinucci, The life of Cavaliere Bernini (1682)
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Montalto, whose statuary now resides at Victoria and Albert Museum in London.
Each has animals and plants that further carry forth the identification, and each carries a certain number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was. The Danube touches the Papal coat of arms, since it is the large river closest to Rome. And the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (the word plata means silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk (built for the Roman Serapeum in AD 81), symbolizing by Papal power surmounted by the Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour-guides, is that Bernini positioned the cowering Rio de la Plata River as if the sculpture was fearing the facade of the church of Sant'Agnese by his rival Borromini could crumble against him; in fact, the fountain was completed several years before Borromini began work on the church.
The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Fontana in Piazza San Bernardo (1585-87) or the customary embellished geometric floral-shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta.
Unveiling
he Fontana dei Quattro Fiumi was unveiled to the populace of Rome on 12 June 1651. According to a report from the time, an event was organised to draw people to the Piazza Navona. Beforehand, wooden scaffolding, overlaid with curtains, had hidden the fountain, though probably not the obelisk, which would have given people an idea that something was being built, but the precise details were unknown. Once unveiled, the full majesty of the fountain would be apparent, which the celebrations were designed to advertise. The festival was paid for by the Pamphili family, to be specific, Innocent X, who had sponsored the erection of the fountain. The most conspicuous item on the Pamphili crest, an olive branch, was brandished by the performers who took part in the event.
The author of the report, Antonio Bernal, takes his readers through the hours leading up to the unveiling. The celebrations were announced by a woman, dressed as the allegorical character of Fame, being paraded around the streets of Rome on a carriage or float. She was sumptuously dressed, with wings attached to her back and a long trumpet in her hand. Bernal notes that "she went gracefully through all the streets and all the districts that are found among the seven hills of Rome, often blowing the round bronze [the trumpet], and urging everyone to make their way to that famous Piazza." A second carriage followed her; this time another woman was dressed as the allegorical figure of Curiosity. According to the report, she continued exhorting the people to go towards the piazza. Bernal describes the clamour and noise of the people as they discussed the upcoming event.
The report is actually less detailed about the process of publicly unveiling the fountain. However, it does give ample descriptions of the responses of the spectators who had gathered in the Piazza. Once there, Bernal notes, the citizens of the city were overwhelmed by the massive fountain, with its huge life-like figures. The report mentions the "enraptured souls" of the population, the fountain, which "gushes out a wealth of silvery treasures" causing "no little wonder" in the onlookers. Bernal then continues to describe the fountain, making continuous reference to the seeming naturalism of the figures and its astonishing effect on those in the piazza.
The making of the fountain was met by opposition by the people of Rome for several reasons. First, Innocent X had the fountain built at public expense during the intense famine of 1646-48. Throughout the construction of the fountain, the city murmurred and talk of riot was in the air. Pasquinade writers protested the construction of the fountain in September 1648 by attaching hand-written invectives on the stone blocks used to make the obelisk. These pasquinades read, "We do not want Obelisks and Fountains, It is bread that we want. Bread, Bread, Bread!" Innocent quickly had the authors arrested, and disguised spies patrol the Pasquino statue and Piazza Navona
The streetvendors of the market also opposed the construction of the fountain, as Innocent X expelled them from the piazza. The Pamphilij pope believed they detracted from the magnificence of the square. The vendors refused to move, and the papal police had to chase them from the piazza. Roman Jews, in particular, lamented the closing of the Navona, since they were allowed to sell used articles of clothing there at the Wednesday market.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
A Fontana Dei Quattro Fiumi, é maior das três fontes, localizada no centro da praça. Na fonte dos rios, Bernini projetou quatro estátuas representando os rios dos quatro continentes: o Nilo, o Danúbio, o rio da Prata e o Ganges. As estátuas estão montadas sobre um obelisco egípcio, sendo circundadas por leões e outros animais fantásticos, tendo no cume uma pomba em bronze, símbolo da paz no mundo e da família Pamphili. Para realçar a rivalidade entre Bernini e Borromini, que fez a igreja de Santa Agnese, os romanos criaram uma lenda em torno da fonte dos rios, que fica em frente a esta igreja. Segundo os romanos, as estátuas duvidam da solidez do projeto de Borromini. A que retrata o rio da Prata, tem a mão erguida, a proteger o corpo do desabamento da igreja; a que retrata o Nilo, traz a cabeça coberta por um véu, a recusar a ver a obra de Borromini.
A seguir um texto, em português, da Wikipédia a Enciclopédia Livre:
Fontana dei Quattro Fiumi
Fontana dei Quattro Fiumi (Fonte dos Quatro Rios), foi esculpida por Gian Lorenzo Bernini entre 1648 e 1651, artista do barroco italiano, foi concebida por uma ordem do Papa Inocencio X o Papa da familia Pamphili, cujo tinha sua casa nesta praça.
Esta localizada na Praça de Navona, em Roma. Ela representa os quatro principais continentes do mundo cortados por seus principais rios: Rio Nilo, na África; Rio Ganges, na Ásia, Rio da Prata, na América e o Rio Danúbio, na Europa.
A seguir, texto em português do site Wiki lingue:
A escultura da Fonte dos Quatro Rios, encontra-se na Piazza Navona de Roma (Itália) e foi criada e talhada pelo escultor e pintor Gian Lorenzo Bernini em 1651 baixo o papado de Inocencio X, em plena época barroca, durante o período mais prolífico do genial artista e cerca da que em outro tempo fué a Chiesa dei San Giacomo de gli Spagnoli
A fonte compõe-se de uma base formada de uma grande piscina elíptica, coroada em seu centro de uma grande mole de mármol, sobre a qual se eleva um obelisco egípcio de época romana, o obelisco de Domiciano .
As estátuas que compõem a fonte, têm umas dimensões maiores que na realidade e são alegorias dos quatro rios principais da Terra (Nilo, Ganges, Danubio, Rio da Prata), a cada um deles em um dos continentes conhecidos na época. Na fonte a cada um destes rios está representado por um gigante de mármol .
As árvores e as plantas que emergem da água e que se encontram entre as rochas, também estão em uma escala maior que na realidade. Os animais e vegetales, gerados de uma natureza boa e útil, pertencem a espécies grandes e potentes (como o leão, cavalo, cocodrilo, serpente, dragão, etc.). O espectador, girando em torno da fonte, descobre novas formas que dantes estavam escondidas ou cobertas pela massa rocosa. Com esta obra, Bernini quer suscitar admiração em quem olha-a, criando um pequeno universo em movimento a imitação do espaço da realidade natural.
A fonte foi submetida a restauração, um trabalho que se deu por concluído em dezembro de 2008. Constitui um dos palcos finque da novela e o filme Anjos e Demónios, à qual é arrojado um dos cardeais sequestrados, e Robert Langdon (Tom Hanks) se lança à água para lhe salvar.
Os animais da fonte
A fonte apresenta figuras de sete animais, além de uma pequena pomba e o emblema dos Pamphili. Para poder observá-las basta com dar uma volta ao redor da fonte. As figuras são: um cavalo, uma serpente de terra (na parte mais alta, cerca do obelisco), uma serpente de mar, um delfín (que funciona também como desagüe), um cocodrilo, um leão e um dragão. Notar também a vegetación esculpida que parece real.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
View On Black (Recommended)
Estoy pensando en ti (Eros Ramazotti & Tina Turner)
Ay los domingos...¡que mal se llevan :(! Todo se ve negro o gris oscuro...
MELANCOLÍAS
Como es sabido la melancolía
no es sinónimo de soledad
aunque una y otra lleguen
con un llanto sequísimo
una ternura en trozos
una tristeza que no tiene nombre
con la melancolía no se juega
sobre todo si sube desde los huesos
y se abre temblorosa y delirante
hay una melancolía que se engancha a la vida
y otra melancolía que se asoma a la muerte
pero los melancólicos no son candorosos
conocen por lo general de qué se trata
la asumen como una fiebre recurrente
como una propensión a la dulzura
o un modo inédito de respirar
normalmente
la soledad y la melancolía
tienen vergüenza de mostrarse
sólo el amor les infunde coraje
y las convierte en pájaros de fuego.
Mario Benedetti
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved ©.
www.nine9style.net/shop/step1.php?number=15888&b_code...
Happy Monday!!XD
I've got new onepiece for MSD, SD13 and SD16 girls called Slim layered dress.
Actually this onepiece has been released quite before but I didn't show you the pictures of those.
For more picture,
Please visit our website and see more beautiful pictures of them;D
For MSD: www.nine9style.net/shop/step1.php?number=15889&b_code...
www.nine9style.net/shop/step1.php?number=15890&b_code...
For SD13: www.nine9style.net/shop/step1.php?number=15887&b_code...
www.nine9style.net/shop/step1.php?number=15888&b_code...
For SD16: www.nine9style.net/shop/step1.php?number=15885&b_code...
View On Black & LARGE --- Recommended
The Mach 1 Mustang was a performance model of the Ford Mustang that Henry Ford began in 1969. The original production run of the Mach 1 ended in 1979 because the Mustang II coupe was being phased out in favor of newer Mustangs on the Fox body platform.
The name "mach 1" as used by Ford was originally introduced in 1959 on a concept "Levacar" originally shown in the Ford Rotunda. This concept "vehicle" utilized a cushion of air as propulsion on a circular dais. This concept vehicle was orange and white.
Leave a comment !! :D :D
The Monastery of Sant Benet de Bages is a former Benedictine monastery, in the Catalan comarca of Bages. The Romanesque monastery was thoroughly restored at the beginning of the twentieth century by the Catalan architect Josep Puig i Cadafalch. The monastery was founded about 950 by the noble Salla and his consort Ricarda, of the house of the viscounts of Osona . According to the founding legend, Salla traveled to Rome to have his institution authorized, and to have it depend directly on the Holy See, the usual method for preserving the community from interference from the bishop— in this case of Vic— in whose diocese it lay. The abbey church was consecrated 3 December 972, witnessed by a gathering of notables: Borrell II, Count of Barcelona, the bishops Frugifer of Vic, Guisad of Urgell and Pere of Barcelona, the viscount Guadald of Osona, and three of the four offspring of the recently deceased founder, his son Isarn and the sisters Quíxol and Ego, at the head of witnesses both laymen and priests, in a grand ceremonial recorded in the surviving act of consecration. The community was dedicated to the Holy Trinity and to Benedict of Nursia (Sant Benét in Catalan) founder of the order, and Peter and Andrew, all guarantors of its future orthodoxy. The founder secured dispensations that the future abbots would be chosen from among their descendents, making the abbey a form of proprietary church, an agreement that would soon lead to disputes among the various branches of their lineage as to choice of abbots.
From 965, the abbey church held the supposed relics of Saint Valentine, enclosed in a wooden reliquary with plates of silver depicting miracles of Saint Valentine, which was rediscovered in 1863 in the church of Navarcles. At the beginning of the eleventh century the monastery passed under the direction of the Abbey of Saint Peter of Tomeras at Narbonne, from which the community freed itself in 1108. In 1125 Sant Benet de Bages suffered from an attack by Moors that required a rebuilding, financed by local nobles who required in return the right to be buried in its consecrated ground. The most splendid age of Sant Benet de Bages was in the fourteenth century, until the Black Death left the community with only two survivors, in a period that witnessed the beginning of its decline. On 9 November 1593, by order of Pope Clement VIII the community passed under the direction of the Abbey of Montserrat, and remained so until it was suppressed in 1820, serving as a place of retirement for Montserrat's community of monks. By the "law of desamortización" of 1835, all religious orders in Spain were required to render upo their possessions. The crumbling ancient structure attracted the interest of intellectuals who organised visits to it in the late nineteenth century. The architect Puig i Cadafalch and the painter Ramon Casas encouraged the mother of Casas to buy the property in 1907; in 1910 it passed into the hands of Casas, who commissioned Puig i Cadafalch to restore it. Since 2000, when it was purchased from Casas' heirs it has belonged to the Caixa de Manresa, a financial institution that has undertaken its maintenance.
Thanks, Baxter, for helping me scout this location yesterday, but I gotta tell ya, shooting willing teenage models beats cajoling an uninterested preschooler, hands down.
Livin' large, y'all.
Sounds like a signal from you
Bring me to meet your sound
And I will bring you to my heart
Love like a signal you call
Touching my body my soul
Bring to me, you to meet me here
Home be the temple of your heart
Home be the body of your love
Just like Holy water to my lips
Yes I do know how I survive
Yes I do know why I'm alive
To love and be with you
Day by day by day by day
Time, time again, it is said
We will hear, we will see
See it all-in his wisdom-hear
His truth will abound the land
This truth will abound the land
This State of independence shall be
by Moodswings "spiritual High"
I'd say there are two photographers who were primarily responsible for inspiring me to take up photography. One of them is famous. His name is Galen Rowell. The other one is not. His name is Charles Uibel, and I don't remember how I came across his photos but he was one of my first flickr contacts. I followed his work for years before I became seriously interested in photography and decided to buy my first "real" camera. I was mesmerized by the relationship he had with the Great Salt Lake. It seemed like every day he could go out and find something completely new and fascinating, yet familiar. Featured in many of those photos is Antelope Island -- sometimes dominant, sometimes looming in the distance. It's often an anchor and a thread that weaves his images together. Always the same place, always seen in a new way.
Anyway, despite what my title suggests, I don't have hundreds of photos from this place. But Mickey Butte did remind me of Antelope Island. And the Mickey and Alvord basins are places worthy of the same sort of attention Uibel gives the Great Salt Lake. This was the third time I had been out here, and I plan to return as often as I can. I'm much more interested in seeing a place captured in a hundred different ways than I am in seeing a single trophy shot.
If I had my own world
I'd fill it with wealth and desire
A glorious past to admire
And voices of kids out walking,
Dogs, birds, planes, cleanest cars
If I had my own world
I'd love it for all that's inside it
There'd be no more wars, death or riots
There'd be no more police, packed-parking lots,
Guns, bombs sounding off,
If I had my own world
I'd show you the life that's inside it
The way that it glows when you find it
The way it survives with it's families,
Friends or it's enemies
Let's make this a new world
I swear you can go if you want to
I know that you have that within you
Inventing the first clean and usable,
God's greatest miracle
Firefighters' demonstration in Paris.
Right before the Pont d'Austerlitz, some of the firefighters clashed with the riot police, which defended themselves with tear gases. No zoom for this, and no crop (just B&W conversion) ;-)
Part of "Au feu, les pompiers !" (please watch in the order of the set, to better understand the chronology of events)
a tiny portable chess set bought at beijing's touristy yashow market -- one of the souvenirs i look at from time to time to remind me that i was there.
i suffer great disconnect between the places i've lived... at times i suspect i've imagined them. i know it sounds funny, but sometimes i look down on my old neighborhoods on google earth to reassure myself that they really, truly exist.
if i go back to visit, even after decade's absence, it feels as if nothing's changed and it's as if i never left.
on the blog: toomanytribbles.blogspot.com/2009/07/across-board.html
©Angela M. Lobefaro Explore
Isola Bella is one of the Borromean Islands of Lago Maggiore in north Italy. The island is situated in the Borromean Gulf 400 meters from the lakeside town of Stresa. Isola Bella is 320 meters long by 400 meters wide and is entirely occupied by the Palazzo Borromeo and its Italianate garden.
History
Until 1632 the island—known only as l’isola inferiore or isola di sotto[1]—was a rocky crag occupied by a tiny fishing village: but that year Carlo III of the influential House of Borromeo began the construction of a palazzo dedicated to his wife, Isabella D'Adda, from whom the island takes its name. He entrusted the works to the Milanese Angelo Crivelli, who was also to be responsible for the planning the gardens. The works were interrupted around middle of the century when the Duchy of Milan was struck by a devastating outbreak of the plague.
Construction resumed when the island passed to Carlo’s sons, Cardinal Giberto III (1615-1672) and Vitaliano VI (1620-1690); the latter in particular, with the financial backing of his elder brother, entrusted the completion of the works to the Milanese architect Carlo Fontana and turned the villa into a place of sumptuous parties and theatrical events for the nobility of Europe.
The completion of the gardens, however, was left to his nephew Carlo IV (1657 -1734). They were inaugurated in 1671.
The island achieved its highest level of social success during the period of Giberto V Borromeo (1751 – 1837) when guests included Edward Gibbon, Napoleon and his wife Joséphine de Beauharnais, and Caroline of Brunswick, the Princess of Wales. It is said that Caroline, having fallen in love with the place, did her best to convince the Borromeo family to sell her Isola Madre or the Castelli di Cannero islands; in the event she established herself on the banks of Lake Como at Cernobbio in the Villa d’Este.
During the Independence Day parade on Aug. 6th, an old man celebrates the memories of his ancesters who fought the Chaco war against Paraguay.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
This Canada Goose sat for quite awhile just sitting by the edge of the river...enjoying the warmth of the sand.........I got closer and she didn't seem to mind one bit.
"At least 11 subspecies of Canada Goose have been recognized, although only a couple are distinctive. In general, the geese get smaller as you move northward, and darker as you go westward. The four smallest forms are now considered a different species: the Cackling Goose."
Enjoy! HBW everyone..Best viewed LARGE.
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View On Black------------------------------------------ Clika aquí para ver Mejor
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--------------------Enlaces de AVES criando-----------------------------------------------
www.diba.es/parcsn/parcs/aliga.asp?parc=0&m=164&s...
www.ustream.tv/channel/owlceanside
www.ustream.tv/hummingbirdnestcam
www.iws.org/interactive_nestchat.html
www.ustream.tv/channel/broadband-mn-eagle-cam
www.ustream.tv/jordanlakeeagles
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Durante la mayor parte del año los archibebes comunes son aves sociables, que se mezclan con otros limícolos en las riberas abiertas y fangosas, reuniéndose con frecuencia en considerables bandos; pero cuando llega la época de cría, las parejas prefieren anidar por separado en algún rincón herbáceo o marisma.
El grito del Archibebe Común es un resonante «tiubebe» al cual hace referencia su onomatopéyico nombre.
Al volar, el Archibebe Común muestra el borde posterior de las alas de color blanco, detalle que lo identifica también cuando el ave estira sus alas al descansar; ningún otro limícolo de tamaño parecido tiene un borde blanco tan ancho en el ala. Cuando desconfía hace un movimiento de cabeceo y al espantarse vuela errático.
En España cría repartido por casi todo el país, tanto en zonas costeras como en puntos apropiados del interior, aunque generalmente en muy pequeño número a excepción de algunas localidades, como las Marismas del Guadalquivir, en las que anida en gran cantidad, particularmente en ciertos años. Muy común en pasos y como invernante en zonas adecuadas.
Identificación: Pardo-grisáceo con marcas más oscuras; por debajo, claro; patas largas rojo-anaranjado; obispillo [Rabadilla de los pájaros] blanco y marcas blancas en el dorso de las alas; es más oscuro en verano que en invierno; sexos iguales.
Nidificación: Ambos sexos hacen hoyo en el suelo pantanoso, en general bien oculto por manojo de hierba; hembra lo forra con hierba seca; pone, mediados de abril-junio, 4 huevos con forma de pera, ocráceos con puntos y marcas marrón oscuro; incubación, unos 23 días, por ambos padres; los pollos, alimentados por la pareja, dejan el nido al nacer, volando unas cuatro semanas después.
Alimentación: Principalmente insectos, pequeños moluscos y gusanos; alguna materia vegetal.
Hábitat: Marismas y zonas palustres.
REALLY LOOKS BETTER VIEWED LARGE ON BLACK
dug into my archives for this one . . . i have almost forgotten that. although i am not a portrait photographer, i do have some studio portraits i took during a 3-hour workshop a year ago. i have posted a few before but i think i have a few more worth sharing. this was my first and (so far) only experience in studio portrait photography. don't ask me for lighting information because i have no clue. i do remember that i used a remote-controlled strobe light on this one. didn't turn out too badly . . . i think..