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- CALA MARIOLU -
Descrizione:
Cala Mariolu si trova in Sardegna, tra Cala Gonone e Arbatax, a circa
100 chilometri da Orosei e all’interno del Parco naturale del Golfo di
Orosei e del Gennargentu.
Il nome di questa baia, Mariolu, deriverebbe da un’antica leggenda
secondo cui un misterioso ladro “Mariolu” avrebbe derubato del loro
pescato i pescatori ponzesi che si rifugiavano nell’insenatura per
riparare le loro barche dalle mareggiate. In realtà i ladri non erano
altri che le foche monache che popolavano quel tratto di mare.
Raggiungere questo luogo stupendo non è semplicissimo: ci si
arriva solo in barca, in gommone o affidandosi ad una delle
escursioni che vengono organizzate nella zona. La spiaggia, dove
non ci sono servizi di alcun genere, è ciò che si definisce un sogno:
formata da sassolini di marmo bianco, lisci e dalle dimensioni
microscopiche, è sovrastata da una scarpata di calcare ricoperta
dalla macchia mediterranea. Alcune rocce calcaree affioranti dal
mare formano delle piccole isole. Il fondale è roccioso e adatto alle
immersioni. In questa cala il sole batte solo la mattina e nel primo
pomeriggio, mentre durante il resto della giornata la spiaggia è in
ombra.
Fonte: www.travelblog.it
More AK EMH love! Everest peeks through ominously in the distance.
Fun photography fact: There are 6 points on the stars created by the lights because my Sigma 10-20mm lens has 6 aperture blades. If I was using a lens with 7 blades, the stars would have 14 points. 8 blades = 8 points. 9 blades = 18 points. Etc!
Technical blah blah blah: HDR from 3 exposures, processed in CS5. This is the first shot that I used CS5's "content-aware" fill to completely remove a few people and a whole tree from the foreground. I'm sure you can find where if you look close, but hopefully it's invisible at a quick glance. Pretty cool feature.
I'm now on Twitter at @CodyWDWfan
Flickriver is a great way to check out my recent and most popular Disney photos!
I love the sumptuous jewel like nature of these drops on the cotinus leaves. When I took this in October we had had an unsually dry autumn and this day was like a magical gift, of fat heavy raindrops on the leaves.
This coincidentally is a bit like my outfit that I wore last night when I sang in a band for the first time, in front of 600 people (just the one song). Although unfortunately there is no photoographic evidence as people were constantly told not to take photos.
for the record: I was wearing a pink short sleeved dress in t shirt material that miraculously, being a size 10/12 fitted me (I am not sure how), and it had jewels sewn on the bodice. Shocking pink leggings, black boots (unfortunately I was not able to put my hands on a pair of silver platform boots) a long piece of tinsel and a reddish wig.
Considering how little practice we were able to have, our one song in the concert went well except my mike was not loud enough, which I am gutted (really gutted) about.
I nearly forgot to write about the floods in Cumbria UK which have been really bad - there's me obsessing about a mike that didn't work - so these raindrops remind me of the floods. Luckily we have had no floods here, although it is raining (again)
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Hey all it's been a long time. I will over the next few days catch up with all my contacts shots. Have been extremely busy with all things photography just not much time for flicker of late. As mentioned in my previous post the website and blog are coming, the designer has been extremely busy and has promised to make a start after easter. The site is in action just nothing to show at the moment.
With this shot i wanted something a little more artistic ; with a painted feel to the image. With the merging of the stitch the horizontals and verticals were a bugger to get even, due to this being shot handheld and having all the textures and frame work the same made it a prick with merging in software.
Replaced original shot with a slightly more brighter image and different set up, bride caring case.
Have a great easter weekend and will catch up soon.
nikon d300, 50mm prime @f5.6 1/125 sec
2 image stitch for background and one for the model
I was in New Orleans for business and had gone the night before to dinner & to see the famous "Bourbon Street". It lived up to it's reputation, lol...as I was getting ready for bed I was thinking about all the people & mess (beads, garbage) I saw on the street. I wondered what it would look like the morning after..so, I got up at 6 am (didn't sleep much, excited wondering, lol) and wandered over there before my 8 am meetings. I got there at 6:35, but it took almost 10 minutes for my lens to defog and I was able to shoot..lol (I did try to shoot anyway - no dice) My lens wasn't completely fog free here but I was missing the best...
As most things it looked a lot different in the light of day!
The truck had jet hoses and two guys (one on each side) that blew the trash into the middle of the street and then a big sweeper truck sucked it all up...
It was sooooo humid all the windows were fogged, someone (staff I guess) drew the heart in the resturant window. 2nd Photo - It made me think of Adri ( <---there ) and this beautiful shot she took somewhat along these lines...
Be well my friends...the party is not over yet, not by a long shot! lol
;0}
View this image LARGER.
Dear Santa,
I’ve been a very good boy this year. For example I helped the world economy by buying a new D300, Tokina 11-16, a new back pack and all kinds of accessories. I didn’t swear that much nor did I drink too much. I didn’t do anything bad to my sister and listened to my mommy and daddy. I listened, that doesn’t mean I did what they said.
So this year I’d like a new tripod as my 25 year old Manfrotto is just not as good as a new one. Oh yeah, considering how good of a boy I’ve been, maybe you can load that sleight of yours with a new Nikon D3 and a small smorgasbord of FX lenses. While you are at it, throw in a Mac Pro and MacBook – don’t be cheap on the memory and disk space as that won’t take any extra space in your sleight.
I’d also like to broaden my photographic creativity. It was a toss up between coin photography and boudoir. The sheer excitement off handling exotic coins was too much for me so I’ve opted for boudoir. I’ve got absolutely everything I need for this except for one thing, willing models! So could you trade in that old red sleight of yours for a big yellow school bus and fill it with models. Don’t forget to leave that back seat for all the wonderful camera gear you plan on giving me.
Oh yeah one last thing. I have so many good Flickr friends and they too have been very good this year. So could you please rent a U-Haul trailer to hook behind that bus and load that puppy up with camera gear, both Nikon and Canon. Then go through my contact list and drop off a little surprise to each of them.
Your good buddy,
Pierre
P.S. No need to waste your time to confirm how good I was with my wife, sister, mommy or daddy. I’d hate to get into a debate on semantics. Good is good!
©2008AnnaZavileiskaia
The Orthodox calendar
After World War I various Orthodox Churches, beginning with the Patriarchate of Constantinople, began to abandon the Julian calendar or Old Calendar, and adopt a form of the Gregorian calendar or New Calendar. The Julian calendar is, at the present time, thirteen days behind the Gregorian Calendar.
Today, many Orthodox Churches (with the exception of Jerusalem, Russia, Serbia, and Mount Athos) use the New, Gregorian Calendar for fixed feasts and holy days but the Julian calendar for Easter and movable feasts. In this way all the Orthodox celebrate Easter together.
The Orthodox Church calendar begins on September 1st and ends on August 31st. Each day is sacred: each is a saint's day, so at least one saint is venerated daily.
Orthodox Christmas
Christmas is celebrated by Orthodox Christians in Central and Eastern Europe and throughout the world on the 7th of January in the Gregorian Calendar - 13 days after other Christians.
In the East, Christmas is preceded by a 40 day fast beginning on November 15th. This is a time of reflection, self-restraint and inner healing in the sacrament of confession.
Usually, on Christmas Eve, observant Orthodox Christians fast till late evening, until the first star appears. When the star is seen, people lay the table ready for the Christmas supper.
On Christmas Day people takes part in divine liturgy after which many walk in procession to seas, rivers and lakes. Everyone gathers around in the snow for outdoor ceremonies to bless the water. Sometimes rivers are frozen, so people make holes in the ice to bless the water. Some take water home to bless their houses. Then a great feast is held indoors where everyone joins in to eat, drink and enjoy themselves.
A Orthodox Russian custom is to serve Christmas cakes and to sing songs. The tradition is mixed with other pagan traditions of ancient Russia such that people may visit their neighbours in disguises, dance, sing and ask for presents, similar to trick-or-treating.
There are similarities, as well as differences, between the Eastern and Western celebration of Christmas. The Eastern Christmas has a very strong family and social appeal just as it does in the West. It brings people of all generations together to celebrate the birth of Jesus Christ.
Unlike the West, where Christmas ranks supreme, in the East it is Easter, centred on the cross and the resurrection of Christ, which is the supreme festival of the year. Also, Eastern Orthodox Christmas lacks the commercial side that is so typical to the West.
credit: www.bbc.co.uk
NOTE: This is a little dark when viewed small on a bright background.
I have seen so many great images of Convict Lake with the fall colors on
flickr.com I decided to go up and try and catch some of that fall color for
myself. (See my previous images) So I headed off on the long drive over to
the Eastern Sierra. As it turned out Convict Lake had experienced an early
freeze which had turned the trees brown. To boot the day I picked was right
in the middle of a $10,000 fishing tournament. Needless to say fishermen
lined the banks and boats filled the lake as the sun arrived so it was a
good thing I turned up early as I managed to squeeze off a few shots as the
sunlight just started to cause Mt. Laurel to glow.
I dragged my camera and tripod out at O dark-thirty and stood there freezing
my butt off on the shores of the lake. The sun had not yet rose
sufficiently to actually light Mt. Laurel but the stars were awesome. Even
at a 30 second exposure the image needed some lightning and noise reduction
in Photoshop but turned out great. The light you see on Mt. Laurel in this
image is referred to as Alpine Glow and occurs before the mountain was
directly being lit by the rising sun. The stars are streaked slightly
showing you just how much the Earth rotates in 30 seconds.
Convict lake sits at the base if Mt. Laurel (11,812 ft). In the spring you
can see small waterfalls on the far side of the lake and a good size stream
feeds the lake. Convict Lake sits just off Highway 395 which is one of
most spectacular drives you can take in the US. It starts in the stark
deserts of Southern California and runs along the back side of the Sierra
Mountains which just up suddenly out of the high desert. I highly recommend
this drive to photographers in both spring and then once again in the fall.
-Darv
© Darvin Atkeson
California Photographer
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Enlace a la foto utilizada en el cartel
El pasado año, la actual Junta de Cofradías volvió a depositar su confianza en el trabajo de Pedro J. Muñoz y un servidor para la realización del reportaje de la Semana Santa de Valladolid, así como la elección de una de mis fotografías como soporte del Cartel Oficial anunciador de la Semana Santa vallisoletana 2011, que ha sido editado con una tirada de 7.000 ejemplares por el Excmo. Ayuntamiento de Valladolid y la propiaJunta de Cofradías de Semana Santa.
Mas fotos en éste monográfico:
Mas fotos en éste monográfico:
Mas fotos en éste monográfico:
Medios de difusión:
BLOG DE SEMANA SANTA EN VALLADOLID
JUNTA DE COFRADÍAS DE SEMANA SANTA DE VALLADOLID
Nota informativa y ficha técnica de la fotografía
En 2011 y según lo establecido por el sorteo realizado hace años, le correspondía ser soporte del cartel anunciador de la Semana Santa vallisoletana a una fotografía en la que se viera representada la Cofradía El Descendimiento y Santo Cristo de la Buena Muerte.
Ya durante la pasada Semana Santa del año 2010 se hizo saber al equipo fotográfico, a través de la Junta de Cofradías de Semana Santa, el interés de la Cofradía en que la imagen que apareciese finalmente en el cartel de 2011 correspondiese a la talla del Cristo Yacente que Gregorio Fernández esculpiese hacia el año 1630, que se conserva y se da culto en la Capilla de la Buena Muerte de la Iglesia Parroquial de San Miguel y San Julián.
A mí personalmente me parece una de las mejores tallas de todas las que son procesionadas en nuestra capital, al mismo tiempo que la procesión de la que este cristo es titular, igualmente me parece una de las más bellas estéticamente hablando, y de las que presenta un mayor recogimiento y escenifica ante nuestros ojos la esencia de una procesión castellana, asentada en el silencio, la seriedad, y la austeridad, piedras angulares de nuestra Semana de Pasión.
Pero si bien no descubro nada nuevo con esta afirmación, tampoco lo hago al decir que nos encontramos ante una de las tallas más difíciles de plasmar fotográficamente, debido a que se trata de un yacente que es procesionado en unas andas bellísimas pero de gran altura y con unos guardabrisas igualmente muy estéticos pero muy altos, y lógicamente enclavados en los ángulos, denominémosles más fotográficos.
Se nos informó que al inicio de la procesión, por parte de la cofradía estaría instalado una especie de templete frente a la puerta de la iglesia, con el fin de poder realizar alguna fotografía en la que se pudiese ver al Cristo desde un punto de vista más elevado, a los cofrades portadores de las andas, una parte de la fachada de la iglesia, así como el retablo de la misma de fondo. Cuando vimos las fotografías realizadas en este espacio, ninguna de ellas fue de la entera satisfacción de nadie, dado que la belleza del retablo quedaba tapada parcialmente por la segunda de las puertas de la iglesia, y el ángulo tampoco era el más favorable para la talla. La imagen final resultaba además demasiado deformada por el gran angular, dada la estrechez de la calle. Como suele ocurrir casi siempre en este tipo de fotografía, la imagen premeditada no funcionó, y hubo de recurrirse a otras imágenes tomadas durante el transcurso de la procesión.
Otro hándicap que presentaba el paso venía dado por el hecho de que tradicionalmente y por motivos de funcionalidad a la hora de colocar el cartel en las puertas de los establecimientos, el formato de la fotografía habría de ser vertical, lo que a la hora de retratar una imagen de un yacente no es algo que precisamente facilite la labor.
Finalmente, la fotografía elegida está realizada en la Calle San Diego, a la 1:50 horas de la madrugada del viernes, día 2 de abril de 2010, en los compases finales de la procesión, justo cuando, transitando por el lateral del Palacio del Licenciado Butrón, la comitiva desemboca en la Plaza de Santa Brígida. El cortejo procesional está en movimiento, y la fotografía está tirada justo en el momento en el que la talla estuvo situada delante de la reja de una de las ventanas del palacio, a la vez que la imagen de Cristo se veía iluminada por una farola próxima que ayudaba a resaltar su trascendencia. Fue un breve instante de conjunción de elementos que no me permitió hacer nada más que una única toma, en la que traté de encuadrar lo más rápido posible haciendo que el Cristo estuviese en el único ángulo en el que, en formato vertical, los pies o las rodillas, dada a la altura a la que es procesionado, no tapasen el rostro del cadáver, y que igualmente se viese el cuerpo entero, incluida la mano, el sudario, parte de las andas y que los guardabrisas ocupasen el menor espacio posible, sin restar protagonismo al rostro del Cristo iluminado, pero integrándose en la escena como parte importante de la misma, en ese encomiable afán por parte de las cofradías vallisoletanas de volver a este tipo de iluminación, que si bien contribuye a acentuar la sobriedad del cortejo, no facilita precisamente la labor fotográfica de las tallas. Del mismo modo quedan representados los colores de la cofradía en las capuchas de los cofrades que portan la talla, pero sin que apareciesen sus rostros como era deseo expreso de los órganos rectores de la cofradía y de la propia Junta de Cofradías de Semana Santa. Para facilitar la consecución de una imagen que reuniese estas características, hube de emplear el uso de un teleobjetivo, y con ello intentar “aplanar” al máximo la escena y poder centrarme en el rostro de cristo, alma mater de la composición y centro de atención de nuestra mirada, de tal suerte que el resto de elementos integrantes de la toma no restasen importancia al elemento principal de la misma, pero sin dejar tampoco de ser parte esencial de la estructura compositiva de la instantánea.
En la imagen final se ha tratado de que quedasen plasmadas las características esenciales de sobriedad y austeridad de esta procesión, que no son otras que las propias de la escenificación de un entierro o comitiva fúnebre, con ese sabor recio castellano que aportan los guardabrisas, la cera de las velas, las capuchas de los cofrades, el sudario, las andas artísticamente labradas en madera, la reja de la ventana palaciega, y la delicada belleza del lánguido cadáver tan magistralmente construido por el insigne escultor gallego; todo ello aderezado por un tratamiento claroscural que viniese a acentuar el dramatismo de la escena.
La fotografía está realizada con una cámara Nikon D700, montando un objetivo Nikon 70-200 mm., y ajustada con los siguientes parámetros:
Velocidad ISO: 4.000
Apertura de diafragma: F/2,8
Velocidad de obturación: 1/100 seg.
Longitud focal: 105 mm.
Modo de exposición: Prioridad a la apertura del diafragma
Sin compensación de la exposición
Sin utilización de flash.
La imagen tomada en formato raw fue editada con el programa Adobe Photoshop CS4, tocando niveles, enfoque, contraste, brillo, curvas de nivel, reducción de ruido, y equilibrio de color, para finalmente añadir la leyenda “Valladolid, Semana Santa 2011” con un tipo de letra sin rasgos y con los colores del hábito de la Cofradía.
Glosa realizada por el periodista del diario "El Día de Valladolid" , D. Luis Amo Esguevillas en el acto de presentación del cartel
“Al aproximarse Semana Santa, tío Jairo mostró interés especial por el ritual y las procesiones y tía Macrina le informó que la mayor parte de ellas discurrían bajo el balcón de su hotel, desde donde podían verlas juntos en todo su esplendor, en especial, la del Viernes Santo. (…) Las tallas más renombradas de Juni, Berruguete y Gregorio Fernández las tienes aquí, dijo con orgullo de Cicerone. (…) Mientras, abajo, se sucedían las cofradías y los pasos, oscilaban las llamas de los cirios, cambiaban de color las túnicas y las capuchas”.
- Excelentísimo alcalde y autoridades del Ayuntamiento de Valladolid
- Presidente de la Junta de Cofradías de Semana Santa y miembros directivos
- Cofrades y devotos en Cristo Yacente del Descendimiento y la Buena Muerte
- Miembros de las distintas cofradías vallisoletanas
- Hermanos, vecinos y amigos de Valladolid…
Diez meses hace. Permítanme recordar al comienzo de mi intervención a ese vecino ilustre de la capital vallisoletana que por su obra más bien parece seguir dando el paseo mañanero por el casco histórico. Ése al cual miles y miles de ciudadanos despedíamos en este mismo Salón de Recepciones de la Casa Consistorial hace menos de un año. Ése cuya pureza del verbo, sencillez de adjetivos y austeridad de palabra también tuvo letras, argumentos y recuerdos para la Semana Santa de su Valladolid. La tradición más arraigada y más respetada de la Castilla la Vieja de Don Miguel Delibes Setién.
‘Madera de héroe’ es uno de sus relatos novelados escrito en 1987, marcado por el hecho cruento, pero donde los desfiles procesionales de la capital provocan el “ostento” capilar de Gervasio. Este niño tenía esa ‘Madera de héroe’, la misma que los sayones, crucificados, yacentes y esas piadosas vírgenes vallisoletanas. Son lo más parecido al milagro del cincel tallando la espiritualidad castellana. Una ‘Madera de héroe’ que también ha ido traspasando de generación en generación los sentimientos de un pueblo que, al llegar la alborada de la primavera, cambia sus usanzas para encontrarse con Cristo camino del Calvario.
La Cofradía del Descendimiento y del Santo Cristo de la Buena Muerte vuelve a protagonizar treinta años después la cartelería, que más bien es una proclama del acontecimiento religioso más aguardado en los almanaques locales año a año. Estamos ante una de las hermandades más lozanas de la ciudad. Y emprendedoras. Nacida la Cofradía del Descendimiento en 1939 y fusionada con la Congregación de la Buena Muerte en 1954, ésta es la tercera vez en su historia que alguna de sus veneradas imágenes ha sido imagen de la Semana Santa de Valladolid.
Tras ‘El Descendimiento’ en el año 1953 y el ‘Cristo Crucificado del Monte Calvario’ en 1981, la hermandad forja en 2011 otra pequeña parte de la historia de la ciudad y de su Semana Grande: El Cristo Yacente, de la Real Iglesia de San Miguel y San Julián, situado en la primera capilla desde el crucero, en el lado de la Epístola, será la imagen que venda Valladolid, que sosiegue a los cristianos y que aliente las almas más provisorias por todo el mundo.
Esta escultura recostada es el único Cristo Yacente de Valladolid esculpido íntegramente. Es una imagen de las conocidas como de bulto redondo que, por esto mismo, significa una de las máximas expresiones artísticas que Gregorio Fernández realizase en el año 1632. Estamos ante una talla sublime en la imaginería que representa a Jesucristo sobre un sudario, en este caso un paño real, en posición Yacente, una vez Crucificado y trasladado al Santo Sepulcro. La locuacidad vallisoletana –es más- viene refiriéndose a este Cristo Yacente “como el que tiene tres heridas: la del amor, de la muerte y de la vida”.
La muerte está representada enfatizando las heridas causadas por el vía crucis, por la crucifixión, manteniendo así las pautas de la escultura religiosa del barroco español. Pero este cartel es más histórico todavía porque esta sacra escultura ha sido procesionada solo en tres ocasiones por las calles vallisoletanas, por esos recónditos lugares que son la antigua judería de la ciudad, que encarnan para los que amamos la Semana Santa la máxima manifestación de la plasticidad patrimonial y del recogimiento humano.
En torno a la medianoche del Jueves Santo, el chirriar del portón jesuítico de la Real Iglesia de San Miguel y San Julián marca la salida de la Procesión de Cristo al Humilladero. La formación cuasi blanquivioleta va saliendo hacia un exterior a media luz, inundado por el silencio y la expectación ante el inminente discurrir del Cristo Yacente.
El cartel de 2011 representa un mensaje rápido y sencillo, al tiempo que permite detenerse para admirar el arte y profundizar en su dolor. José María Pérez Concellón ha vuelto a retratar con su inconfundible maestría la Semana Santa de Valladolid, el sacrificio anual de los vallisoletanos al recogerse delante de sus cristos y sus vírgenes en lo que comporta que las procesiones protagonizan –casi paralizan- la vida urbana durante diez días.
Este fotógrafo hace propia nuestra Semana Santa para vender ciudad y carácter, Valladolid y religiosidad, sabiendo superar también en el cartel el hecho captado. La luz es la cotidianidad del camino, de la propia procesión, porque procede como del cielo, en este caso de una farola de la calle San Diego, casi esquina con la plaza de las Brígidas, permitiendo que nuestra vista acuda al encuentro con su mirada, a reconciliarse con Cristo Yacente. De modo casi tenue, observamos las magníficas andas labradas muchos siglos después –en 2008- por otro imaginero vallisoletano, por el riosecano Ángel Martín García.
Estamos ante una imagen captada el 2 de abril de 2010, diez minutos antes de las dos de la madrugada, donde la pericia de nuestro fotógrafo ha permitido este resultado: una habilidad excepcional debido a la dificultad de la instantánea, una imagen angulada como consecuencia de la altura de las andas, para que pueda verse el conmovedor rostro, de la misma manera que las manos, los pies y otros elementos significativos de la composición como el sudario, los guardabrisas e incluso los hermanos porteadores.
La instantánea amontona múltiples reflexiones. Cristo Yacente, recién bajado del madero, invita a considerar la vida. Como dijera San Agustín, “la vida es lo que siempre fue: el hilo no se ha cortado. ¿Por qué habría yo de estar fuera de tus pensamientos? ¿Solo porque estoy fuera de tu vista? No estoy lejos –viene a decir sobre Jesús- tan solo a la vuelta del camino”. Y, como vivió entre nosotros, el modelo de Gregorio Fernández nos invita a pensar que, a partir de su muerte, la humanidad encontró el símbolo perpetuo para apostar por todas las vidas, hasta las recién engendradas, por la paz y por la tolerancia.
Chema Concellón, antes imaginero del carrete y ahora de lo digital, ha recogido la sensibilidad del pueblo, con una pureza gráfica que transmite los silencios y las esencias de esas fechas. Este artista compila en su haber el arte de unos modelos procesionales que los hace inagotables. Y este misticismo alcanza en esta ocasión, en este año, sus bodas de plata. Veinticinco años de sensibilidad piadosa fotografiando para traspasar los corazones de todos, de devotos y de peregrinos. Junto a él, menos años, otro amigo: Pedro J. Muñoz Rojo, responsable en esta ocasión del segundo de los carteles editados, un detalle en blanco y negro del Crucificado del paso Monte Calvario.
Así, el virtuosismo que representa la imagen del Yacente, escapando de la novedad del desfile y más aún del cristo procesionado, ha motivado la impresión en el cartel de 2011 de ese carácter señorial y conventual de la ciudad, de ese legado de nuestra extraordinaria historia, recogido a través de la rejería del Palacio de Butrón. Es éste el momento casi último de la Procesión del Humilladero, del discurrir de las primeras horas de un Viernes de la Cruz cuando la cofradía retorna del acto de reflexión en el Convento de San Quince y Santa Julita y de la colocación del sudario en el crucero de piedra de la plaza de San Pablo, cuyo significado es renovar el compromiso cofrade, y constituye uno de los actos más desconocidos y más emotivos de esta semana procesional.
Y sino que se lo digan al equipo médico habitual, cuyo reconocimiento y amistad no podía ausentar en este relato, a esos cofrades de acera, que con murmuración poco más o menos que misericordiosa, frecuentan todos los gólgotas callejeros para informar e historiar. O, lo que es lo mismo, para comunicar, transmitir y notificar a generaciones venideras. Y es que debo reconocer llegados a este punto el soporte obtenido, que también el apoyo y el esfuerzo, de esas empresas y esos medios con los que he creído todavía más en la Semana Santa de Valladolid, en su recogimiento y en su turismo: Cadena COPE, El Día de Valladolid, la ahora Televisión Castilla y León y Onda Cero Radio, donde los silencios se convierten en sonidos, donde la sobriedad en sentimientos anotados y las imágenes en catequesis.
Permítanme –y voy terminando- volver a la escena del drama. Volver a ese entramado urbano de la plaza de las Brígidas, donde yergue el noble edificio del Licenciado de Butrón, otro de los escenarios del ilustre vecino en su último postulado, El Hereje; o admirar la entrada del Cristo Yacente a la Real Iglesia, con el pensamiento en otro de los nuestros, el Beato Francisco Bernardo de Hoyos, que allí expiró. Y, en este preciso momento, buscamos el interrogante de por qué el Mesías hubo de padecer. Pero lo cierto es que no todo termina con la muerte. El amor no muere, porque la llama de la Pascua es la llamada de la fe. Y el turismo, en esta ciudad, en esta semana, tiene un papel muy importante que también hay que cuidar. Y se sabe cuidar.
Por último, ahora sí, recibe querido José Miguel y toda tu directiva un mensaje de bienvenida, de apoyo y de colaboración en tu cuarto mandato al frente de la Junta de Cofradías de Semana Santa. De la misma manera, alcalde, gracias en nombre de la prensa y de los cofrades vallisoletanos a tu labor, y la de los tuyos, a tu contribución inestimable -personal e institucional- en el término de tu cuarto mandato al frente del Ayuntamiento de Valladolid, porque con tanto orgullo recorres calles y plazas, municipios foráneos y ciudades hermanas, con nuestra tradición más arraigada al hombro. Y, a todos ustedes, elogiarles por su paciencia al escucharme y animarles a custodiar aún más lo nuestro. A saber transmitirlo como lo hemos recibido nosotros, como decía otro amigo personal y de la casa, Antonio Pelayo, en su pregón de 2008.
Muchas gracias.
My thanks to those of you who responded to my previous upload (The Dolphins). I'm glad that you were amused by the image and I sincerely appreciate your support.
As an image, I liked The Dolphins. I thought it was fun. But perhaps my judgement was influenced by the fact that it was taken in the course of wonderful day spent with my son, exploring Barcelona. The response on Flickr, on the other hand, based on numbers of views, comments and favourites, clearly ranks it as the least appealing of the images I have uploaded from Barcelona so far.
When the response to an upload differs significantly from my expectations, I reflect on why this might have been the case; and my reflections usually turn into an essay. If you want to read the essay in which I ponder this particular outcome, please click here.
Light show in Beaubourg by Swiss artist Pipilotti Rist, called "A la belle étoile". The 10mn show will be projected every night from 7pm to 8am until Feb. 26. Tip: pretend you're going to the restaurant on the 6th floor and stop at the 5th floor, which is opened and from where you can see the show from above without any glasses interfering :-) The previous link is also offering a webcam of the show.
Part of A la belle étoile
Melasti Beach, Bali - Indonesia
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After a dump of snow last Saturday, we've been experiencing exceptionally bright, sunny days with clear blue skies. The perfect backdrop for Vancouver's North Shore moutains to show off their beauty. "The Lions" can easily be seen from down town.
In the 15 months that I've been living here, I've been wondering how to find an unobstructed vista from which to photograph them. Thank you to Flickr member,
"eye for beauty2007" (sorry, I don't know how to do those links!) for telling me ... just 15 minutes from my house!
fr: La Conciergerie de Nuit, Paris, France
EXIF: Nikon D200 - ISO 100 - 36mm - F/8.0 - HDR from 3 exposures (2s, 4s, 8s)
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More of the Set Night Scenes | See More of the Set Paris.
See my most interesting pictures here or take some time to view the slideshow .
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Cloud Gate is British artist Anish Kapoor's first public outdoor work installed in the United States. The 110-ton elliptical sculpture is forged of a seamless series of highly polished stainless steel plates, which reflect the city's famous skyline and the clouds above. A 12-foot-high arch provides a "gate" to the concave chamber beneath the sculpture, inviting visitors to touch its mirror-like surface and see their image reflected back from a variety of perspectives.
Inspired by liquid mercury, the sculpture is among the largest of its kind in the world, measuring 66-feet long by 33-feet high. Cloud Gate sits upon the At&T Plaza.
"What I wanted to do in Millennium Park is make something that would engage the Chicago skyline…so that one will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, will be able to enter into this very deep chamber that does, in a way, the same thing to one's reflection as the exterior of the piece is doing to the reflection of the city around."
-Anish Kapoor
Morocco.
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Morocco (Arabic: المغرب al-Maghrib ; Berber: ⴰⵎⵕⵕⵓⴽ or ⵍⵎⴰⵖⵔⵉⴱ[8] Ameṛṛuk or Lmaġrib; French: Maroc), officially the Kingdom of Morocco.[2] Arabic name al-Mamlakat al-Maghribiyyah (Arabic: المملكة المغربية) translates to "The Western Kingdom". Al-Maghrib (Arabic: المغرب), or Maghreb, meaning "The West", is commonly used. The Kingdom of Morocco is the most westerly of the North African countries. It has Atlantic and Mediterranean coastlines, and a rugged mountain interior.
Morocco has a population of over 32 million and an area of 446,550 km2 (172,410 sq mi); if Western Sahara is included that would be 710,850 km2 (274,460 sq mi). The political capital is Rabat, although the largest city is Casablanca; other major cities include Marrakech, Tangier, Tetouan, Salé, Fes, Agadir, Meknes, Oujda, Kenitra, and Nador. Morocco has a history of independence not shared by its neighbours. Its rich culture is a blend of Arab, Berber (indigenous African) and also other African and European influences.
Please View On Black
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Have we lost our way?...
We must return again to the call of nature ...
This call is muted with the hurts around us ...
Destruction of the good and bad ...
We must return, not as aliens, but as Keepers of all
things that are a part of us ...
Some are forever gone ...
Others are crying out in despair ...
Just as our Ancestors kept the faith with all things
Great and Small ...
So must we be the guardians of the Sun, the Moon
and the Stars ...
It is because of them, and our respect for their powers
that we must raise our voices to be heard ...
We are not just the Red Man, we are THE PEOPLE ...
Our fathers before us worshipped all things of nature ...
This is good, for Nature is the Heart of all things ...
All of us spring from Mother Earth and must return to
her bosom ...
If we poison Her, so will our future be poisoned ...
She will rebel against the hurts and we will be the losers ...
We must return ...
Tutshi was constructed at Carcross and launched on June 12, 1917. She had a crew of 29 and could carry 135 passengers. Her last trip was in 1956.
In the 1970's she was purchased by the Government of Yukon and extensive restoration was done. A fire destroyed her in 1990. All that remains is this small portion of the bow and the boiler .
Please View On Black
January 2010: More than 5000 views - Thanks a lot!
February 2016: More than 20.000 views - Thanks :-)
Winter Wonderland written in 1934 by Felix Bernard (composer)
and Richard B. Smith (lyricist).
There are lots of interpretations. Here comes Pat Boone:
www.youtube.com/watch?v=JE8D52xD4uw
Sleigh bells ring, are you listening,
In the lane, snow is glistening
A beautiful sight,
We're happy tonight.
Walking in a winter wonderland.
Gone away is the bluebird,
Here to stay is a new bird
He sings a love song,
As we go along,
Walking in a winter wonderland.
In the meadow we can build a snowman,
Then pretend that he is Parson Brown
He'll say: Are you married?
We'll say: No man,
But you can do the job
When you're in town.
Later on, we'll conspire,
As we dream by the fire
To face unafraid,
The plans that we've made,
Walking in a winter wonderland.
In the meadow we can build a snowman,
And pretend that he's a circus clown
We'll have lots of fun with mister snowman,
Until the other kids knock him down.
When it snows, ain't it thrilling,
Though your nose gets a chilling
We'll frolic and play, the Eskimo way,
Walking in a winter wonderland.
Stupid me forgot my tripod today aaaaaaaaaaaaaaargh !! thank god for a jessops bean bag and a pebble or two for support
VIEW MY GETTY COLLECTION HERE
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Here is my first published work even though i did it as a freebie its great seeing your work on a web site !
www.thewhitehartvillageinn.com/index.html
Here is the flickr set
View On Black 21 image stiched hdr
This is the midway point in the laerdal tunnel, the 24,5 kilometers long tunnel has 3 of these colored caves. They are designed to break up the mind numbing monotony that sets in during the 20 minute drive, the other two are blue. The rooms are truly astounding, beautifully lit, and the acoustics are just plain freaky. I wanted to make a 360 pano, but standing in the middle of the road with a tripod just seemed like a very bad idea..
From wiki: "Construction started in 1995 and was completed in 2000, thus succeeding the Gotthard Road Tunnel as the longest road tunnel in the world. The tunnel is a part of the E16 main route between Oslo and Bergen."
Note : Hope the color is correct here, it looked way to green in firefox, so i had to mess around with the colorprofile. This one is uploaded as adobe rgb, looks ok in safari and firefox on my imac now. I am also unsure if i should crop more of the ceiling, any thoughts?
fr: La maison haute dans la ruelle, Belvès, Dordogne, Périgord, France
See it BIGGER On Black | See More of the set Pittoresques Villages de France.
See my most interesting pictures here or take some time to view the slideshow .
Explore Highest position: 16
Histoire: Fortifiée au moyen âge en raison de sa position stratégique et surnommée "ville du Pape" sous la protection du pape Clément V, Belvès conserve les vestiges d'un passé tourmenté : remparts, tour de l'Auditeur, beffroi à cloche, tour de la Mairie, ancien clocher du couvent des Frères Prêcheurs, tour de l'Hôpital, château au donjon du XIIe siècle, hôtel à façade renaissance, ancienne maison des Consuls, halle aux bois et habitations troglodytiques. L'église Notre Dame de Montcuq est une ancienne prieurale bénédictine des XIIe et XIVe siècles. Source: Villages de France
History: It was fortified in the Middle Ages because of its strategic position and came to be known as the "Pope’s city" as it was under Clement V’s protection. Belvès bears witness to a tormented past: walls and the auditeur’s tower (11th c); the belfry (15th c) the city hall tower, the castle (14th/15th), the hotel with a Renaissance façade and troglodyte dwellings. Source: Come To France
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On Sunday we were just north of Leeds at a memorial to remember the fallen from a battle which took place at a remote Yorkshire village called Towton.
The battle took place on March 29th 1461 between the waring factions of the Yorkists and the Lancastrians. This was the largest, bloodiest and most murderous battle ever fought in Britain. It is estimated that around 30.000 people died on Psalm Sunday all those years ago - more men died here on that day than on the first day of the battle of the Somme during the 1st world war. No quarter was given at all on this killing field. This was one of the battles fought during the Wars of the Roses
Anyway there was a display of Falconry at the re-enactment this Owl was amongst the birds of prey on display and he is in my opinion a very fine chap.
La fin de Suburbia: L’épuisement des réserves de pétrole et l’effondrement du rêve américain
Oil, smoke & mirrors - sous-titré français Video
wiki.les-verts.infini.fr/index.php/Accueil
Pierre Gevaert, le célèbre fondateur du groupe d'alimentation biologique belge "Lima" (à présent racheté par des Canadiens), fondateur de plusieurs éco-villages en France, et d'une école d'éco-agriculture au Sénégal, vient partager l'expérience de 80 années de vie, les écueils du retour au monde rural mal préparé, etc. Conférence Nature & Progrès, Marche-en-Famenne jeudi 10 avril 2008 Video
Entretien avec Jean Laherrère, fondateur d'ASPO Video
www.wolfatthedoor.org.uk/francais
Nous mangeons du pétrole by Dale Allen Pfeiffer texte original sur le site http://www.fromthewilderness.com/ (FTW)
(Sur le même thème voir aussi le texte en anglais Why Our Food is So Dependent on Oil de Norman Church)
© Copyright 2004, From The Wilderness Publications, www.copvcia.com. All Rights Reserved. May be reprinted, distributed or posted on an Internet web site for non-profit purposes only.
Note de l'éditeur (Michael C. Ruppert) Il y a quelques mois, interpellé par un rapport réalisé par le Professeur Kenneth Deffeyes de Princeton concernant son travail sur l'impact du pic de pétrole (Peak Oil) sur la production d'engrais, j'ai demandé à l'éditeur responsable de la section énergie de FTW, Dale Allen Pfeiffer d'étudier ce que produira la diminution de gaz naturel sur les coûts de production des engrais. Ses recherches le menèrent à étudier la production globale de nourriture aux USA et, puisque les USA et le Canada nourissent une partie du monde, les réponses ont une porté globale.
Ce qui suit est probablement l'article le plus effrayant que j'ai lu et la contribution la plus alarmante que FTW ait jamais publiée. Même si l'on a vu CNN, Britain's Independent ou Jane's Defence Weekly reconnaitre la réalité du pic de pétrole (Peak Oil and Gas) ces dernières semaines, admettant que les réserves mondiales de pétrole et de gaz sont inférieures de 80% à celles estimées, nous voyons le peu de réflexions consacrées à prévoir ces crises à venir ; au moins en terme de réflexions accessibles au public.
L'article qui suit est si sérieux dans ses implications que j'ai pris l'inhabituelle initiative de souligner certains points clés. J'ai fais cela avec l'intention que le lecteur considère chaque passage souligné comme un fait séparé incroyablement important. Chacun de ces faits doit être lu et digéré séparément pour assimiler son importance. Je me suis trouvé lisant un fait, me levant et marchant de long en large jusqu'à pouvoir revenir continuer (in)confortablement à lire la suite.
Tout ce que rapporte les recherches de Dale Allen Pfeiffer confirme les pires doutes de FTW à propos des conséquences du pic de pétrole, et pose de sérieuses questions sur ce qu'il faut faire après. La moindre n'est pas pourquoi, au cours d'une année d'élection présidentielle (aux USA) aucun des candidats n'a reconnu le problème. Aujourd'hui, il est clair que les réponses à ces questions, sans doute les plus importantes auxquelles l'humanité doit faire face, doivent nécessairement être trouvées par des individus et des collectivités privées, indépendamment d'aide gouvernementale. Savoir si la recherche de réponse débute maintenant, ou bien lorsque la crise deviendra inévitable, ne dépend que de nous. - MCR
3 octobre 2003, 1200 PDT, (FTW) -- Les humains (comme tous les autres animaux) tirent leur énergie de la nourriture qu'ils mangent. Jusqu'au siècle dernier, toute l'énergie de la nourriture disponible sur cette planète était dérivée de l'énergie solaire par photosynthèse. Soit vous mangiez des plantes soit vous mangiez des animaux qui se nourrissaient de plantes, mais l'énergie provenait finalement du soleil.
Il aurait été absurde de penser qu'un jour nous manquerions d'ensoleillement. Non, l'ensoleillement était une ressource abondante, renouvelable et le processus de photosynthèse nourrissait toute vie sur la planète. Il plaçait également une limite sur la quantité de nourriture qui pouvait être produite à chaque instant, et ainsi limiter la croissance de la population. L'énergie solaire a un flux limité sur la planète. Pour augmenter votre production de nourriture, il fallait augmenter la surface cultivable et déplacer vos concurrents. Il n'y avait pas d'autres moyens pour augmenter l'énergie disponible pour la production de nourriture. La population humaine crût en déplaçant tout et en s'appropriant de plus en plus de l'énergie solaire.
Le besoin d'augmenter la production agricole est l'une des causes qui motiva la plupart des guerres, associé à l'accroissement des besoins énergétiques (et la production agricole est vraiment une partie essentielle des besoins énergétiques.) Quand les Européens ne purent plus étendre leur surfaces agricoles, ils commencèrent à conquérir le monde. Les explorateurs furent suivis des conquérants, puis des commerçants et des colons. Les raisons annoncées de l'expansion pouvait être le commerce, l'avarice, l'empire ou simplement la curiosité, mais à l'origine, tout était question d'augmentation de la productivité agricole. Où que les explorateurs et conquérants voyagèrent, ils ont pu ramener des butins, mais ont laissé des plantations. Ensuite, les colons travaillent à rendre la terre cultivable pour y établir leur propre ferme. Ces conquêtes ont duré tant qu'il y avait des terres pour s'étendre. Jusqu'à aujourd'hui, les propriétaires terriens et les fermiers luttent et réclament plus de terres pour la production agricole, mais ils se battent pour des restes. Aujourd'hui, virtuellement toutes les terres productives de cette planète sont exploitées pour l'agriculture. Ce qui reste inutilisé est trop escarpé, trop humide, trop sec ou sur un sol trop pauvre en nutriment.1
Au moment où la production agricole ne peut plus s'étendre par accroissement de la surface, de nouvelles innovations rendent possible une meilleure productivité des terres disponibles. Le processus de déplacement des "nuisibles" et d'appropriation pour l'agriculture, accéléré par la révolution industrielle et la mécanisation de l'agriculture, a accéléré le nettoyage et le labourage de la terre et augmenté la taille des exploitations qui pouvaient être tenues par une seule personne. A chaque accroissement de la production agricole, la population humaine augmentait aussi.
A présent, les humains se sont approprié environ 40% des capacités de photosynthèse de toutes les terres.2 Aux USA, c'est plus de la moitié de l'énergie capturée par photosynthèse.3 Nous nous sommes approprié la meilleure moitié de la planète. Le reste de la nature est forcé de faire avec ce qui reste. Ceci est le premier facteur d'extinction des espèces et du stress de l'écosystème.
La Révolution Verte
Dans les années 1950 et 1960, l'agriculture a subit une transformation radicale souvent appelée la Révolution Verte. La révolution verte est le résultat de l'industrialisation de l'agriculture. Une partie des avancées provint de nouvelles plantes hybrides, donnant des récoltes bien plus productives. Entre 1950 et 1984, alors que la révolution verte transformait l'agriculture dans le monde entier, la production de semence mondiale crût de 250%.4 C'est un accroissement considérable de la quantité de nourriture disponible pour la consommation humaine. Cet accroissement d'énergie ne provenait pas d'une augmentation de l'ensoleillement, ni de l'apparition de nouveaux horizons de terres agricoles. L'énergie de la révolution verte provenait des énergies fossiles sous la forme d'engrais (gaz naturel), de pesticides (pétrole) et d'irrigation motorisée.
La Révolution Verte a accru la quantité d'énergie consommé par l'agriculture de 50 fois en moyenne par rapport à l'agriculture traditionnelle.5 Dans les cas les plus extrêmes, la consommation d'énergie de l'agriculture a été multipliée par 100 ou plus. 6
Aux USA, 730 kg d'équivalent pétrole (400 gallons) sont dépensés par an pour nourrir chaque Américain (données de 1994). 7 La consommation d'énergie pour l'agriculture se répartie comme suit :
31% pour la fabrication d'engrais non organique
19% pour les engins agricoles
16% pour le transport
13% pour l'irrigation
08% pour élever le bétail (sans sa nourriture)
05% pour l'assèchement des récoltes
05% pour la production de pesticide
08% divers8
Les coûts énergétiques pour emballer, refroidir, transporter vers les revendeurs finals et cuisiner ne sont pas pris en compte dans ces chiffres.
Pour donner une idée au lecteur du besoin en énergie de l'agriculture moderne, la production d'un kg d'azote pour les engrais requiert l'énergie équivalente de 1,4 à 1,8 litres de diesel. Sans considérer le gaz naturel de base.9 Selon le Fertilizer Institute (http://www.tfi.org/), du 30 juin 2001 au 30 juin 2002 les USA ont utilisés 12 009 300 tonnes d'engrais azoté.10 En utilisant le chiffre bas de 1,4 litres de diesel équivalent par kilogramme d'azote, ceci correspond à l'énergie contenue dans 15,3 milliards de litres de diesel, soit 96,2 millions de barils.
Bien sûr, ceci n'est qu'une comparaison grossière pour aider à comprendre les besoins d'énergie de l'agriculture moderne.
Dans un sens littéral, nous pouvons dire que nous mangeons du pétrole. Cependant, à cause des lois de la thermodynamique, il n'y a pas de correspondance directe entre l'énergie consommée et l'énergie produire par l'agriculture. Tout au long du processus, il y a une perte d'énergie. Entre 1945 et 1994, l'énergie utilisée par l'agriculture a été multipliée par 4 tandis que les récoltes ont été multipliées par 3.11 Depuis lors, l'énergie consommée n'a cessé d'augmenter sans augmentation correspondante des récoltes. Nous avons atteint le point des retours marginaux décroissants. A cause de la dégradation des sols, de la demande croissante de gestion des nuisibles et des coûts pour l'irrigation (qui sont détaillés ci-dessous), l'agriculture moderne doit continuer d'augmenter ses dépenses énergétiques simplement pour maintenir sa production actuelle. La révolution verte va à la faillite.
Les coûts du pétrole fossile
L'énergie solaire est une ressource renouvelable limitée seulement par le flux de lumière du soleil vers la terre. Le pétrole fossile, au contraire, est une ressource stockée qui peut être utilisée à un taux presque sans limite. Cependant, à échelle de temps humaine, le pétrole fossile est non renouvelable. Il représente un stock d'énergie planétaire dans lequel nous pouvons piocher au rythme que nous voulons, mais qu'on finira par épuiser sans renouvellement. La Révolution Verte exploite ce dépôt d'énergie pour améliorer la production agricole.
Le total de pétrole fossile utilisé par les USA a été multiplié par 20 dans les 40 dernières années. Aux USA, nous consommons 20 à 30 fois plus d'énergie issue de pétrole fossile par personne que dans les nations en développement. L'agriculture compte directement pour 17% de toute l'énergie utilisée dans ce pays.12 En 1990, nous utilisions approximativement 1000 litres (6,41 barils) de pétrole pour produire de la nourriture avec un hectare de terre.13
En 1994, David Pimentel et Mario Giampietro estimaient que le rapport produits/intrants de l'agriculture était environ 1,4. 14 Pour 0,7 kcal d'énergie fossile consommée, l'agriculture des USA produisait 1 kcal de nourriture. Le chiffre d'entrée de ce ratio était basé sur des statistiques de la FAO (Food and Agriculture Organization des Nations Unies) qui ne considère que les engrais (sans inclure la matière de base des engrais), l'irrigation, les pesticides (sans inclure la matière de base des pesticides), et les engins agricoles et leur carburant. Les autres énergies en entrée de l'agriculture qui ne sont pas considérées étaient l'énergie et les machines pour assécher les récoltes, le transport des intrants et des produits de et vers la ferme, l'électricité, et la construction et l'entretien des bâtiments et infrastructures. Ajouter dans les estimations ces coûts énergétiques conduisent le ration produits/intrants vers une valeur proche de 1.15 Ceci n'inclut pas non plus les dépenses d'énergie de l'emballage, du transport vers les détaillants, le refroidissement ou la cuisson finale.
Dans un rapport ultérieur de la même année (1994), Giampietro et Pimentel réussirent à construire un ratio plus précis de l'utilisation de l'énergie fossile dans l'agriculture.16 Dans cette étude, les auteurs définirent deux types d'énergie en entrée : l'énergie endosomatique et l'énergie exosomatique. L'énergie endosomatique est générée par la transformation métabolique de l'énergie de la nourriture en énergie musculaire dans le corps humain. L'énergie exosomatique est générée par la transformation de l'énergie en dehors du corps humain, comme brûler du pétrole dans un tracteur. Cette donnée permet aux auteurs de se concentrer sur les entrées de fuel fossile uniquement et de son ratio par rapport aux autres entrées.
Avant la révolution industrielle, virtuellement 100% des énergies endomatiques et exosomatiques étaient d'origine solaire. Le pétrole fossile représente maintenant 90% de l'énergie exosomatique utilisée aux USA et dans les autres pays développés.17 La ratio typique exo/endo des sociétés pré-industrielles, basées sur le soleil, est environ de 4 pour 1. Le ratio a décuplé dans les pays développés, passant à 40 pour 1. Aux USA, il est supérieur à 90 pour 1.18 La nature de la manière dont on utilise l'énergie endosomatique a évolué de la même manière.
La grande majorité de l'énergie endosomatique n'est plus dépensée pour produire de la puissance dans les processus économiques. La majorité de l'énergie endosomatique est maintenant utilisée pour générer le flux d'information dirigeant le flux d'énergie exosomatique pour conduire les machines. En considérant le ration de 90/1 aux USA, chaque kcal d'énergie endosomatique dépensée aux USA induit la circulation de 90 kcal d'énergie exosomatique. Par exemple, un petit moteur à essence peut convertir les 38000 kcal d'un gallon (3,785 litres) d'essence en 8,8 kWh (kilowatt heure), ce qui équivaut à environ 3 semaines de travail pour un humain.19
Dans leur étude plus précise, Giampietro et Pimentel trouvèrent que 10 kcal d'énergie exosomatique étaient requises pour produire et fournir 1 kcal de nourriture au consommateur Américain. Ceci inclut l'emballage et toutes les dépenses de livraison, mais exclut la cuisson. 20 Le système d'alimentation Américain consomme 10 fois plus d'énergie qu'il produit en nourriture. Cette asymétrie repose sur les stocks de pétrole fossile non renouvelable.
Avec une hypothèse de 2500 kcal par personne pour une ration quotidienne aux USA, le ratio de 10/1 se traduit en un coût de 35000 kcal d'énergie exosomatique par personne et par jour. Cependant, considérant que le retour moyen d'une heure de travail endosomatique aux USA est d'environ 100000 kcal d'énergie exosomatique, le flux d'énergie exosomatique réquis pour fournir la ration quotidienne est atteint en seulement 20 minutes de travail dans notre système actuel. Malheureusement, si l'on supprime l'énergie fossile de l'équation, la ration quotidienne requiert 111 h de travail endosomatique par personne ; c'est-à-dire, qu'il faudrait près de 3 semaines de travail par personne pour produire la ration quotidienne américaine.
Assez simplement, quand la production de pétrole commencera à diminuer dans les années à venir, il y aura moins d'énergie disponible pour produire de la nourriture.
Sol, terre arable et eau
L'agriculture intensive moderne n'est pas durable. L'agriculture améliorée technologiquement augmente l'érosion du sol, pollue et surconsomme les eaux souterraines et de surface, et même (essentiellement à cause de l'usage des pesticides) provoque de sérieux problèmes d'environnement et de santé publique. L'érosion du sol, les terres surexploitées et les ressources en eau surutilisées conduisent à leur tour à une encore plus grande utilisation des hydrocarbures. On utilise plus d'engrais à base d'hydrocarbure, ainsi que plus de pesticide ; l'irrigation par pompage consomme aussi plus d'énergie ; et les pétroles fossiles sont utilisés pour traiter l'eau polluée.
Il faut 500 ans pour remplacer 2,56 cm de terre arable.21 En environnement naturel, la reconstitution de la terre se fait par décomposition des matières végétales, protégée de l'érosion par les plantes qui apparaissent. Dans les sols fragilisés par l'agriculture l'érosion réduit la productivité de 65% tous les ans.22 Les prairies, qui constitue l'essentiel des terres aux USA, ont perdu la moitié de la couche arable après environ 100 ans d'exploitation fermière. Ce sol s'érode 30 fois plus vite qu'il ne se forme.23 Les récoltes sont bien plus gourmandes que l'herbe qui couvrait les Grandes Plaines. En conséquence, la terre arable restante est de plus en plus pauvre en nutriments. L'érosion du sol et l'appauvrissement en minéraux coute environ 20 milliards de dollars en nutriments à l'agriculture américaine chaque année.24 Le sol de la Grande Plaine est maintenant en grande partie comme une éponge qu'il faut alimenter en engrais carbonés pour pouvoir produire les récoltes.
Chaque année aux USA, plus de 800 000 ha de terre agricole sont perdues à cause de l'érosion, du sel ou du (water logging ?). De plus, l'urbanisation, la construction de route et les besoins industriels requièrent annuellement 400 000 ha de terre.24 Approximativement 3/4 des terres aux USA sont dédiées à l'agriculture et à l'exploitation forestière.25 L'expansion de la population humaine ajoute une pression croissante sur les disponibilité de terre. En conséquence, seulement une petite partie de la surface des USA reste disponible pour les technologies d'énergies solaires nécessaires à une économie basée sur l'énergie solaire. La surface pour exploiter la biomasse est également limitée. Pour cette raison, le développement du solaire et de la biomasse doit se faire au détriment de l'agriculture.
L'agriculture moderne contraint également nos ressources en eau. L'agriculture consomme 85% de toutes les ressources américaines en eau douce.26 De nombreuses ressources d'eau de surface sont surexploitées, particulièrement à l'ouest et au sud. L'exemple typique est la rivière Colorado, qui est détourné goutte après goutte avant qu'il n'atteigne le Pacifique. L'eau de surface ne représente que 60% de l'eau utilisée pour l'irrigation. Le reste, et par endroit la majorité de l'irrigation, vient de nappes phréatiques. Les nappes phréatiques se remplissent doucement par percolation de l'eau de pluie au travers de la croûte terrestre. Moins de 0,1% de l'eau souterraine stockée et puisée par an est remplacé par la pluie.27 La grande nappe Ogallala qui fournit l'eau pour l'agriculture, l'industrie et les foyers des états du sud et du centre des USA est exploité à 160% de son taux de rechargement. La nappe d'Ogallala deviendra improductive d'ici quelques dizaines d'années.28
Nous pouvons illustrer la demande que place l'agriculture moderne sur les ressources en eau en regardant un champs de maïs. Une récolte de maïs qui produit 118 boisseaux/acre/an (104 quintaux/hectare/an) requiert plus de 500.000 gallons/acre d'eau (4.731 mètres cubes/hectare) pendant la croissance. La production d'un kilo de maïs requiert 1.400 litres d'eau.29 A moins de faire quelque chose pour réduire cette consommation, l'agriculture moderne va propulser les USA dans une crise de l'eau.
Ces vingts dernières années, l'utilisation de pesticide aux USA a été multiplié par 33, et chaque année, il y a plus de pertes dues aux parasites.30 C'est le résultat de l'abandon de la pratique traditionnelle de rotation des cultures. Près de 50% des surfaces de maïs américain est dédiée uniquement à la monoculture du maïs.31 Cela provoque une augmentation des parasites du maïs, qui à son tour déclenche l'utilisation de plus de pesticides. L'utilisation des pesticides sur les récoltes de maïs a été multipliée par 1000 même avant l'introduction de maïs résistant aux pesticides par génie génétique. Et cependant, les pertes de maïs ont tout de même été multipliée par 4.32
L'agriculture moderne n'est pas durable. Elle abîme la terre, en drainant les ressources en eau et polluant l'environnement. Et ceci requiert de plus en plus de pétrole fossile pour pomper l'eau pour irriguer, pour remplacer les nutriments, pour protéger des parasites, pour compenser l'environnement et simplement maintenir le niveau de production constant. Pourtant cette entrée nécessaire de combustible fossile va devoir affronter la diminution de la production de combustible fossile.
La consommation des USA
Aux USA, chaque personne consomme une moyenne de 987 kg de nourriture par an. Cela fournit au consommateur américain une moyenne d'apport quotidien d'énergie de 3600 kcal. La moyenne mondiale est de 2700 kcal par jour.33 Aux USA, 19% des apports en calorie proviennent directement des fast food. Les fast food participent pour 34% à la consommation totale de nourriture des citoyens américains. Le citoyen moyen mange en dehors de chez lui une fois sur quatre.34
Un tiers des apports caloriques des américains moyens provient de sources animales (y compris les produits laitiers), pour un total de 363 kg par personne et par an. Ce régime signifie que les citoyens américains dérivent 40% de leurs calories de graisse - près de la moitié de leur régime.35
Les Américains sont également de gros consommateurs d'eau. Il y a 10 ans, les Américains consommaient 4589 litres/jour/personne (l/j/p), la plus grande part utilisée pour l'agriculture. En tenant compte de l'augmentation de population prévue, la consommation d'ici 2050 est estimée à 2650 l/j/p, que les hydrologistes considèrent comme minimaux pour les besoins humains.36 C'est sans compter sur le déclin de la production de carburant fossile.
Pour fournir toute cette nourriture, il faut 600 000 tonnes de pesticide par an en Amérique du Nord. C'est plus d'un cinquième du total mondial des pesticides utilisés, estimé à 2,5 millions de tonnes.37 Au niveau mondial, on utilise plus d'engrais azoté par an que la nature ne peut en produire. De même, l'eau est pompée des nappes phréatiques à rythme supérieur à celui qu'elles ne se remplissent. Les stocks de minerais importants comme le phosphore ou le potassium s'approchent rapidement de l'épuisement.38
Le total d'énergie consommée par les USA est trois fois le montant de l'énergie solaire collectée sous forme de produits forestiers ou de récoltes. Les USA consomment annuellement 40% plus d'énergie que le montant total d'énergie solaire capturée en un an par toute la biomasse des USA. L'Amérique du Nord utilise par habitant cinq fois plus de carburant fossile que la moyenne mondiale.39
Notre prospérité est construite sur le principe d'épuisement le plus rapide possible des ressources mondiales, sans considération pour nos voisins, les autres formes de vie de la planète, ou nos enfants.
Population et développement durable
En considérant un taux d'accroissement de 1,1% par an, la population des USA devrait doubler d'ici 2050. Comme la population croît, environ 0,4 ha de terre sera perdu pour chaque nouvelle personne ajoutée à la population des USA. A ce jour, il y a 0,73 ha de terre cultivable pour chaque citoyen américain. D'ici 2050, ceci devrait passer à 0,24 ha. Pour maintenir les rations standards il faut 0,48 ha par personne.40
Aujourd'hui, seules deux nations dans le monde sont des exportateurs majeurs de grain : les USA et le Canada.41 D'ici 2025, il est prévu que les USA cessent d'être un exportateur de nourriture à cause de la demande intérieure. L'impact sur l'économie américaine pourrait être désastreuse, puisque les exportations de nourriture rapportent 40 milliards de dollars annuellement aux USA. Plus important, des millions de gens pourraient mourir de faim dans le monde sans les exportations de nourriture américaines.42
Aux USA, 34,6 millions de gens vivent dans la pauvreté selon des données du recensement 2002.43 Ce nombre continue d'augmenter à un rythme alarmant. Trop de ces gens n'ont pas de ration quotidienne suffisante. Comme la situation s'aggrave, ce nombre augmentera et les USA seront témoin d'un nombre de plus en plus important de morts de famine.
Il y a plusieurs choses que nous pouvons faire pour alléger cette tragédie. On pourrait améliorer l'agriculture pour qu'elle se débarrasse des pertes, gaspillages et mauvaise gestion pour réduire la consommation d'énergie dédiée à la production de nourriture de moitié.35 On pourrait utiliser les engrais issus du bétail qui sont gaspillés pour remplacer les engrais basés sur le pétrole. On estime que les engrais issus du bétail contiennent 5 fois la quantité d'engrais utilisé chaque année.36 Le plus efficace serait peut-être de supprimer la viande de nos repas.37
Mario Giampietro et David Pimentel estiment qu'il serait possible d'avoir un système d'alimentation durable si quatre conditions étaient réalisées :
1. Des technologies agricoles environnementalement saines doivent être mises en place.
2. Des énergies renouvelables doivent être utilisées.
3. Des augmentations majeures de l'efficacité énergétique doivent réduire la consommation d'énergie exosomatique par personne.
4. La taille et la consommation de la population doivent être compatibles avec le maintient de la stabilité des processus environnementaux.
Si les trois premières conditions sont réalisées, avec une réduction de moins de la moitié de consommation d'énergie exosomatique par personne, les auteurs estiment à 200 millions la population maximale dans une économie durable.39 Plusieurs autres études ont produit des chiffres de cet ordre(Energy and Population, Werbos, Paul J. http://www.dieoff.com/page63.htm; Impact of Population Growth on Food Supplies and Environment, Pimentel, David, et al. http://www.dieoff.com/page57.htm).
Sachant que la population des USA actuelle est de 292 millions, 40 cela signifie une diminution de 92 millions. Pour réaliser une économie durable et éviter un désastre, les USA doivent réduire leur population d'au moins un tiers. La peste noire du XIVe siècle tua environ un tiers de la population européenne (et plus de la moitié de la population Asiatique et Indienne), plongeant le continent dans une période difficile dont il fallut près de deux siècles pour sortir.41
Aucune de ces études ne considère l'impact de la baisse de la production de pétrole. Les auteurs de toutes ces études croient que la crise de l'agriculture ne commencera à avoir un impact qu'après 2020, et ne deviendra pas critique avant 2050. Le pic actuel de production de pétrole (et le déclin qui va suivre), associé au pic de production du gaz naturel d'Amérique du Nord va très vraissemblablement provoquer cette crise de l'agriculture plus tôt que prévu. Il est fort probable qu'une réduction d'un tiers de la population des USA ne sera pas très efficace pour la durabilité ; la réduction nécessaire pourrait dépasser la moitié. Au niveau mondial, la durabilité ne pourrait être atteinte qu'après une réduction de la population de 6,32 milliards d'habitants42 à 2 milliards - une réduction de 68% ou plus des deux-tiers. La fin de cette décennie pourrait voir des prix de la nourriture se développer sans contrôle. La décennie suivante pourrait voir apparaître des famines à niveau jamais subit par la race humaine.
Trois choix
Considérant l'absolue nécessité de la réduction de population, il y a trois choix évidents devant nous.
Nous pouvons, comme une société devenue consciente de ses options faire lucidement le choix de ne plus augmenter notre population. C'est la solution la plus raisonnable des trois options : choir volontairement et librement de réduire de manière responsable la population. Cependant, cela heurte notre impératif biologique de procréation. C'est aussi compliqué par la capacité de la médecine moderne d'étendre notre longévité, et par le refus des Religions d'accepter des règles de gestion de la population. Et puis, il y a aussi un fort lobby pour maintenir un niveau élevé d'immigration pour maintenir bas le coût du travail. Bien que ce soit probablement notre meilleur choix, il y a peu de chance qu'il soit retenu.
Si l'on n'arrive pas à diminuer volontairement notre population, on peut forcer des réductions dans la population à travers des règlements gouvernementaux. Est-il nécessaire de préciser à quel point cette option peut être désastreuse ? Combien d'entre nous choisiraient de vivre dans un monde de stérilisation forcée et de quotas de population maintenus par des lois ? Avec quelle facilité ceci pourrait mener à un sélection de la population utilisant des principes d'eugénisme ?
Reste le troisième choix, qui, à lui seul, présente une indicible image de souffrance et de mort. Si nous devions échouer à reconnaître cette crise à venir et décider de la gérer, nous ferions face à une décroissance dont la civilisation ne se remettra peut-être jamais. Nous perdrions probablement plus que le nécessaire pour assurer la durabilité. Avec ce scénario de décroissance, les conditions se détérioreraient tellement que les survivants seraient une fraction négligeable de la population actuelle. Ces survivants vivraient dans le souvenir de la mort de leur civilisation, leurs voisins, leurs amis et leurs familles. Ces survivants auront vu leur monde s'effrondrer.
Les questions que nous devons nous poser maintenant sont, comment peut-on laisser cela se produire, et que peut-on faire pour l'empêcher ? Notre façon de vivre actuelle signifie-t-elle tant que nous nous placions nous même et nos enfants devant cette tragédie approchant rapidement pour quelques années de consommation de plus ?
Note de l'auteur
C'est probablement l'article le plus important que j'ai écris à ce jour. C'est certainement le plus effrayant, et la conclusion est la plus triste que j'ai jamais écrite. Cette article va probablement déranger le lecteur ; il m'a sans aucun doute perturbé. Pourtant, il est important pour notre futur que cet article soit lu, compris et discuté.
Je suis par nature positif et optimiste. En dépit de cet article, je continue à croire que nous trouverons une solution positive aux multiples crises qui nous font face. Bien que cet article puisse provoquer de nombreux courriels haineux, c'est un simple rapport factuel de données et de la conclusion évidente qui en découle.
---
Notes
1 Availability of agricultural land for crop and livestock production, Buringh, P. Food and Natural Resources, Pimentel. D. and Hall. C.W. (eds), Academic Press, 1989.
2 Human appropriation of the products of photosynthesis, Vitousek, P.M. et al. Bioscience 36, 1986. http://www.science.duq.edu/esm/unit2-3
3 Land, Energy and Water: the constraints governing Ideal US Population Size, Pimental, David and Pimentel, Marcia. Focus, Spring 1991. NPG Forum, 1990. http://www.dieoff.com/page136.htm
4 Constraints on the Expansion of Global Food Supply, Kindell, Henry H. and Pimentel, David. Ambio Vol. 23 No. 3, May 1994. The Royal Swedish Academy of Sciences. http://www.dieoff.com/page36htm
5 The Tightening Conflict: Population, Energy Use, and the Ecology of Agriculture, Giampietro, Mario and Pimentel, David, 1994. http://www.dieoff.com/page69.htm
6 Op. Cit. See note 4.
7 Food, Land, Population and the U.S. Economy, Pimentel, David and Giampietro, Mario. Carrying Capacity Network, 11/21/1994. http://www.dieoff.com/page55.htm
8 Comparison of energy inputs for inorganic fertilizer and manure based corn production, McLaughlin, N.B., et al. Canadian Agricultural Engineering, Vol. 42, No. 1, 2000.
9 Ibid.
10 US Fertilizer Use Statistics. http://www.tfi.org/Statistics/USfertuse2.asp
11 Food, Land, Population and the U.S. Economy, Executive Summary, Pimentel, David and Giampietro, Mario. Carrying Capacity Network, 11/21/1994. Résumé, Rapport complet
12 Ibid.
13 Op. Cit. See note 3.
14 Op. Cit. See note 7.
15 Ibid.
16 Op. Cit. See note 5.
17 Ibid.
18 Ibid.
19 Ibid.
20 Ibid.
21 Op. Cit. See note 11.
22 Ibid.
23 Ibid.
24 Ibid.
25 Op Cit. See note 3.
26 Op Cit. See note 11.
27 Ibid.
28 Ibid.
29 Ibid.
30 Op. Cit. See note 3.
31 Op. Cit. See note 5.
32 Op. Cit. See note 3.
33 Op. Cit. See note 11.
34 Food Consumption and Access, Lynn Brantley, et al. Capital Area Food Bank, 6/1/2001. http://www.clagettfarm.org/purchasing.html
35 Op. Cit. See note 11.
36 Ibid.
37 Op. Cit. See note 5.
38 Ibid. 39 Ibid.
40 Op. Cit. See note 11.
41 Op. Cit. See note 4.
42 Op. Cit. See note 40
On Black | Original Size | Facebook Fan Page
From Wikipedia:
ANZAC Square, which is named in honour of the Australian and New Zealand Army Corps, is a Queensland state memorial to men and women who participated in overseas armed service. It is located between Ann Street and Adelaide Street (opposite Post Office Square), in Brisbane, Queensland, Australia. ANZAC Square is adjacent to ANZAC Square Arcade.
ANZAC Square contains the Shrine of Remembrance and the 'Eternal Flame of Remembrance' held in a continuously lit bronze urn, dedicated on Tuesday, 11 November, 1930.
There is also the World War II Shrine of Memories. Daphne Mayo sculptured the Women's War Memorial that forms part of the memorial's wall.
The external wall of the Shrine of Memories is dedicated to the 60 000 Queenslanders who fought in World War I.[3] There are also war-related statues, for various wars, including memorial statues for the Queensland soldiers who fought during the Second Boer War (1899-1902), as well as World War II, the Vietnam War and campaigns in Korea, Borneo and New Guinea.
On 25 April, every year, a Dawn Service is held at the Shrine of Remembrance and ANZAC Square.
ANZAC Square was registered on the Register of the National Estate in 1980 and is listed on the Queensland Heritage Register.
Details:
Camera: Canon EOS 5D Mk II
Lens: Canon EF 24-70mm f/2.8L USM
Exposure: 3 exposures (-2,0,+2 EV)
Aperture: f/8
Focal Length: 24mm
ISO Speed: 100
Accessories: n/a (hand-held)
Date and Time: 24 February 2010 3.43pm
Post Processing:
Imported into Lightroom
Exported 3 exposures to Photomatix
Tonemap generated HDR using detail enhancer option
Exported HDR to CS3
Contrast adjustment
Lens Distortion filter
Unsharp mask filter
Exported back to Lightroom
Crop tool
Spot Removal tool
Added keyword metadata
Exported as JPEG
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I was hoping to center myself more, but after taking said shot this one really stood out to me more!
But I hope everyone had a great holiday! So great to be with family and celebrate; it's sad how fast it goes.
On another note I got a flash! I love it so much and actually used it in this shot! (It's in the comments below) I do prefer natural light but it will be a major help indoors and shadowy places outdoors.
Hope everyone has a great week!
Another hazy sunset shot from a few weeks ago when the fires were blazing all around the Cape. All of that smog makes for beautiful (if hazy) sunsets.
Sweet dreams to everyone on their way to dreamland. Wishing everyone a super-sexy Friday. I'm still in bed with flu and feeling worse than on Monday - is that even possible?!!!
Some clouds in life have a golden lining, not only silver. Always remember that whatever you're going through, you can be sure it's going to change - things always change. Don't give up. This is in honour of the One Friend that knows just what to say at the very right time - the One Friend we all have... Thank you for loving me!
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My entry for The Rogue Olympics, Round 2. It contains exactly 101 pieces.
The inverted wheel used as a cauldron is NOT my original idea, it actually comes from two wonderful MOCs: "Brickscalibur 2023 Trophy: The Witch" and "101 Bricks: Magical Misfortune" both built by
Markus Rollbühler. I've just slightly modified and improving it.
No ducks that time... He wanted to stay solid and not become liquid ;)
White Headed Duck ~ London Wetland Centre ~ Barnes ~ London ~ Wednesday February 4th 2015.
Click here to see My most interesting images
Purchase some of my images here ~ www.saatchionline.com/art/view/artist/24360/art/1259239 ~ Should you so desire...go on, make me rich..lol...Oh...and if you see any of the images in my stream that you would like and are not there, then let me know and I'll add them to the site for you..:))
You can also buy my WWT cards here (The Otter and the Sunset images) or in the shop at the Wetland Centre in Barnes ~ London ~ www.wwt.org.uk/shop/shop/wwt-greeting-cards/sunset-at-the...
Well, I went to the London Wetland Centre on Wednesday.........1st time in a while, not the greatest of days weather wise!...twas cold, overcast and damp...:(
It's also the middle of winter so there wasn't much in the way of action...However, I did manage to sign my very first autograph in the shop...as from the links above, they are selling cards in the shop that have my photographs on them..:) So when one woman brought one of mine I offered to sign it for her..lol...perhaps I should set up a signing table there...Bwhahaha..:)
Anyhoo....I did manage to capture a White Headed Duck.:)
I hope everybody has a great day...:)
You are looking at the Bridal Veil Falls of the American (Niagara) Falls on the extreme right of this photo..This is the beauty of the American Falls as I saw it on Sunday. I'm happy with the sensor in this new little sony of mine ;) I hope you enjoy this wintery scenic view of Niagara Falls...USA. Each and every time we go I see the beauty no matter what the weather conditions. I like the sensor on this new little sony ;) camera.
Niagara Falls is Romantic, 'kitschy' and fun!!
"•The Falls at Niagara are about 12,000 years old
•Falls were formed when melting glaciers formed massive fresh-water lakes (the Great Lakes) one of which (Lake Erie) ran downhill toward another (Lake Ontario). The rushing waters carved out a river in their descent and at one point passed over a steep cliff like formation (the Niagara escarpment). From the original falls going over the Niagara Escarpment, the water began to wear its way back up the river. The path that it left is known today as the Niagara Gorge (a deeply-cut and very scenic river path).
•The word Niagara comes from the word "onguiaahra" which means "a thundering noise".
•An "Old Scow" (a steel barge) remains stranded a few hundred meters above the Falls and has been marooned there since August 6, 1918 when a near tragedy was averted by three men who opened the dumping hatches of the barge to let water in and ground the out-of control boat.
•Water that flows over the Falls at Niagara ultimately ends up in Lake Ontario - from there, water drains by way of the St. Lawrence River in to the Atlantic Ocean.
•One of the bloodiest battles of the War of 1812 took place on July 25, 1814 at Lundy's Lane in Niagara Falls, Ontario... A total of 7500 Americans and Canadians fought for six hours. At the end, 1,000 soldiers lay dead or wounded."
Best viewed LARGE.
Analyse my .....DNA !
If you feel like watching a slideshow...have a coffee or a glass of wine and......... enjoy!
fall colors!
Pixnote 1:
Last week I went camping in Mont-Tremblant Park to photograph some fall colors....... while I was returning back in a trail I encountered this black bear family...... they were in the same trail as I was..... so even if I have often seen black bears in the wild , this time I had to be more careful because cubs were around...... so I took a few shots and circle them to go back to my vehicle...... boy....this was fun!
PixNote 2:
The Black Bear usually ranges in length from 150 to 180 cm (59 to 72 inches) and typically stands about 80 to 95 cm (31 to 37 inches) at the shoulder. Cubs usually weigh 200 to 450 g (between 7 ounces and 1 pound) at birth.
Cubs are generally born in January or February. They are very small, about 10-14 ounces, and are blind, nearly hairless, and helpless when born. Two to three cubs are most common, though up to four and even five cubs has been documented. First-time mothers typically have only a single cub. The mother nurses the cubs with rich milk, and by spring thaw, when the bears start leaving their dens, the cubs are fur-balls of energy, inquisitive and playful. By this time they are about 4 to 8 pounds (2-4 kg). When their mother senses danger, she grunts to the cubs to climb high up a tree. They are weaned between July and September of their first year and stay with the mother through the first winter. The cubs become independent during their second summer (when they are 1.5 years old). At this time, the sow goes into estrus (heat) again.
Cub survival is totally dependent on the skill of the mother in teaching her cubs what to eat, where and how to forage (find food), where to den, and when and where to seek shelter from heat or danger.
Traffic Trails. Thanks to Daryn for this brilliant idea!
Meetup @ the Moses Mabhida Stadium. Ok... We hung around afterwards!
The Shot (taken just after sunset): I set up on a tripod, from a walkway bridge to get this POV and took multiple shots, 50 in total! Set in aperture priority (F22) to get the most of the movement.
The process: I stacked all the images in software called startrails (as far as i know one could download a free version from the net). I'm sure you could blend them in photoshop using soft light mode too, (will have to check). Adjusted temperture & contrast to blow the 'already bland' sky out, shifting the focus on the lights! Cropped and border in Photosuit SE
Taken @ Upper Peirce Reservoir right before the storm.
Can see the storm is brewing, and had get myself an umbrella tag along just in case it rains...
Well, in this image, I was using the railing to lead the viewing eye though it is not pointing to the 'right' cloud formation direction; while keeping the symmetry of the railing from overlapping each other.
And the cloud is so determine to formed a massive formation though the wind is blowing pretty swiftly and was like wanted to 'eat' out the left over lights during this image where taken...
This is what came to my mind and hope it does tells a story of how determined the cloud is...am I thinking too much already? or talk to much? lolz!
!!! Please, do not leave award or faving without a comment, a small comment will make my day. Thank you !!!
There are very few elements as dynamic as the backdrift of the sea lit up by a fiery sun! I find it very satisfying to capture such a scene. A cold February evening at Orrisdale beach.
Shot taken with Canon EOS5D mkII, 17-40 L @ 17mm, f/22, shutter-1 second, used a reverse GND 0.9.
Copyright © Suddhajit Sen Photography.
This photo may not be used in any form without prior permission. All rights reserved
You can buy a print of this image from here
Avalaible @ BOHO CHIC EVENT @ SWANK!
Get your Boho on @ Swank! Come join us for this Free-Spirited Event and put some Boho vibes and Chic style in your SL. We have it all! Dont forget to try your luck in the MIEPONS! and subscribe for the 5,000L Raffle, you just never know!
V8 UNDERGROUND - **MOIRA BLUE HIPPIE BOHO STYLE COMPLETE OUTFIT**
Sizes : Legacy, Maitreya, Reborn
View On Black, or View my most interesting stream ON BLACK!
I started my day quite early, even before sunrise, driving around to explore downtown Boston. Unfortunately, I got lost and wasn't able to find anything exciting. Therefore, I decided to come back to the Seaport District where we briefly stopped by in the previous afternoon and saw how it looked in the early morning...
I walked from Fan Pier to the Courthouse. The water is calm, the sky is clear, the buildings look fabulous, and even the city is silent in the early morning. To me, it's a perfect way to start my day in Boston, or any big city! :-)
p.s. 歡迎光臨我新闢的部落格 光影、色彩、我，關於攝影二三事！
___________________________________________________
~波士頓，麻薩諸塞州，美國~
Boston, MA, USA
- ISO 50, F22, 10 sec, 19mm
- Canon 5D Mark II with EF 16-35mm f/2.8 L lens
- sunrise @ 5.11am / shot @ 5:45am, 2011//6/30
© copyright 2011 Hsiang Wei Chao
.|| This image may not be used for any purposes without the expressed, written permission of the photographer.
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.
I was going through my archives when I found this picture. It's a shot I took last winter at the end of the day when it was dark already.
ISO 800 - fill-in flash.
Have a great sunday!
The Maned Wolf (Chrysocyon brachyurus) is the largest canid of South America, resembling a dog with reddish fur.
The distribution includes southern Brazil, Paraguay, and Bolivia east of the Andes. It is an endangered species.
The Maned Wolf has often been described as "a Red Fox on stilts" due to its similar coloration and overall appearance, though it is a far larger animal and is not related to the genus Vulpes. The adult animal stands almost 1 m (3 ft) tall at the shoulder, and weighs 20 to 25 kg. (50 to 55 lb). Its fur is reddish brown to golden orange on the sides, with long, black legs and a distinctive black mane. The coat is further marked with a whitish tuft at the tip of the tail and a white "bib" beneath the throat. The mane is erectile, and is typically used to enlarge the wolf's profile when threatened or when displaying aggression.
Unlike other large canids (Wolves, African Hunting Dogs, Dholes) the Maned Wolf does not form packs.Monogamous pairs may defend a shared territory, though the wolves themselves may seldom meet, outside of mating. Several adults may congregate in the presence of a plentiful food source; a fire-cleared patch of grassland, for example, which would leave small vertebrate prey exposed to foraging wolves.
They use their urine to communicate. It has a very distinctive smell, which some people liken to just opened beer, or cannabis. The responsible substance is very likely a pyrazine, which occurs in both cannabis and hop (which is used in beer). In Rotterdam Zoo, the police even once searched for cannabis smokers because of this. (HA!)
The Maned Wolf is not closely related to any other canid. It is apparently a survivor from the Pleistocene fauna of large South American mammals; its closest relatives seem to be the dogs and wolves (genus Canis). Previously, some authorities placed it with the various South American foxes, others with the Bush Dog.
from Wikipedia
Waiting for iPhone 3g - Jul 18, 2008 - 094
On the corner of Fifth Avenue and 60th Street -- i.e., at the opposite end of the block where the iPhone fans were waiting in line -- this young couple staked out a spot with a sign that said "Feed us." I gave them some money; I hope they did use it to buy some food ...
A few months after I originally uploaded this photo, this picture has been viewed so many times that it is now the 8th most-viewed of all 11,000+ public photos on my Flickr site -- and 3 people have marked it as a "favorite". I'm flattered by the attention, but also humbled: I have no idea what it is that makes the photo so popular. The couple shown here had nothing to do with the main focus of this collection of photos -- i.e., people waiting in line to get a new Apple iPhone3G -- and probably had no interest at all in the phone. I now wish I had spoken to them, to find out who they were, where they came from, what they were planning to do when they left (as they did shortly after this picture was taken, because the cops shooed them away). And now, three months later, I have no idea where they have gone, or what they are doing ... or whether anyone actually did feed them.
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Note: On Aug 11, 2009 I uploaded an edited version of this photo. There were various "hot spots" (overexposed" and "cold spots" (underexposed) that had to be fixed, and I bumped up the color saturation a little...
Note: on Aug 11, 2009 this photo was published in a French blog titled "Fooding or Feeding ? La guerre de l'espace publicitaire." And on Sep 29, 2009 it was published in a blog titled "'Loving Laura Mor'” by Harrell Fletcher." It was also published in a Dec 2, 2009 TextNexus blog with the same "Feed Us!" title as the caption on the photo itself. And it was published as an illustration in an undated (Dec 2009) "Only Jewelry" blog, in a posting titled "Apple anklet."
On May 30, 2010, the photo was published in a blog titled "Why You Shouldn't Give Money to Panhandlers." And on Jun 6, 2010, the photo was published in a German blog titled "Für eine neue Esskultur: Wohlbefinden ersetzt Wohlstand." It was also published in an undated (Sep 2010) blog titled "Special September 2010 fares for RTW tickets." And it was published in a Nov 11, 2010 iPhones information blog, with the same title and detailed notes that I had written on this Flickr page.
Moving into 2011, the photo was published in a Jan 27, 2011 blog titled "Editorial or Note to Stupid Hipsters who Beg for Beer and Pot Money on the Street: ." It was also published in a May 31, 2011 neue-lebensmittel blog, with the same caption and detailed notes that I had written for this Flickr page. It was also published in an undated (mid-Aug 2011) "Idiomeaning" blog titled "Fall on Hard Times." And it was published in an undated (early Oct 2011) IdioMeanings blog titled "Fall on Hard Times."
Moving into 2012, the photo was published in a Mar 21, 2012 blog titled "How my RTW trip would go." And it was published in an undated (late May 2012) "Idiomeaning" blog titled "Scrape By." And it was published in a Jul 17, 2012 blog titled "Don't Call Me Maybe If You're Drowning In Student Loan Debt." It was also published in a Jul 25, 2012 blog titled "6 Things Young People Should Think About When Trying To Find A Job." It was also published in an Aug 25, 2012 blog titled "Millennials Aren’t Buying Cars Or Houses, And It Could Hurt The Economy." And it was published in a Sep 6, 2012 blog titled "Why The Student Loan Bubble Is Much Worse Than It Looks."
Moving into 2013, the photo was published in an undated (mid-Feb 2013) Idiomeaning blog titled "Scrape by." It was also published in a Mar 26, 2013 Forbes article titled "Millennials, Hipsters, And Life After Financial Melancholy." And it was published in a May 11, 2013 blog titled "All Signs Suggest The College Bubble Has Finally Burst." It was also published in a Nov 25, 2013 blog titled "We suck and we’re sorry ~ Millennials respond to being called “lazy”."
Moving into 2014, the photo was published in an Apr 4, 2014 blog titled "将来のために30歳から始めたい事." And on Jul 24, 2014 the photo was published in a blog titled "Summer Panhandling Strategies."
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Silly me: after the iPhone 3g had been out for a full week, I thought I could stroll right into the Apple Store on Fifth Avenue & 59th Street in mid-town Manhattan, and simply buy one without any muss, fuss, bother, or delay.
But when I arrived at 11 AM, I found a line of approximately 150 people waiting outside in the broiling sun, not seeming to move forward at all; it turned out that the Apple store "concierge" folks were letting them in in groups of ten, when the previous ten had been taken care of. When I asked the woman how long she had been waiting, she said, "Four hours" -- she had arrived at 7 AM, having already determined that the AT&T stores were sold out throughout New Jersey and Connecticut.
Well, I'm a gadget freak and a Mac fan, but there's a limit to my passion for such things; four hours was just too much. So instead, I decided to take a bunch of pictures of the people who were in the line. Of course, I have no idea whethere the people queued up in front of Apple stores in other cities (or at other stores here in NYC) are similar to this group ... but I'm inclined to think that they are. And if that's true, then the demographics of this group -- in terms of age, gender, nationality, ethnic groups, etc. -- is particularly intriguing. I saw only one guy dressed in a corporate uniform of suit and tie; Apple may be trying to break into the "enterprise" market, but that's not who was standing in line for all those hours in the sun...
Badewald. Switzerland.
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Switzerland (German: Schweiz[note 3] [ˈʃvaɪts]; French: Suisse [sɥis]; Italian: Svizzera [ˈzvittsera]; Romansh: Svizra [ˈʒviːtsrɐ] or [ˈʒviːtsʁːɐ]), officially the Swiss Confederation (Latin: Confoederatio Helvetica, hence its abbreviation CH), is a federal parliamentary republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western and Central Europe,[note 4] where it is bordered by Germany to the north, France to the west, Italy to the south, and Austria and Liechtenstein to the east.
Switzerland is a landlocked country geographically divided between the Alps, the Swiss Plateau and the Jura, spanning an area of 41,285 km2 (15,940 sq mi). While the Alps occupy the greater part of the territory, the Swiss population of approximately 8 million people is concentrated mostly on the Plateau, where the largest cities are to be found. Among them are the two global cities and economic centres – Zürich and Geneva.
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Here is my first published work even though did it as a freebie its great seeing your work on a web site
www.thewhitehartvillageinn.com/index.html
Here is the flickr 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.
Mom and I had the opportunity to stay at this B and B at the beginning of summer in Durango, Colorado. We had a little cottage all to ourselves with a nice front porch with a swing. The breakfast we received was delicious and they had a happy hour in the evening. The Inn had these wonderful ponds and great gardens to walk around. Across the highway, you could watch the Durango/Silverton narrow gauge railroad go by in the morning and come back in the evening. If you are ever in the Durango area, I recommend you to look in to staying here. Click here for the their website. I suggest clicking the link and having a look at how wonderful this place is.
I used textures by Encouter, I'm not able to find them on here but I appreciate their works of art.
Heavy is the lord on my mind
Gotta get thing off my chest
I'm just out here trying to do my best
I don't wanna hurt noone
So just wake me up when this is done
Sometimes change is hard to witness
Forget who I ever was
I got something all because I'm
changing for you
I'm changing for you
Forget who I ever was
I got something all because I'm
changing for you
I'm changing for you
Cover up my eyes with my hands
but I know you see right through it
Come on there is nothing to it
I am sure of this one thing
When you started to work in me
You continue until the day is finshed
Forget who I ever was
I got something all because I'm
changing for you
I'm changing for you
Forget who I ever was
I got something all because I'm
changing for you
I'm changing for you
hey guys! im back! :D yayyy, phuket is absolutely a great place for photo shooting! :b
this beach was just right in front of my hotel.
it's still very pretty though there are a lot of big stones like this.
there are a few more photos below.
there are tons of Europeans thereeeee!! felt like i was walking in some europe countries. the view of the beaches there are breathtaking! :D
try to bring all of you to phuket by photos :b
haha actually there are more photos, candid shoots.
hah you can mail me if you wanna know further information about phuket trip (if you're thinking to have a trip to phuket :D haha, i may help x] )
and and i want to say THANKS loudly to everyone here who have faved/commented/complimented/liked my photos. i really, really appreciate them. photography is really an expensive hobby. im so glad that my dad/mum allow me to buy whatever i want for photography (b'cause i dont think many parents here, in Asia can do so). and recently i got a great surprise from PehHwa for thisssssss sweet thing. it really made my day. andddd, testimonials from all of you. though they're not many, but they really mean something to me. i didnt know many people might like my photos until i joined Flickr, you all motivated and inspired me a lot. i explore the world through Flickr.
thanks. i promise i will do better to chase my dream, will study harder than ever. (i hope :S)
all of you gave me a lot of energy, and instilled me a lot of confidence which i couldnt really get from my friends here. thanks, again <3
:)
explore: #149