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Montseny. Catalonia.
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Montseny Natural Park is a natural park that protects part of the Montseny massif. It was established in 1977 and is managed by the Barcelona Provincial Council since 1977 and the Council of Girona since 1978. Also since 1978 is a biosphere reserve by UNESCO. It was established as a national park in 1987. It covers part of the municipal Aiguafreda El Brull, Campins and Cànoves Samalús, Figaro-Montmany, hotbed of Montclús, La Garriga Gualba Montseny Palautordera St. Stephen, St. Peter Vilamajor Seva Tagamanent Arbúcies Breda , Rails Montseny, Sant Feliu de Buixalleu and Viladrau. The top of the park is the Turó de l'Home 1706.7 meters.
Lagotto Romagnolo family.
Moka is very happy with her 6 wonderful puppies.
This is a dog specialised in finding truffles on any type of ground whatever, the only breed recognised as having this ability. It is an ancient breed for retrieving from water, known from the 16th Century in the Comacchio (Italy) valleys and the Ravenna (Italy) lagoons, which became widely distributed as from the 19th Century in the plains and hills of Romagna (Italy) with the specific role of truffle hound.
It is a typical aquatic dog, medium to small in size, mesomorphic and square built; its general appearance is stout, strong and well proportioned, making its capability for the job apparent. Its expression is attentive, intelligent and lively.
While working it displays passion and efficiency, exploiting its innate ability for the search and its excellent sense of smell.
The instinct for the chase has been eliminated, so that it is not distracted by game. It is affectionate and strongly attached to its master, making it also an excellent companion dog; it is highly trainable.
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Part of my major .
This image was very tricky to shoot and difficult to manipulate because I did not have any idea on how to make it work.
There's only very slight motion going on because I wanted to make it look almost like a freeze frame.
The final works are actually not in print format, they're projected onto the center of the frame she enters (in the First Phase) coupled with a soundtrack and sound effects. I have the video but didn't do a recording of it being projected onto the frame. It's probably going to go up for exhibition at my school so maybe I'll a recording then.
So glad it's over! Sleeping, getting back to games and online shopping are currently my top priorities.
I'll still be shooting, but I might be trying a new style. (This whole series was quite new to me, having the make the settings etc, it's also aesthetically quite different from my preferred ghostly themed work or vintage inspired photographs) I'm not sure yet but possibilities are endless. One thing though, I really don't like studio lights, it just doesn't seem to fit what I do so I'll still be using natural lighting :D Might want to try incorporating drawing with photography or maybe take up digital painting and see how things go from there.
Fire from : shaedsofgrey
En alguna Calle de Antigua Guatemala. Sobre negro.
Domingo de Ramos, Antigua Guatemala, Guatemala
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Para los Cristianos Católicos, el Domingo de Ramos es el primer día de la Semana Santa, período en que conmemoran la Pasión, Muerte y Resurrección de Jesucristo. Se inicia rememorando la Entrada de Jesús en Jerusalén. La fecha de celebración varía cada año, siempre en el entorno de los meses de marzo y abril.
Las ceremonias litúrgicas de ese día comienzan con la bendición de las palmas y ramas de olivo o laurel que llevan en sus manos los fieles, rememorando el pasaje evangélico. Se celebran los misterios de salvación realizados por Cristo en los últimos días desde su entrada mesiánica en la ciudad de Jerusalén.
La semana santa comienza con el domingo de Ramos de la Pasión Señor, que une el triunfo de Cristo -aclamado como Mesías por los habitantes de Jerusalén y hoy en el rito de la procesión de las palmas por los católicos- y el anuncio de la pasión, con la proclamación de la narración litúrgica en la Misa.
Los ramos no son algo así como un talismán o un simple objeto bendito, sino el signo de la participación gozosa en el rito procesional, expresión de la fe de la Iglesia en Cristo, Mesías y Señor, que va hacia la muerte para la salvación de todos los hombres. Por eso, este domingo tiene un doble carácter, de gloria y de sufrimiento, que es lo propio del Misterio Pascual.
Los días que van hasta el Jueves Santo pertenecen al tiempo cuaresmal, pero están caracterizados por los últimos acontecimientos de la vida del Señor, con exclusión de otras celebraciones.
En el caso de Guatemala, el Domingo de Ramos es peculiar, lleno de alegría y colorido. Los ramos bendecidos provienen de una palma especial que se da en la costa occidental y en la Bocacosta del país llamada palma real o monaca (Orbygnia cohune). Durante la Semana de Dolores se cortan las hojas de esta palma real y con ellos se elaboran "los ramos benditos", cortando o deshilachando la hoja de palma. Los ramos benditos son adornados con flor de corozo, proveniente de la misma palma odorante o bien con flores propias de la temporada cuaresmal, como la estaticia morada o claveles rojos y blancos.
Cofradías o Hermandades
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El traje talar utilizado por los cucuruchos en Guatemala tiene una larga trayectoria. Su origen se remonta a los primeros trajes de peregrinos utilizados en Europa, hacia el siglo IX, cuando recorrían los lugares sagrados del centro europeo y, sobre todo, a partir del siglo XI, cuando visitaban los lugares santos en Medio Oriente. Esta indumentaria estaba ligada a la utilizada en conventos y abadías. Otra influencia fue el traje de peregrino establecido por la orden franciscana, a partir del siglo XII. Estos ropajes tuvieron amplísima difusión en toda Europa. En España se volvieron comunes, sobre todo en las peregrinaciones a Santiago en Compostela.
La vestimenta del cucurucho en la actualidad se compone de una túnica morada, para los días de Cuaresma y Semana Santa, o negra, para ser utilizada en las procesiones de Viernes Santo. Lleva una esclavina morada o negra, también llamada paletina, que es una sobrecapilla que se coloca en los hombros, como símbolo de penitencia y deriva directamente de los penitentes del Santiago de Compostela. La esclavina de Jesús de Candelaria, usada el Jueves Santo, es blanca para conmemorar la institución de la Eucaristía y porque en 1597 le fue concedido, por bula papal de Inocencio IV, el privilegio de utilizar dicho color. Para ceñirse la túnica se usa un cíngulo o cinturón morado, blanco o negro según la simbología del día, que recuerda la autoflagelación con el que se castigaba el cuerpo, en tiempos coloniales, y que era también portado por los caminantes de Santiago de Compostela. El traje se completa con un parasol también negro o morado, según el día y la procesión. Algunas variantes son los “cascos romanos”, forrados de tela morada, como en Candelaria.
Church of St David , Llanddew.
Llanddew Church is in the Diocese of Swansea and Brecon, in the community of Llanddew in the county of Powys. It is located at Ordnance Survey national grid reference SO0548330743. At one time it may have been dedicated to the Holy Trinity.
Summary
St.David's Church at Llanddew is a large cruciform stone structure with a central tower, lying 2km to the north-east of Brecon. It is considered to be a 'clas' foundation, but the earliest parts of the structure date from the 13thC. There have been subsequent rebuildings in the 17thC and 19thC. Medieval survivals include two stoups, a font and two carved lintels, as well as a stone with a ring-cross which may be pre-Conquest. The churchyard may originally have been curvilinear but its form has been modified in later centuries.
Nave supposed to be earliest part of church; this could be true for the south wall excepting the window insertions, but the west wall is a complete Victorian rebuild and it is possible that a substantial part of the featureless north wall was treated likewise in the 19thC.
North transept has portions rebuilt, namely the upper part of the north wall and some of the west, but the remainder should be 13thC on the basis of the single lancet window in the east wall.
For both chancel and south transept, it is difficult to determine the degree of rebuilding, and while the 13thC date is not in doubt most of the window dressings are considerably more recent. The porch, too, is 19thC.
Parts of the following description are quoted from the 1979 publication 'The Buildings of Wales: Powys' by Richard Haslam
History
Llanddew was an early medieval clas foundation. There is also a tradition that Eluned, a daughter of Brecon, fled to this church about 500 AD.
The Bishop of St Davids established a palace here in the 12thC, and Giraldus Cambrensis, as archdeacon of Brecon, had a residence at Llanddew in the late 12thC.
Its appearance in the 1291 Taxatio as 'Ecclesia de Llandon' at a value of œ8 implies a more wealthy establishment than the average.
The central tower was rebuilt in 1629 as attested by a plaque in the west wall of the chancel, and was restored in c.1780, the date of the roof. It is claimed that the nave was also refurbished in the 1620s.
Damage to the church may have occurred in a fire early in the 19thC.
In 1865 Glynne recorded a small whitewashed cruciform church in a 'truely deplorable' condition. The nave alone was used for services, the unpaved north transept was dilapidated and the south transept was walled off for a school, which no longer operated because of a lack of funds. The chancel was Early English in design, vaulted in stone, with lancet windows in the sides and a triplet with hood mouldings in the east wall; the priest's door had a trefoil head and a good hoodmould. The rest of the church might also be Early English but its diagnostic features had been obliterated, the nave having modern windows, though the north side was windowless. The tower was low and clumsy, with square belfry windows and a tiled, pointed roof. It stood on four plain semi-circular arches. There was a plain south porch. Inside were pews and there was a shabby chest for an altar. The east wall of the chancel had a small square recess and there was a 'rude' pointed piscina. The font in the chancel with its large circular bowl on a quadrangular stem with chamfered angles was not used.
By 1875 only the nave was in use, the other parts of the building being closed off, because of their state of disrepair. Restoration occurred in 1884 when the chancel and south transept were refurbished, new roofs were put in place in the chancel and transepts, and there was some new flooring; and in 1900 the nave had new lancets, a new roof, and the walls were stripped. A number of fragmentary post-medieval wall paintings of texts were uncovered in the chancel during the works but these have since been destroyed.
Architecture
Llanddew church is a massive cruciform structure with short transepts and a longer nave and chancel. There is a tower over the crossing and a south porch towards the south-west angle of the nave. It is aligned east to west.
Fabrics: 'A' comprises slabs and a few blocks of predominantly grey and red sandstone, most of them small to medium in size but a few large. Better dressed stones selected for quoins. 'B' is of small rather haphazardly laid lumps of red, brown and grey sandstone. 'C' is of predominantly grey sandstone (though some red) masonry, irregular in appearance and in coursing, small to medium in size and less uniform than 'A'.
Roofs: shale tiles, ornamental terracotta ridge tiles; stone cross finials to nave, north transept and chancel but a metal cross above the porch.
Drainage: stone chipping around wall base of building indicates an underlying drain.
Exterior
Nave. General. Supposedly the earliest part of the building. However, the evidence might point to the north wall abutting the north transept, though reverse is true for the south wall.
North wall: in Fabric 'A' with a strong batter to height of 1.5m and then a general slope inwards; no windows. Highest quoins at north-west corner (the last 0.8m) replaced to support Victorian kneelers; limewash traces near north-east corner.
South wall: mainly Fabric 'A' with a faint batter at base. West of the first lancet the junction with the Victorian west wall is visible. Further east plaster/render remnants can be seen on 'A'. Three lancet windows, all Victorian, but a good job made of the insertions.
West wall: fabric is largely 'A' but almost certainly re-used, the whole having been rebuilt with the possible exception of the foundation at the north-west corner. Three lancet windows all with modern dressings.
North transept. General. Base battered to maximum height of over 2m on north, dropping to about 1m near the south-west angle. Basically Fabric 'A' throughout, though occasional anomalies visible.
North wall: batter in Fabric 'A' but higher up on either side of the window (though not perhaps as far as the wall angles) the masonry is in 'B'. Lancet window with grey sandstone dressings - Victorian.
East wall: fabric akin to 'A', and batter not as pronounced as on north side. A single, small, narrow lancet now used as an electricity cable inlet is 13thC; some jambstones replaced but others could be original.
West wall: in Fabric 'A' but close to angle with nave the upper part of the wall appears to have been replaced. One Victorian lancet window, the inserted masonry around it just visible.
Tower. General. Pyramidal roof to tower which was rebuilt in 1623 and restored in 18thC; with weathercock. It is not centrally placed but stands a little south of the east/west axis.
North wall: masonry of Fabric 'A' with quoins some of which are dressed, others poorly so. Rectangular, louvred, belfry window with wooden lintel and projecting stone sill. Apex of north transept roof to within one metre of the window and above the meeting place is a stone drip-course with lead flashing beneath.
East wall: chancel roof higher than that of north transept, and belfry window, though of exactly the same form as on the north, is commensurately smaller.
South wall: as north wall in all aspects.
West wall: as east wall but to south and below belfry level is a small, glazed slit window without dressings.
Chancel. General. Low batter on all sides, rising to no more than 0.5m. Fabric 'C'.
North wall: some reconstruction adjacent to north transept wall where a narrow vertical band of masonry is slightly inset. Three Victorian lancets though just possible that the most easterly window has one or two original jambstones.
East wall: Three lancet windows with continuous hoodmould arching over each individually. The smaller, outer lancets have new yellow stone heads, but the jambs of all of them are flaking and weathering, and conceivably some might be earlier. Fabric above the hoodmould is more weathered and lichened and this runs down almost to the bottom of the corners where there are dressed yellow freestone quoins of Victorian date. It thus appears that the upper part of the wall has been reconstructed using original weathered masonry.
South wall: weathered 'C'. Three lancets; the jambs eroding on the most easterly and in grey sandstone with a yellow sandstone head; the other two have red sandstone dressings but none are convincingly original. Trefoil-headed priest's door in Decorated style, and while the yellow sandstone head is undoubtedly relatively new some of the jambs could be original, and likewise the hoodmould in the form of a two-centred arch with worn extremities.
South transept. General. Battered to height of 1.6m on south side, 1.3m on west. Fabric 'C'.
East wall: appears to be 'C' though perhaps 'B' in places. Large two-centred arch turned in edge slabs with carefully selected jambstones; this must be Victorian or later
South wall: heavy repointing above eaves level; dressed quoins. Victorian lancet in flaking grey sandstone.
West wall: one Victorian lancet.
Porch. General. Abuts nave and was constructed in the 19thC.
East wall: plain. Appears to be an 'A'-type fabric.
South wall: two-centred archway employing large voussoirs; no dressed quoins. Gable projects with collar showing externally.
West wall: plain.
Interior
Porch. General. Flagged floor; bare walls; Victorian roof of collars and rafters, replacing earlier roof for which a ledge is still visible on the south wall of the nave. Resting on the ground against the east and west walls are the carved lintels from an earlier church (see below).
North wall: doorway to church has modern segmental arch and large jambstones of red sandstone which are probably original.
East and west walls: plain.
South wall: reveal of doorway turned in edge stones at outer face.
Nave. General. Floored with red tiles, benches raised on wooden boarding, and the aisle carpet-covered with several grilles over the heating duct. Walls bare of plaster. Roof has two tie beams with king posts supporting a collar purlin and collar beams above.
North wall: nothing of note.
East wall: plain, off-centre, round-headed arch turned in edge stones; jambstones not chamfered. Wall battered at base and north wall of nave appears to butt against it.
South wall: uniformly splayed windows, each having a two-centred internal arch turned in edge stones. One corbel at a height of c.3m beside most easterly window might have supported a loft or gallery.
West wall: windows as south wall.
Crossing:. One step up from nave. Tiled floor; bare walls. Ceiled in wood just above the apex of the arches; the ceiling rest on eleven corbels, not of uniform design.
North wall: two-centred arch, smaller than its counterparts in the east and west walls, leads into north transept; its soffit is turned in edge stones.
East wall: round-headed arch in edge stones.
South wall: round-headed arch with a keystone and the arch turned in blocks with similar jambs; the arch is only one block deep. Two mural tablets of 1814 and 1823 in south-east corner.
West wall: round-headed arch as on east side.
North transept. General. Now used as a vestry. Tiled floor; walls plastered and whitewashed. Older roof than that in nave with a tie beam and collar against the north wall and two tiers of triangular windbraces.
North wall: splayed window but nothing of note.
East wall: the small lancet is backed on the inside by a large two-centred alcove for an altar. In south-east corner is a squint into the chancel.
South wall: wall has battered base. A gallery approached by a ladder is supported on corbels and gives access via a rectangular doorway to the tower.
West wall: splayed window but nothing of note.
Chancel. General. One step up from crossing, a further two steps up to sanctuary and one to altar. Tiled floor with encaustic tiles in sanctuary; choir stalls on raised wooden platforms. Walls plastered and whitewashed, except for internal jambs and sills of windows. Roof of four bays, the same form as the nave.
North wall: three splayed windows; squint at north-west angle. Corbel to east of central window, again at a height of c.3.0m, and either for a rood screen or a statuette.
East wall: splayed windows.
South wall: splayed windows, Victorian piscina with two-centred arched recess and a flat base. A corbel matches that on the north wall. 17thC graveslab fragment leans against south wall of chancel near priest's door.
West wall: round-headed arch. Plaque of 1629 set into wall face just to north of it, reads: 'This steeple was newly erected and made in Apriel Anno Dom. 1629. William Havard and William Griffith Gent then churchwardens'. Two coats-of-arms of the churchwardens also set into wall.
South transept. General. Used as a separate chapel with an altar against the south wall, and in the 19thC as a schoolroom. Tiled floor; walls plastered and whitewashed. Roof of braced collars; that against the north wall could be original, the rest are replaced.
North wall: wall face shows disconformity at eaves level which could indicate rebuilding; squint in north-east corner and redundant stoup placed in it.
East wall: doorway of no age. Monument of 1855 near south-east corner.
South wall: splayed window; monument of 1833.
West wall: splayed window; two monuments, that of 1848 above that of 1864.
Churchyard
Llanddew has an irregular churchyard, best described as a polygonal D-shape; the only hint of curvilinearity is around the east side, though this does hint at an earlier oval enclosure. To the south of the church the ground is level, but on the north side it drops away, and this reflects the general siting which is on the southern edge of a dry valley.
The enclosure is well maintained and is used for current burials.
Boundary: buildings fringe the churchyard on the south, and there is a drystone wall on the west and further short stretches of wall on either side of the eastern entrance. On the north a garden hedge gives way to a hedged drop to the road. The churchyard area is raised on the north and east sides and there is internal banking on the west and south though the former may not be of any great age.
Monuments: these are spread out around the south and east sides of the church with a few on the west. Most are 19thC and 20thC and there are only a couple of 18thC examples to the east of the chancel.
Furniture: none.
Earthworks: there are minor earthworks on the south side which cannot be characterised and might even be derived from the construction of the adjacent house, though this does seem unlikely. A low scarp just inside the east entrance reveals the original course of the churchyard perimeter.
Ancillary features: stone and timber lychgate at the east, a small wooden gate into field on west side of the churchyard, and a farm gate at the north-west corner.
Vegetation: there are two yews, one each on the east and west sides, and pines along the west side.
Let me hold you for the last time
It's the last chance to feel again
But you broke me, now I can't feel anything
When I love you and so untrue
I can't even convince myself
When I'm speaking it's the voice of someone else
Oh, it tears me up
I tried to hold on but it hurts too much
I tried to forgive but it's not enough
To make it all okay
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
How can I give anymore
When I love you a little less than before?
Oh, what are we doing?
We are turning into dust
Playing house in the ruins of us
Running back through the fire
When there's nothing left to say
It's like chasing the very last train
When it's too late, too late
Oh, it tears me up
I tried to hold on but it hurts too much
I tried to forgive but it's not enough
To make it all okay
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
How can I give anymore
When I love you a little less than before?
But we're running through the fire
When there's nothing left to say
It's like chasing the very last train
When we both know it's too late, too late
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
So how can I give anymore
When I love you a little less than before?
Oh, you know that I love you a little less than before
Let me hold you for the last time
It's the last chance to feel again
James Morrison
Sometimes the most painful choice is the most freeing. - By Rosie
Karen's lesson was a painful one, one that would scar her for the rest of her life.
Inspiration:
Have you ever heard about The Red Shoes?
This shoot was fun to do but the outcome wasn't good.
It looks very strange because my right hand looks ethereal and it looks like I photoshopped myself in when I didnt. The blood and my amputated legs didn't quite turn out as the way I hoped they would. But I love this location, I walk past this place every time I take the bus, it's swarming with mosquitoes though. I've been wanted to take a photo outdoors for sometime and finally I have!
Everyone kept staring at me when I walked out of my house (odd though because my neighborhood is usually quiet, someone was hosting a party today), I felt a little weird.
This week was an interesting week, I had the most terrifying but most awesome experience in my whole life, for once I seriously feared for my life. I shot outdoors twice, I willingly let someone photograph me (I'm really scared when posing in front of another person's lens, anyone else feel the same?) and I discovered new places to shoot, I never expected Singapore to actually have some beautiful locations! Although you'll get attacked by a billion mosquitoes.
Overall? I loved this week, I loved shooting this, but I didn't really like the outcome.
And I'm turning 18 next week! I can't wait! I've been waiting to turn 18 for a long time and I wanna stay 18 forever.
........................................................................Más grande - View On Black
Aún tengo que aprender sobre cómo hacer una nocturna en modo manual, se que es bastante mejorable, pero me "peleé" con la máquina (y mi ignorancia) hasta conseguir ésta foto porque había bastante diferencia de luz entre los dos edificios y estaba muy lejos como para utilizar el flax. Quería mostrar los contrastes que en Barcelona, como en cualquier gran ciudad, también existen, pero en ocasiones no vemos o no queremos ver.
Muchas gracias a aenm49 Albert y a yutis2003 Reyes,
por tener la paciencia de esperar a que yo consiguiera algo "potable".
También a Piriskoskis y Color-de-la-vida Bea
por esperar a "los tardones" (ahora sabeis la causa) al pié de la torre.
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I have a lot of things to learn about how to make nocturnal in the manual mode. This can be better, but was very difficult for me because there was a lot light difference and it was very far like using flax. It wanted to show the diferences that in Barcelona, like in any city, also exist… but sometimes we don't see… or we don't want to see.
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La TORRE AGBAR es un rascacielos de Barcelona, Tiene 145 metros de alto y 34 plantas. Fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos.
La torre fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos. Jean Nouvel explica que su torre "no es un rascacielos en el sentido norteamericano del cielo. Es una experiencia única, singular, en medio de una ciudad más bien tranquila. Pero no se trata de una vertical espigada y vigorosa, como las agujas o los campanarios que suelen acentuar las ciudades horizontales". En contraposición a la rigidez y la simetría de torres emblemáticas como las desaparecidas Torres Gemelas neoyorquinas, Nouvel buscó que su obra emerja del suelo de una forma especial. Y pensó una metáfora arquitectónica: combinó el agua (en referencia al Grupo Aguas de Barcelona, que ocupará el edificio) con el verbo "emerger". También encontró referencias formales en los pináculos de la montaña sagrada de Cataluña, Montserrat, y los campanarios de la Sagrada Familia.
El edificio se conforma como la unión de dos conceptos opuestos: ligereza del vidrio que recubre el edificio en forma de lamas de 120 x 30 cm, formando un gran brise-soleil y masividad del hormigón de su estructura. El hormigón va recubierto de placas de aluminio que dan color al conjunto, con una superficie difuminada de 16.000 m2. Las lamas de vidrio presentan diferentes inclinaciones, y opacidades provocando un juego de luz, según el momento del día y la estación del año, con las chapas de aluminio lacadas que recubren el hormigón. La forma de cilindro ovoidal o "bala" se forma a través de dos cilindros no concéntricos de planta ovoidal, hasta la planta 26 llega el anillo exterior. A partir de esta planta se levanta una cúpula ligera de vidrio y acero. El cilindro interior alberga los ascensores, escaleras e instalaciones, el exterior presenta aperturas, las ventanas (4.400 en total), formando un gran fractal.
Un elemento muy característico del edificio es su iluminación nocturna. Dispone de más de 4.000 dispositivos luminosos que utilizan la tecnología LED y que permiten la generación de imágenes luminosas en su fachada. El sistema ideado permite iluminar de forma independiente cada una de las 4500 luminarias que componen el alumbrado de la Torre. Permite proyectar 16 millones de colores, gracias a un sofisticado sistema de hardware y software, además de la capacidad de crear transiciones de color también independientes, sin apreciarse retrasos y creando un efecto impactante.
es.wikipedia.org/wiki/Torre_Agbar
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The AGBAR TOWER, is a 21st-century skyscraper at Barcelona, Catalonia, Spain. It was designed by French architect Jean Nouvel in association with the Spanish firm b720 Arquitectos.
According to Jean Nouvel, the shape of the Torre Agbar was inspired by Montserrat, a mountain near Barcelona, and by the shape of a geyser rising into the air. Jean Nouvel, in an interview, described it as having a phallic character.[6][7] As a result of its unusual shape, the building is known by several nicknames, such as "el supositori" (the suppository), "l'obús" (the shell) and some more scatological ones.[6] It is also somewhat similar in shape to Sir Norman Foster's 30 St. Mary Axe in London, often called "the Gherkin". It has 30,000 m² (323,000 ft²) of above-ground office space, 3,210 m² (34,500 ft²) of technical service floors with installations and 8,351 m² (90,000 ft²) of services, including an auditorium. The Agbar Tower measures 144.4 m (473.75 ft) in height[8] and consists of 38 storeys
Its design combines a number of different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a facade of glass, and over 4,500 window openings cut out of the structural concrete. The building stands out in Barcelona; it is the third tallest building in Barcelona, only after the Arts Hotel and the Mapfre Tower, both 154 m (505.25 ft).
A defining feature of the building is its nocturnal illumination. It has 4,500 LED luminous devices that allow generation of luminous images in the façade. In addition, it has temperature sensors in the outside of the tower that regulate the opening and closing of the glass blinds of the façade of the building, reducing the consumption of energy for air conditioning.
San Miguel de Allende, ciudad del estado mexicano de Guanajuato, se encuentra a una altitud de 1910 m y dista 274 km de la Ciudad de México.
El 7 de julio de 2008 fue inscrita por la Unesco en el Patrimonio cultural de la Humanidad. Anteriormente fue parte del proyecto de "pueblos mágicos", pero debido a esta última distinción de la Unesco, fue cambiada su designación.
La ciudad fue fundada en 1542 por el monje franciscano Fray Juan de San Miguel, quien bautizó el asentamiento como San Miguel el Grande. Era un punto de paso importante del Antiguo Camino Real, parte de la ruta de plata que se conectaba con Zacatecas.
El pueblo se destacó durante la Guerra de Independencia de México. Ignacio Allende, nativo de San Miguel, fue un líder clave en la guerra. Capturado cuando marchaba hacia Estados Unidos en busca de armas, fue juzgado en Chihuahua, sentenciado y fusilado. Su cabeza fue expuesta en uno de los ángulos de la Alhóndiga de Granaditas en Guanajuato junto a las de Miguel Hidalgo, Juan Aldama y Mariano Jiménez. La población de San Miguel el Grande fue elevada a ciudad el 8 de marzo de 1826 y cambió el nombre por "San Miguel de Allende" en honor al héroe nacional.
Durante la década de 1950,
San Miguel de Allende se convirtió en un lugar turístico conocido por su bella arquitectura colonial y sus fuentes termales.
El lugar es famoso por su clima templado, los ojos de agua termal y su arquitectura.
La iglesia de San Francisco de Asís se comenzó a construir en 1778 y tardó más de 20 años en terminarse, se observan diferentes cambios arquitectónicos de acuerdo con el periodo y la moda. La fachada es churrigueresca pura, con una enorme cantidad de figuras labradas de piedra y afiladas columnas. Sin embargo, el campanario, construido en 1799 por el famoso arquitecto, Francisco Eduardo Tresguerras, es de estilo neoclásico, el cual estaba de moda entonces.
Y también en Twiter
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La ameba Nebela se ha echado a dormir, se ha enquistado dentro de su cascarón de pepitas de cuarzo formando una esfera como el mundo; así estará bien arropada y protegida, y quizá de esa forma pueda pasar mejor el invierno de hielo, en la Sierra de la Culebra le espera bajo los aullidos sobrecogedores de los lobos que a veces visitan la charca en la que vive.
Hoy la Naturaleza ha gastado una broma a esta ameba discreta, colocando sobre la cúpula de su casa un tirabuzón. Molinete verde que adorna su cabeza haciéndola presumida en este tiempo de sueño invernal. La espiral de la vida seguirá su ciclo y este filamento que adorna como una joya minúscula, la minúscula casa de joya de Nebela se irá despertando al desperezarse la espiral, cuando sople el viento de primavera.
Cuando ella llegue se convertirá en hilo ondulado...hilo de vida de una cianobacteria que aunque recuerda a Lyngbia contorta probablemente sea Scitonema...y que ha hecho lo mismo que Nebela. Se ha convertido en un ovillo para pasar estos fríos de invierno junto a la compañía de esta ameba. Cuando la primavera empiece a despertar ellas lo harán también transformando su belleza estática en latido.
La ameba Nebela protege su cuerpo dentro de un cascarón fuertemente comprimido en forma de gota y ese cascarón de doble capa, se cubre hoy de pepitas de cuarzo transparentes que ella misma fabrica como gotas de cristal.
La cápsula que encierra el cuerpo de Nebela suele ser ligeramente ocre o amarillenta, comprimida lateralmente y presenta pequeños poros laterales difíciles de observar. El cuello tras el que se encuentra la apertura de su casa - que puede ser lineal, ligeramente o fuertemente curvada - es muy corto, apenas está marcado y su borde está rodeado por un collar de materia orgánica.
El caparazón y casa de esta ameba puede estar compuesto de dos capas una interna constituida por un cemento orgánico y la más externa donde se adhieren partículas minerales, restos de diatomeas o placas de sílice fabricadas por ella misma, como ocurre en la Nebela de hoy. El caso es que para que pueda tener esta capa exterior fabricada con placas, necesita alimentarse de otras amebas que también tengan caparazón. Si no lo tienen y se alimenta solo de amebas desnudas, su cuerpo estará también semidesnudo y únicamente protegido por la capa más interna de cemento traslúcido.
Cuando camina por los fondos Nebela desparrama sus brazos en el agua abriéndose en ella y abrazándola como gruesas raíces móviles que se funden y desaparecen para volver a surgir en mil formas diferentes.
Nebella tubulosa , no es una ameba común, la de hoy vive entre los esfagnos de una turbera situada en las inmediaciones de la pequeña localidad de Boya, situado en pleno corazón de la Sierra de la culebra de Zamora y ha sido fotografiada a 400 aumentos con la técnica de contraste de interferencia.
I recently bought an 85mm f/1.8, i have been dying to use it for a shoot for about a week now. All the models i have shoots with won't be free until after next week, so i just had to get my sister out and have a play with my new lens.
Strobist
Natty light!!
Must... View Large On Black
The Mumbles lifeboat station has a remarkable history of bravery for over 170 years and its crews have been presented with 33 awards for gallantry. The station has also witnessed tragedy with 18 lifeboat crew losing their lives saving others at sea.
This is me, wandering off on a tangent for a wee while...
Most people familiar with my stream will be aware of my fascination with people. But my recent retreat to some gloriously deserted coastline made for an equally glorious peopleless distraction.
So… here’s a short series playing with the light in The Gower [South Wales].
Based on an original texture by swimmingintheether
.....................................................................................................View On Black
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Turbio fondeadero donde van a recalar,
barcos que en el muelle para siempre han de quedar...
Sombras que se alargan en la noche del dolor;
náufragos del mundo que han perdido el corazón...
Puentes y cordajes donde el viento viene a aullar,
barcos carboneros que jamás han de zarpar...
Torvo cementerio de las naves que al morir,
sueñan sin embargo que hacia el mar han de partir...
Amarrado al recuerdo
yo sigo esperando...
¡Niebla del Riachuelo!...
De ese amor, para siempre,
me vas alejando...
Nunca más volvió,
nunca más la vi,
nunca más su voz nombró mi nombre junto a mí...
esa misma voz que dijo: "¡Adiós!".
Sueña, marinero, con tu viejo bergantín,
bebe tus nostalgias en el sordo cafetín...
Llueve sobre el puerto, mientras tanto mi canción;
llueve lentamente sobre tu desolación...
Anclas que ya nunca, nunca más, han de levar,
bordas de lanchones sin amarras que soltar...
Triste caravana sin destino ni ilusión,
como un barco preso en la "botella del figón"
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Nieblas del Riachuelo - Letra Enrique Cadícamo / Interpretada por Bebo y Cigala
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{Foto de Archivo} otras del 2009 cuando me estrenaba con mi cámara....
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No usar esta imagen en páginas web, blogs u otros soportes sin mi autorización, © Todos los derechos reservados.
Don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
“Y estos derechos... a respetarlos, ¿eh? ¡No vaya a pasar como con los diez mandamientos!” (Mafalda)
This is a full view of the Horseshoe Falls in Niagara Falls, Ontario, Canada last weekend before the sun went down. When you go walking along the falls it's hard to keep walking when you find just the right spot to take a photo. I just LOVE Niagara Falls..Can you tell? ;) I hope you enjoy this view with the pinky mist ;) Yikes, I almost forgot..The reason I gave this photo this title is because I really could have stood there alot longer than I did ;) Amazing isn't it?
"Niagara Falls is divided into the Horseshoe Falls and the American Falls. The Horseshoe Falls drop about 173 feet (53 m), the height of the American Falls varies between 70-100 feet (21 m) because of the presence of giant boulders at its base. The larger Horseshoe Falls are about 2,600 feet (792 m) wide, while the American Falls are 1,060 feet (323 m) wide."
Best viewed LARGE Have a great weekend everyone!!
3rd Echelon Maintenance Hangar wall, Pyote Air Force Station, Pyote, Texas.
Built in 1942 to serve as a bomber training base, after the war it was used to melt aircraft down for scrap metal. Both the Enola Gay (first atomic bomb) & Bataan (Douglas MacArthur's plane) were sent here for destruction, but were rescued & preserved by the Smithsonian Institute. Here's a 1977 photo of it, by Richard Hawkins.
The station was commonly referred to as the "Rattlesnake Bomber Base", because of the concentration of rattlers in this remote, west Texas location...not a fun hike to get to and from this spot at night!
For more information, including vintage pictures of this interesting old airfield, visit the Abandoned Airfields Site.
In 1985, the remains of the airfield, and this hangar specifically, were used as a set in the Kevin Costner movie 'Fandango'. For more information about this movie and the west Texas locations used in it's filming, visit this Fandango Fan Page. I actually wound up shooting three of the locations used for the movie during this road trip.
Night, 3/4 moon, 3 minute exposure. Two red-gelled strobe pops to each column, one up top, one on the bottom.
Colònia Sant Corneli (920 m.) - Cercs, Barcelona (Spain).
ENGLISH
Cercs is a municipality in the comarca of the Berguedà in Catalonia, Spain. It is situated on the right bank of the Llobregat river above the Baells reservoir. It is the site of an important power station which burns the lignite extracted at Fígols and Saldes. The town is served by the C-1411 road between Berga and the Cadí tunnel.
In 1893 the Basque businessman Jose Enrique de Olano y Loyzaga bought the mines of Cercs and commanded to construct the colony Sant Corneli in the entrance of the mine so that the miners and their families, mainly originating of Asturias, Cantabria and Navarre lived there. First the basic buildings were constructed: elementary school, church, supplies store, bakery and houses. Later one added a theater-cinema, a convent of nuns and offices. In the best times they live 3,000 people.
The most aspiration of boys was to become miners, and those of the girls to be wife of a miner. The chaplain taught to the children arithmetical elementary and to pray, and the nuns the same taught to the children and in addition to sew, to cook, to wash and to iron. The women without pair were going to work to a textile factory, whereas the married ones washed the clothes of the miners.
The houses were of between 30 and 40 m2 and in each one lived 5 or 6 families, although only 4 simultaneously at the most. They had 2 rooms, a kitchen, a toilet and a closet. When families worked in the mine or the factory, the others were in the house, and every 12 hours interchanged. This system was called “camacaliente” (hot bed).
At the beginning the miners received according to the coal whom they extracted, but Jose Enrique de Olano y Loyzaga changed the system and implanted a low pay but fixed, to which every 15 days were added to him the meters pricked according to the category of the miner. First they received with “bonds” exchangeable in the supplies store stores and the shops, and later it was paid with currency. The miners were numbered, and when entering the mine they left cards that they indicated that they were inside, and when leaving they turned them. Thus they knew if somebody died in the mine. The numbers of the dead miners never were replaced.
The mines of Cercs have lived some revolutionary episodes. In 1932 the anarchists took the company, and were evacuated by the army. In 1977 was carriet out a confinement in the occasion of the dismissal of 430 miners. Carbones de Berga S.A. closed definitively in 1991 dismissing the miners progressively or giving them work in other mines.
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CASTELLANO
Cercs, municipio de la provincia de Barcelona en Cataluña. Pertenece a la comarca del Berguedà. Situado al norte de la ciudad de Berga, se extiende desde los Rasos de Peguera hasta las cimas de Vallcebre, a la derecha del río Llobregat y a la orilla del embalse de Cercs. El nombre de la villa procede del término "quercus" (roble en latín).
En 1893 el empresario vasco José Enrique de Olano y Loyzaga compró las minas de Cercs y mandó construir la colonia Sant Corneli en la boca de la mina para que viviesen los mineros y sus familias, procedentes en gran parte de Asturias, Cantabria y Navarra. Primero se construyeron los edificios básicos: escuela, iglesia, economato, panadería y casas elementales. Más tarde se añadió un teatro-cine, un convento de monjas y unas oficinas. En los mejores tiempos llegaron a vivir 3.000 personas.
La máxima aspiración de los niños era llegar a ser mineros, y las de las niñas ser mujer de un minero. El capellán enseñaba a los niños aritmética elemental y a rezar, y las monjas enseñaban lo mismo a las niñas y además a coser, cocinar, lavar y planchar. Las mujeres sin pareja iban a trabajar a una fábrica textil, mientras que las casadas lavaban la ropa de los mineros.
Las casas eran de entre 30 y 40 m2 y en cada una vivían 5 o 6 familias, aunque sólo 4 a la vez como máximo. Tenían 2 habitaciones, una cocina, una comuna y un armario. Cuando unas familias trabajaban en la mina o en la fábrica, las otras estaban en la casa, y cada 12 horas se intercambiaban. Este sistema se llamó "camacaliente".
Al principio los mineros cobraban según el carbón que extraían, pero José Enrique de Olano y Loyzaga cambió el sistema e implantó un sueldo bajo pero fijo al que cada 15 días se le sumaban los metros picados según la categoría del minero. Primero cobraban con "vales" canjeables en el economato o en las tiendas, y más tarde se pagó con moneda. Los mineros estaban numerados, y al entrar en la mina dejaban unas fichas que indicaban que estaban dentro, y al salir las giraban. Así sabían si moría alguien en la mina. Los números de los mineros muertos nunca se sustituían.
Las minas de Cercs han vivido algunos episodios revolucionarios. En 1932 los anarquistas tomaron la empresa, y fueron desalojados por el ejército. En 1977 se llevó a cabo un encierro con motivo del despido de 430 mineros. Carbones de Berga S.A. cerró definitivamente en 1991 despidiendo progresivamente a los mineros o recolocándolos en otras minas.
10 FACTS TAG!
i was tagged by my beautiful bestfriend, Mary Buzbee!
1.)i can play Hey Ya the acoustic cover and
Anyone Else but You by the Moldy Peaches on the guitar slowly.:)
2.)i really support what TOMS is doing and i've yet to buy a pair.
3.) i have a little scar on the back of my leg from when i was very little
and i was playing on my friend's dad's old van. we would slide down the window
on the front of the car over and over again. Her dad called us to come eat and i went to slide down and got hung on a piece of metal sticking out and was literally hanging from it.
4.) i used to be able to touch my feet to the back of my head while laying on my stomach. not that flexible anymore.
5.) my favorite nail polish color is bright yellow.
6.) i play video games and i'm currently working on God of War 2 for PS2.
7.) i love Summertime, but it's not my favorite season. my favorite season is Autumn.
8.) I can't stop listening to The Moon by The Swell Season.
9.) i almost always have a safgn on my head.
10.) i am very strong and i love my life.
For someone who lives in a place where it never snows, it was pretty exciting to wake up the other day and have such a thick layer of frost on everything! Skylar and I had some fun running around in our yard and garden taking photos before school.
The frost was beautiful and so was the light! A perfect opportunity! I haven't been this photographically excited in a while! ;)
~ Ernestine Ulmer
Make your own Tiramisù ...it's really not that hard. This is mamma's recipe, which has been in our family and loved by everyone for years. The phrase "tirami su" literally means "pick me up" or "pull me up" in reference to the effects of the sugar and espresso.
What you'll need
2 eggs (separate yolks and whites)
4 tablespoons sugar
1 teaspoon pure vanilla extract
9 ounces Mascarpone cheese
4 tablespoons milk
1 1/2 cups strong espresso, room temperature
1 package of traditional Italian ladyfingers (Savoiardi in Italian; about 36)
1 bar of bittersweet chocolate, for shavings
Bittersweet powdered cocoa, for garnish
How to Make It
In a large bowl, using an electric mixer with whisk attachment, beat egg yolks and sugar until thick and pale, about 5 minutes. Add Mascarpone cheese and vanilla extract and beat until smooth.
In a medium bowl, whip the egg whites until stiff, then fold with a rubber spatula into the mascarpone mixture until well blended.
In a small shallow dish, combine espresso with milk and sweeten to taste. Float each ladyfinger into the espresso, turning and coating both sides. Be quick, letting the ladyfingers soak too long will cause them to fall apart. Layer the bottom of a 13 by 9 inch glass or ceramic dish with the soaked ladyfingers, coating the bottom of the pan entirely, and breaking them in half if necessary in order to fit the bottom.
Spread half of the Mascarpone mixture evenly over the ladyfingers. Sprinkle the layer with a dusting of cocoa powder and shaved chocolate. Arrange another layer of soaked ladyfingers on top, spread the remaining Mascarpone mixture, dust with cocoa and shaved chocolate once more, and voilà. Cover your tiramisù with plastic wrap and refrigerate for at least 2 hours before serving.
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ENGLISH
Bread is one of the oldest prepared foods, dating back to the Neolithic era. The first breads produced were probably cooked versions of a grain-paste, made from ground cereal grains and water, and may have been developed by accidental cooking or deliberate experimentation with water and grain flour. Descendants of these early breads are still commonly made from various grains worldwide, including the Mexican tortilla, Indian chapatis, rotis and naans, Scottish oatcake, North American johnnycake, Middle Eastern Pita bread (Kmaj in Arabic and Pitot in Hebrew) and Ethiopian injera. The basic flat breads of this type also formed a staple in the diet of many early civilizations with the Sumerians eating a type of barley flat cake, and the 12th century BC Egyptians being able to purchase a flat bread called ta from stalls in the village streets.
The development of leavened bread can probably also be traced to prehistoric times. Yeast spores occur everywhere, including the surface of cereal grains, so any dough left to rest will become naturally leavened. Although leavening is likely of prehistoric origin, the earliest archaeological evidence is from ancient Egypt. Scanning electron microscopy has detected yeast cells in some ancient Egyptian loaves. However, ancient Egyptian bread was made from emmer wheat and has a dense crumb. In cases where yeast cells are not visible, it is difficult, by visual examination, to determine whether the bread was leavened. As a result, the extent to which bread was leavened in ancient Egypt remains uncertain.
There were multiple sources of leavening available for early bread. Airborne yeasts could be harnessed by leaving uncooked dough exposed to air for some time before cooking. Pliny the Elder reported that the Gauls and Iberians used the foam skimmed from beer to produce "a lighter kind of bread than other peoples." Parts of the ancient world that drank wine instead of beer used a paste composed of grape juice and flour that was allowed to begin fermenting, or wheat bran steeped in wine, as a source for yeast. The most common source of leavening however was to retain a piece of dough from the previous day to utilize as a form of sourdough starter.
Even within antiquity there was a wide variety of breads available. In the Deipnosophistae, the Greek author Athenaeus describes some of the breads, cakes, cookies, and pastries available in the Classical world. Among the breads mentioned are griddle cakes, honey-and-oil bread, mushroom shaped loaves covered in poppy seeds, and the military specialty of rolls baked on a spit. The type and quality of flour used to produce bread could also vary as noted by Diphilus when he declared "bread made of wheat, as compared with that made of barley, is more nourishing, more digestible, and in every way superior." In order of merit, the bread made from refined flour comes first, after that bread from ordinary wheat, and then the unbolted, made of flour that has not been sifted."
More info: en.wikipedia.org/wiki/Bread
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CASTELLANO
El pan fue el alimento básico de la humanidad desde la Prehistoria. Probablemente, los primeros panes estarían hechos con harinas de bellotas o de hayucos. Los arqueólogos han desenterrado fragmentos de pan ácimo en las excavaciones de los poblados cercanos a los lagos suizos. Se sabe que los egipcios elaboraban pan desde hace mucho tiempo y de ellos datan también las primeras evidencias arqueológicas de la utilización de la levadura en el pan, se cree que descubrieron la fermentación por casualidad. El pan comido por los Hebreos no llevaba ningún tipo de levadura.
En Roma, en la República ya había hornos públicos. Para los legionarios romanos el pan era un alimento habitual y era corriente que su dieta fuese en gran medida aceitunas y pan. Se les entregaba tres libras de trigo al día, que trituraban en un molinillo de mano compartido por un grupo limitado de soldados. La harina se hacía bucellatum o se metía en el horno para hacer pan. En algunas regiones que no formaban parte del imperio como Alemania o Suecia, algunos habitantes que habían combatido en el ejercito romano adoptaban el consumo de pan, y de aquí se extendía a sectores de la población.
Este gran consumo de pan durante el imperio romano implicó la gran importancia que tuvo el cultivo y comercio del trigo.
Con la caída del imperio romano se produjo un desabastecimiento de trigo en casi toda Europa, que ya se había acostumbrado de manera masiva a su consumo. Las exportaciones hacia el norte desaparecieron por completo. Prueba de la amplia difusión del pan en esa época la palabra inglesa "lady" significa en inglés antiguo "la persona que amasa el pan".
En Escandinavia, la población, ante la escasez de trigo tuvo acostumbrarse a elaborar panes de centeno y cebada, siendo corriente que se le añadiese a la masa corteza de pino molida.
En la Edad Media empiezan a elaborarse distintos tipos de pan ante la escasez de trigo, y como consecuencia de ello comienza su comercio; el pan blanco era un privilegio de los ricos y el pan negro de cebada, centeno o avena era para el resto de la población. Se hacía a mano, en el propio hogar o en hornos públicos.
Más info: es.wikipedia.org/wiki/Pan
Depuis le 3 Octobre, plus de 200 familles dorment dans la rue de la Banque pour protester contre l'absence de logements décents. Français ou immigrés en situation régulière, tous travaillent mais vivent dans des conditions déplorables: le plus souvent à l'hôtel, ou dans des appartements minuscules, parfois menacés d'expulsion.
Dimanche 11 Novembre, une manifestation de soutien aux mal logés a réuni de 2000 à 3000 personnes, malgré la pluie. Monseigneur Gaillot, Josiane Balasko, Patrick Pelloux étaient présents dans le cortège au départ de la rue de la Banque, qui est ensuite passé devant le passage Brady, où un incendie a fait 3 morts cette semaine, et devant l'hôtel Paris Opéra, au 76 rue de Provence, où un incendie en avril 2005 avait fait plus d'une vingtaine de victimes. L'occasion pour les associations de dénoncer les "marchands de sommeil" qui continuent à profiter d'une politique d'hébergement désastreuse en partie financée par l'Etat lui-même, dont le budget hôtelier a été multiplié par 10 en 5 ans...
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Pezzi di storia, pezzi di divisione
Pezzi di Resistenza, pezzi di Nazione
Pezzi di Casa Savoia, pezzi di Borbone
Pezzi di corda, pezzi di sapone
Pezzi di bastone, pezzi di carota
Pezzi di motore contro pezzi di ruota
Pezzi di fame, pezzi di immigrazione
Pezzi di lacrime e pezzi di persone
Ognuno è figlio della sua sconfitta
Ognuno è libero col suo destino
Butta la chiave e vai in Africa, Celestino!
"Vai in africa, Celestino" - F. De Gregori
Nikon N8008s
Ilford Hp5 400
Taken with a homemade 4x5 camera.
Shoot to 4x5 Fuji Color instant film.
Soft focus and colour manipulation with Tiffen lens filter.
Author : IMRE BECSI
© All rights reserved
Modell : Blanka (My small daughter )
Location of shoot : My garden, Csobánka, Hungary, Central-Europe
Time of shoot : 08.05.2009.
PICTURE MADE WITH :
( Home-made assembled 4x5 camera be composed of
few original photography equipments )
Camera body : plant pot ( from IKEA )
Film back holder : Cambo Revolving Back Assembly with Focusing glass (Graflock style)
Objective mount : Polaroid 600 SE
Lens : Mamiya 5,6/150 mm (from Polaroid 600 SE set)
Back Vewfinder : Cambo Reflex Viewing Hood
Top Viewfinder : Mamiya 75 mm
Top Vewfinder Raising : Hama
Shutter release : Nikon
Matte Box : Old bellows style Arriflex MB with two 3X4 filter holders (from my Eclair s16 movie camera set)
Rods mount : Chrosziel
Rods : Homemade
Grip : Furnitur handle (from IKEA)
Quick release plates : Manfrotto
Picture from this camera here :
www.flickr.com/photos/jonespointfilm/3241557820/
Tripod : Sachtler 14
Ballhead : Manfrotto
Filters : Double-Fog 1/4 and Sepia 1 (3x3 Tiffen)
Film Back : 550 model
Film : FUJI FP-100c45 Professional Instant Color 4X5 Film
Light : Late afthernoon sun
Exposure : 1/8 sec./8 (Minolta Light Meter III)
Dev. : 120 sec. ( normal )
POST WORK :
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Thanks for looking !
Comments very much welcome !
Important note:
all images are copyright protected © All rights reserved. no reproduction in any way, no copies, no editing, no publishing, no screenshots, no posting, no blogging, no transmitting downloading or uploading without my written permission!
En el mini-safari fotográfico que hicimos los otros días, visitamos, entre otras cosas, la vieja cárcel de Caseros, parcialmente demolida.
En una de sus paredes, me encontré con esta imagen... casi una ironía que permanece como un símbolo... de todos los que estuvieron recluidos en el lugar. No es un graffiti, no es street art... pero no pude resistir fotografiarla...
Así que, ¡quiero de vuelta mi sonrisa...!!! Y para escuchar mientras la buscan...
(Ismael Serrano)
Ya nada es lo que era,
nuevos paisajes, nuevas fronteras,
delimitando mis gestos, mis costumbres.
Otra lumbre iluminará mis versos,
otros muertos mis soledades,
otras felicidades mis fiestas,
otras dudas mis certezas.
Ya nada es lo que era.
Me tendré que acostumbrar
a esta fría soledad
como un viejo con días contados a su enfermedad.
Y nombrarte o esperarte en un café,
y padecer otro principio,
y volver a los sitios en que me has abandonado,
y ser asesinado
allí donde te amé.
Ya sólo me queda
la vacía pena
del viajero que regresa.
Estoy tan perdido,
soy el asesino
de tantas primaveras.
Ya nada es lo que era.
Ya nada es lo que era,
recorreré las aceras
buscando una luz que me recuerde a ti.
¿Quién me acompañará ahora a los Alphaville?
¿Quién hará cicatriz mis heridas?
¿Quién descubrirá mis mentiras?
¿Quién facilitará mi huida?
Y es que ya nada es lo que era.
Ya sólo me queda
la vacía pena
del viajero que regresa.
Estoy tan perdido,
soy el asesino
de tantas primaveras.
Ya nada es lo que era.
Ya nada es lo que era.
¡Un besote inmenso para todos!!! ¡A pasarla bien!!!
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I just got back from a week of vacation with the family in Summit County. The weather did not cooperate much for photography, but everyone managed to have a great time.
Yesterday morning I left Breckenridge at 2:30 AM to make the hopeful drive over to the Maroon Bells to catch sunrise. I knew when I left that I would need to get lucky, but if you don't go, there's no reward. Besides, if you do happen to get lucky in poor weather, it's typically much more rewarding.
I drove through cloudy and rainy skies off and on throughout the entire trip. When sunrise was about to arrive everything was still clouded in and I was waiting patiently in a gentle rain. I started to think that the morning wasn't going to be all that productive, but when I looked over my shoulder I noticed the sun lighting up the underside of the cloud layer. I immediately waded into the the wet foliage and setup. The glow started very slowly and then quickly increased in intensity. The rainbow was simply the icing on the cake!
I decided that I wanted to catch the wildflowers in the foreground and avoided the lake shore as there are probably 20 million (or more) other renditions of the Maroon Bells reflecting in Maroon Lake. If I had more time, I would have captured that image also; but the whole scene lasted less than 5 minutes. Besides there were about a half dozen other photographers setup along the lake and I was the only one out in the meadow. Finally, wildflowers come once a year, there are countless calm days with reflections.
I have to give credit to my wife for making the trip with me! My mother came also, but she feels the same way about sleep as I do (guess I know where I get it from). They were both impressed with what they saw...though I don't think they really fully understood just how lucky they were!
The Gay Head Lighthouse has always been perilously close to the ever-eroding cliffs. The red brick light was built in 1844 to replace a wooden tower authorized by President John Quincy Adams. In 1856, the marvelous Fresnel lens with its 1,009 prisms was installed, after having been proudly exhibited at the World's Fair in Paris. It is now preserved at the Martha's Vineyard Historical Society in Edgartown, and is lighted every evening after dark throughout the year.
The Gay Head, East Chop, and Edgartown Lighthouses are maintained by the Martha's Vineyard Historical Society under a 30-year lease with the United States Coast Guard. Each light has a large, fenced-in park area that makes a perfect place to relax and enjoy the island's view. The Gay Head and East Chop Lighthouses are open for sunset tours from late June through mid-September, from 1.5 hours before sunset to 0.5 hour after. The Gay Head Lighthouse is open Friday to Sunday; the East Chop Lighthouse just Sundays. Musicians and vocalists often perform impromptu. A $3 admission fee is requested for adults; children under 12 are admitted free.
The lighthouses are available for wedding ceremonies and other special events. Call the Martha's Vineyard Historical Society at 508-627-4441. Tax-deductible donations to help save the lights may be designated as "lighthouse donations" and mailed to The Martha's Vineyard Historical Society, P.O. Box 827, Edgartown MA 02539.
The Chapel of St John, dating from 1080, is the oldest church in London.
It is on on the second floor of the White Tower which was built in 1077 - 97 as a keep or citadel, and is the oldest part of William the Conqueror's great fortress by the Thames.
The beautiful Romanesque chapel was constructed from stone imported from France and has survived complete from the early Norman period, rather than other Norman churches in England which date from the mid-12th century. The chapel has a tunnel-vaulted nave with an east apse and groin-vaulted aisles, and the gallery above curves around the apse. Thick, round piers support unmoulded arches, with the only decoration provided by simple carvings of scallop and leaf designs.
Because St Peter ad Vincula is the parish church of the Tower of London, St John's Chapel so often overlooked.
Today, this complete 11th century church, a rarity anywhere, remains one of the least known among London's historic churches.
© Eddie Chui
A hidden cove we stumbled upon (see story below) on the way back.The sun was about to set which further saturated the already amazing color of these rock formations. This really needs to be viewed Large On Black or with B l a c k M a g i c.
Canon 5D Mark II + EF 17-40mm f/4.0 L USM. 17mm 5sec at f/18, ISO400,Tripod.
After testing our Hummer in deep sands the previous afternoon, we decided that it may be the once-in-a-lifetime opportunity to attempt the arduous unmarked 4-wheel drive on sandy track to the remote South Coyotte Buttes area in the Paria Canyon Vermillion Cliffs Wilderness Area. The next morning we tried our luck again at the Paria ranger station for the 10 walk-in permits to the North Coyote Buttes (the famous "Wave") and not too surprisingly, didn't get it 2 days in a row. The permits to the South Coyote Buttes, on the other hand, are easily available due to the difficulty of access.
So the journey began.
Planning to shoot around Cottonwood access area at dusk, we entered the wilderness area in the afternoon. Most people have finished their day hikes and left this 112,500 acres region south of highway 89. Not maintaining enough revs at the first ascent after Paw Hole, our Hummer got buried in the sands and refused to go any further. The afternoon storm decided to drop in at the perfect timing while we used shovels, floor mats, tree trunks..etc to bring this monster out of the sands again. The rest of the road until the Cottonwood Cove access is more enjoyable after this lesson.
The evening light was unflattering so we just scouted the Cottonwood Teepees area before heading back to the tent.
The rain came in again around midnight and stayed on and off until 10am next morning. The color of the sandstone was deeply saturated under overcast sky and I just kept finding more and more bizarre formations around this otherworldly place.
We were sitting at the north end of the Cottonwood Teepees after the sun came out, gazing at the distant North and South Teepees, about 1.5 miles away. North Coyote Buttes is probably another 1.5 miles further, we were guessing. The Wave seemed so close. After quite some discussions the two of us decided to march north and perhaps accidentally enter the North Buttes...
All we have was one GPS location of The Wave, which is accurate according to Google Earth. Our GPS, however, led us to a place turned out to be half mile away from The Wave, after 4 hours of walking in deep sands and scrambling on the slickrock.
The Anasazi spirits were probably messing with us.
Frustrated, exhausted, and more importantly, out of water, heading back before sunset was the only option. The camera equipments seemed to gain weight with every step and we had to take naps whenever we found big enough trees to offer shades. I was tortured by the thirst, but lying under the trees and watching the lazy clouds over us was strangely relaxing...
On the way back to Cottonwood Teepees the sun started to set. Knowing that we had roughly the right direction, we headed toward the middle section of these alien rock formations instead of following the outer path where we came from. We stumbled upon a nice hidden sand cove after scrambling up a ridge, but only to find that there is no way to get down the other side which happened to be hundreds feet of vertical drop on slick rocks. It's 7pm and the daylight had almost faded with only a hint of color in the sky. We backtracked and decided to follow the outer edge in hope to find the way we came. With only one headlamp we climbed one sand dune after another in darkness. The waypoints and tracks on our GPS were so entangled that we didn't know what to follow any more. Bushes and rocks, near and far, were all mixed together under the moonlight that we found ourselves in the middle of a maze. Lack of water for hours I might have slight delusion and started to believe that we have to stay right there in the desert for the night, without any water, and exposed to all sorts of unknown beasts in the wilderness.
We took a final look at the GPS and carefully examined the track record. At some point our track did intercept with the earlier ones we left the previous day when scouting. Forgetting all the conflicting messages the surrounding landscape was casting on us, we decided to blindly follow the GPS.
Another hour later, we were finally back at the tent.
Thank you for comments, adding to fav's - and your time :-)
© All Rights Reserved - no usage allowed in any form without my written permission.
View Mauna Kea Sunset on Black
View Mauna Kea Sunset Map/EXIF
NIKON D810 + 24-70 mm f/2.8 @ 58 mm - 2.5 sec at f/8.0, ISO 31
Manual mode @ 1 EV E.C - Pattern metering - no flash
Subject Distance: unknown
Haley and I drove up past Waimea to Saddle Road and steadily climbed towards the top of Mauna Kea. Unlike Maui's volcano, the drive seemed to take very little time - maybe because I was looking forward to it so much.
We ended up at the visitor's center at around 9200 feet and went for a short hike up to the crest of a small butte to watch the sunset from. We settled in and I ended up down the crest of the hill a bit to get out of other's folks' way while still being able to compose from a variety of angles.
This was taken just after the sun had dropped below the horizon. Soon thereafter, it got bitter cold. I stayed out for another 30-45 minutes to watch the stars rise, and was the last person to leave the hilltop.
Haley and I then finished off our awesome night by gazing at the Orion Nebula, Venus, and the moon through a number of scopes the astronomical society had set up.
19°45'14" N 155°27'32" W, 9452.1 ft
Mauna Kea Visitor's Center, Mauna Kea
Hawaii County, Hawaii, United States
Taken on 01.09.2017, uploaded on 01.21.2017.
©2017 Adam James Steenwyk. Please contact me at ajamess [at] gmail [dot] com if you would like to use this photo. Blog: www.f128.info
2nd place winner in our "Contest #38...Waterdroplets on Flowers..."thread at Unforgettable Flowers group 8th Dec 09 :-)
3rd Place - Excalibur Awards 1st October 09
Received an HONOURABLE MENTION in Round 7 of our "OUR WORLD" SERIES: FLOWERS Perpetual Contest - November 2009 Colour Photo Award - PREMIER. - 18th Nov 09 :-)
4th Place - mywinners contest - Pink 29th Nov 09
Some more pretty colours from the flowers that my daughter gave me..................
Thank you all so much for your visit/comment/award and faves!! It's really very much appreciated - have a great day and a wonderful week :-)
The trick to this was getting a long enough exposure in bright sunlight. I had my polarising filter attached which helped.
You don't actually need very long when the water is moving fast and you don't need a tripod either which is great.
BEST: View On Black
I was walking along a canal bank in the Louisiana outback and looking for some birds or trees to photograph and this big boy was lying there watching me!!! He is about 10 feet long! I quickly looked about me to see if its twin was lying close! I've seen bigger ones but this is pretty darn big! I don't want to end up on the menu as selection for the day!!! :-)
VER GRANDE SOBRE FONDO NEGRO I VIEW LARGE ON BLACK
Mañañana, jueves, día 16 de mayo de 2013, a las 20.00 horas, será proyectado en el Salón de Actos del Centro Cívico Juan de Austria, el audiovisual CANCIÓN DE MAR, realizado por un servidor, en versión ampliada del que fuera presentado el jueves, día 19 de abril de 2012, en el marco de la celebración del II Maratón Audiovisual Ciudad de Valladolid , en la cuarta jornada de dicha edición.
Este trabajo ha sido elaborado conjuntamente con una exposición y una publicación, integrantes de un proyecto fotográfico que inicié en el año 2006, hasta darlo por concluido en el año 2010, bajo el título "De boquerones y marengos", que trata de contar a través de imágenes el día a día de las duras jornadas de trabajo de los pescadores del litoral malagueño. Para poder elaborar el proyecto, en el que inicialmente trabajé sobre un total de más de 2.000 instantáneas, me embarqué en un pesquero de arrastre patroneado por un buen amigo, Sebastián, durante los veranos de los años 2006, 2007 y 2010. A él, a su tripulación, y al resto de marineros del litoral de la Axarquía está dedicado esta pequeña muestra del proyecto.
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fonte do Mouro (Fontana del Moro) - Fountain of the Moor - At the southern end of Piazza Navona, in front of the brazilian embassy, we find the Fontana del Moro, designed by Giacomo della Porto and erected in 1575. The fountain has statues of four Tritons and the basin is made of special antique rose marble. In 1654, Bernini carved the central figure, a muscular Triton riding a dolphin, that resembles a "Moor". Thus, the fountain is called the Fountain of the Moor. During a restoration in 1874, the original sculptures were moved to the Villa Borghese and substitute copies were made and are still on the fountain.
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.
Fonte do Mouro.
Fontana del Moro está localizada ao sul da Piazza Navona. Tem este nome devido à representação de um etíope (mouro) a lutar com um golfinho. A obra foi projetada por Bernini, para dar conclusão à fonte de Giacomo Della Porta, construída em 1576, e esculpida por Giovanni Antonio Mari, em 1654. A estátua do etíope é acompanhada por tritões e máscaras, que são cópias das originais hoje postas em algumas fontes dos jardins da Villa Borghese.
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.
A view of Yosemite's Half Dome and Glacier Points famous Overhanging Rock on the right side of the image. There is also a great view of Clouds Rest just left of Half Dome.
Can you imagine someone driving their old jalopy up on that little tiny
rock hanging out over a 1000+ foot cliff? Or a couple of women
up dancing on the edge? I've seen old post card pictures of people who did just that. Overhanging Rock is the tiny rock at the very top edge of the cliff to the right. It's large enough to hold a Ford Model A. The rock is currently closed off and marked by numerous danger signs but I still see people ignore them and walk out on it. One guy even took his kid who I estimate was about 8 years old out on it. I love heights but that's a bit crazy even for me.
One of the sights I wish they could bring back was the site of the fire
falls where they would have a huge bonfire at the top of Glacier Point with crowds of people singing camping songs. At the end of the show they'd push the still burning embers off the cliff to create a fire fall off the cliffs. I've seen images taken back in the early 60's when this was still done and would love to see what a modern camera would capture. I do of course understand why it was stopped and agree fully with the reasons. There is a strong desire to keep the park as natural as it can be. I do however wish they could bring back some of the Native American practices to the valley as I always saw their practices as part of nature. Originally the valley had many more meadows which were kept clear by the Native Americans for both
food and safety. Those meadows have begun to grow over with pine trees and will soon be gone completely. In short, it may get to the point where you won't be able to see Yosemite for the trees.
This is another image where I double processed the RAW file to bring in more of the detail in the lights and dark areas of the image. This is sort of a more controlled method of accomplishing what HDR tries to do. Again, the HDR effect, perhaps I just need more practice, caused too much noise in the dark areas and didn't bring the detail in the clouds out like I had wanted. I then topped it off with a Levels adjustment and moved the center controller to achieve what you see here.
Hope you like the image.
If you do, a note would be much appreciated.
-Darv
© Darvin Atkeson
Winter 2005 @ Leslie Spit
I spend alot of time at Leslie Spit seems every winter is getting warmer & warmer the next series of pics are from that winter.
Record Breaking Warm Day - 17 January 2005
Toronto, Ontario: A breath of Spring in the middle of Winter as Toronto's temperature soars to 18°C (64°F), the highest January temperature recorded here since records began in 1840.
Winter's Worst Days - January 22
A vigorous Alberta clipper which swept through southern Ontario on January 22 brought treacherous blizzards, blinding whiteouts and dangerously low wind chills. The highest snowfall totals were recorded near the west end of Lake Ontario where easterly winds blew embedded lake-effect squalls inland. Blowing snow created large drifts and reduced visibility to near zero. The OPP reported more than 800 accidents, mostly in the Toronto and Niagara region, and stretches of Highway 401 were closed with whiteouts and black ice.
A couple of days later, cold arctic air engulfed Ontario with temperatures dipping to below -25°C in the southern reaches of the province. It was the beginning of the coldest time of the winter. In Kitchener-Waterloo temperatures dipped to -31.1°C, one of the coldest days in its history.
A native of Burma and India, Hoya is a genus of about 200 tropical climbing plants. This one, the Hoya Bella s named after Thomas Hoy who was the head gardener for the Duke of Northumberland at Syon House. Bella as from bellus, beautiful. Love at first sight...
See another photo of Hoya Bella from my photo stream.
Prophet Muhammad said, he who is presented with a flower should not reject it for it is light to carry and may have a fragrant smell. (Sahih Muslim)
Finally, it is time to go out and play. I have been working on my PhD proposal defense for the last month, and Jim has been getting reading for the art show season ( the circus). Last Saturday the moment came when I was finally trying to figure out what I would talk about during my hour long speech, when Jimmie made me go out and see the firework show put on by the Boardwalk. This year marks the 85th anniversary of one of the greatest wooden roller coasters in the country, the Giant Dipper.
The last celebration that I went to at the boardwalk was for another celebration of the Giant Dipper, I believe they were celebrating the 80th anniversary. But on that day you could ride the Big Dipper for free. So of course, I skipped work with a few of my closest girlfriends and we rode all day only to end up with bruises all along our sides the next day... but they were well worth it.
Luckily, I need not have any battle scares from this year's activities, only the successful completion of another milestone in my life.
Explore December 16 2009
Baby gulls, people walking dogs, the seaside, a windfarm, mist/haze, fish 'n' chips - all in Yellow
This is another one from my trip to Bridlington last weekend.
Someone asked when commenting on a previous photo if I have any SOOC or something like that. It sounded very much like an STD to me. I thought to myself, "I like these guys at flickr but that's getting a wee bit personal for even me." So I did what every red blooded male does when faced with an unsureity of a *£$%£al nature - I googled it.
The legend was then revealed - "straight out of the camera." Phew...................
So, I had a look to see if there was anything that I considered worthy of showing you nice folks. Something that I hadn't dressed up with textures and other PP. There's a smidging of sensor dust in the top right third that I would have cleaned up a bit but apart from that It's straight out the box.
So, here it is, shot straight into the sun using a 75-300mm (almost fully extended) proper minolta glass through f.25 @1/100th.
I hope you like it naked!!!!
This photo was taken on an early walk on Rialto Beach in Olympic National Park in Washington State, USA. This photo was processed in an HDR program.
About this photo: On our last day in Olympic National Park we spent most of the afternoon at Rialto Beach where we walked to "Hole in the Wall" at low tide. When the sun was starting to go down, we settled ourselves at some logs on the beach to enjoy the sunset. My eye fell on this huge log sitting on the beach with a big hole in it...I decided I'd have a closer look and noticed you had a nice little view through this natural window. I just had to take a photo of it!
~Camera Settings:
*Camera Model: Sony DSC-H5
*Focal Length: 6mm
*F-Number: F/5.8
*Exposure Time: 1/125 sec.
*ISO Speed: ISO-125
*Exposure Program: Aperture Priority (A)
*Exposure Compensation (E/V): -0.7 step
I used a polarizing filter for the original photo and then processed it in an HDR program. I also ran this photo through NeatImage to get rid of accessive noise.
Thank you for dropping by!
Ann :)
Some information on Rialto Beach: Rialto Beach is one of the most accessible of the West End beaches. It is also one of the most popular beaches on the Olympic Peninsula. Rialto Beach boosts some of the most awesome views of the Pacific Coast. Just a few miles away from the small town of La Push, Rialto Beach is an easy hike, with Hole-in-the-Wall a popular destination.
Rialto Beach starts at the mouth of the Quillayute River and extends 6.5km/4mi past sea stacks and tide pools. The winter months bring heavy storms which can be enjoyable to watch, as well as rewarding. As the beach turns northward, Cake Rock is the massive sea stack that rises far up out of the churning sea. Dahdayla Island is also a sight to see but is much closer to the beach. It is recommend coming at low tide, but you can traverse the beach quite nicely no matter what tide it is.
Some information on Olympic National Park: Olympic National Park is located on the Olympic Peninsula west of Seattle and in the most north western corner of the mainland of the USA. This park is such a diverse and amazing place to visit. No wonder they say it's 3 parks in one! You can enjoy the amazing surf and beautiful beaches, you will see a spectacular alpine country dotted with sparkling lakes, lush meadows, glaciers, waterfalls and North America's finest temperate rain forest.
Olympic National Park is a wilderness park with much of its interior accessible only by trail. A variety of roads lead off the major Highway (101) to various destinations around the park. There are several scenic drives including the drive to Hurricane Ridge, along the Pacific Coast and through the forested valleys of the Sol Duc, Hoh and Quinault Rivers. This all provide glimpses of Olympic National Park's diversity.
My dear friends, this is my last upload for 2012.
As I did in 2010 and 2011, it is time to take a look back.
This has been an extremely intense year, with great ups and downs.
Many things happened, some of which provided sheer joy, others extreme sorrow. Some were 'caused' by me, some weren't.
Anyway, all these events will be essential to my turning point in 2013.
When I take a look at the resolutions for my 2012, I am definitely happy about how this year actually went.
I was able, for the first time, to concentrate on monothematic projects; I joined some important contests and photographic meetings, receiving a really positive feedback; I attended the greatest number of exhibition I could imagine and I didn't give up training.
I also improved in architecture photography, and bought an Epson 3880 printer and start to experiment with it.
I couldn't set up a full 'printing system' because of the prohibitive costs associated to it; moreover I couldn't spend all the time I wanted with printing, but I will fix that in 2013.
As for #8, I took very little time with multiple lights setups, but I am approaching still life photography and will be experimenting with multiple lights and eventually get proficient with those during this next year.
Time to set out my resolutions for 2013!!! (as always, random order, limited to eight)
1) Keep improving myself: study, read, attend museums and exhibitions, listen to music (gotta celebrate Verdi and Wagner's 200th birthday!);
2) Make my agency, Glass Star Agency, up and running at full speed;
3) Approach Still Life and Portrait photography;
4) Keep up with training;
5) Become proficient with printing, framing and matting;
6) Meet some new people with similar interests - Travel;
7) Complete at least two NEW monothematic projects - Enter them in International Competitions;
8) Last but not least: decide about my future (already made some big improvements over last year, but still far away from my goals!)
I will work all myself into pursuing those, especially #2 (which will eventually help me solving #8).
Anyway, if you want to meet up, I will be in Rome with Michael Diblicek from the 3rd until the 8th of January.
Send me an email with your phone number, I'll be glad to call you back and schedule a meeting!
Hope your 2012 has been extremely good; wish you a fantastic 2013 full of joy, happiness and freedom.
Some self promotion: don't forget to take a look at My Facebook Page: Have a look and help me growing by sharing and liking it!
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Cari Amici,
anche per quest'anno è arrivato il momento di 'tirare le somme'.
Il 2012 è stato estremamente intenso, caratterizzato da enormi alti e bassi; sono passato da immense gioie ad una situazione più complessa, caratterizzata da un susseguirsi di diversi momenti difficili.
Sono sicuro che comunque tutto questo contribuirà alla mia crescita personale ed alla mia svolta nel 2013.
Avendo appena letto i proposti per il 2012, non posso che dirmi soddisfatto.
Per la prima volta mi sono concentrato su progetti monotematici, che mi hanno arricchito moltissimo.
Ho partecipato a concorsi e ricevuto i primi importanti riconoscimenti.
Ho speso moltissime giornate in musei, mostre e luoghi magnifici, ho viaggiato quasi quanto avrei voluto e non ho abbandonato l'allenamento.
I punti su cui mi vedo più debole sono il numero 1 ed 8: ho acquistato una stampante (Epson 3880) ma non ho avuto il tempo di sfruttarla come avrei dovuto.
Il punto 8, invece, è stato quello che ho maggiormente trascurato.
Nei prossimi mesi comunque (per cause di 'forza maggiore') affronterò la fotografia Still Life ed aumenterò la mia preparazione nella gestione di sistemi a più luci.
Visto che il passato è passato, è tempo di elencare i propositi per il 2013:
(ordine casuale)
1) Continuare il mio processo di crescita personale: studiare, leggere, visitare mostre e musei, ascoltare musica (anche per celebrare il duecentesimo compleanno di Verdi e Wagner!)
2) Avviare, promuovere e dedicarmi alla mia agenzia Glass Star Agency;
3) Affrontare la fotografia Still Life e di ritratto;
4) Continuare l'allenamento;
5) Perfezionarmi con la stampa, il montaggio e l'incorniciatura;
6) Incontrare nuove persone con gli stessi interessi - Viaggiare;
7) Portare a termine almeno DUE progetti monotematici - Partecipare ad altri concorsi internazionali;
8) Ultimo, ma sicuramente non meno importante: decidere del mio futuro! (ho sicuramente fatto diversi passi avanti dallo scorso anno, ma sono ancora lontano dalla meta)
Dedicherò tutto me stesso per seguire questi propositi, specialmente il numero 2 (che sicuramente aiuterebbe a risolvere il numero 8).
Ad ogni modo, dal tre all'otto Gennaio sarò a Roma, con Michael Diblicek; se vi trovate da quelle parti, mandatemi una mail con il vostro numero: sarò felicissimo di chiamarvi e fissare un incontro!
Spero che il vostro 2012 sia stato estremamente positivo; vi auguro un 2013 fantastico, pieno di gioia, serenità e libertà.
Un po' di auto-promozione: La mia Pagina Facebook:Date un'occhiata e non dimenticatevi di cliccare 'mi piace' e condividere!!!
Details
- CANON 5d Mark II IR, EF 17-40 @ 40 mm, f/8, 91 s, ISO 100
- Mirror Lockup, Remote Shutter
- Lee Big Stopper (10 stops ND)
- Tripod
The shot
Shot during my week workshop in Tuscany, last April
The Processing
Photoshop:
- Black and white conversion using Silver EFEX Pro 2;
- Added many Soft Light layers to adjust light;
- Addes some custom shaped localized gradients to add mystery;
- Added two curve layers to adjust contrast;
- Added a Level layer to improve contast;
- Resized for the Web (1200px);
- Applied an Unsharp Mark to slightly improve contrast;
- Applied some slight noise reduction in the sky;
- Smart Sharpen + More accurate (with the sky masked off);
- Framing and Signature.
Take a look at it, LARGE on Black :
Thank you, I will be visiting your streams tonight
www.moc-pages.com/moc.php/449180
Name: Miseuron
Species: Makuta
Occupation: Captain to the Corrupted Crown
Titles: The Mind Machine, The Machine with No Touch
Alignment: Evil
Personality: He is calculated, cold, intelligent. He relies on his knowledge and his love for secrets to gain the upper hand
Element: Shadow
Side Powers: Unmatched telekinetic prowess, 42 Rahkshi powers
Kanohi: Avsa
Weapons: None
Backstory:
Miseuron is a dear ally to the Corrupted Crown. During the early years of the Corrupted Crowns plans to rule over Aeos, he was involved in mortal combat with Toa Raphael. Toa Raphael, being a very adept Toa of gravity, was able to match Miseuron’s telekinetic ability to a point. The battle left Miseuron in a fatal state. Left forsaken on a concrete bridge, the Corrupted Crown recovered him before he could breathe his last breath. The Corrupted Crown worked with his allies to preserve Miseuron’s vitality, producing for him a suit that could give him constant life support and essential needs for life. Without this suit, Miseuron would surely perish from his wounds. Ironically enough, this protosteel prison had also released a new potential in his telekinetic abilities, increasing them tenfold. His new telekinetic abilities let him repel the strongest of blasts, the heaviest of objects, and the most powerful of foes. Miseuron is not usually one for revenge, but he secretly waits for the day that he can eliminate his rival, Toa Raphael, and leave his body to rot in stone.
Body credit goes to Levi Acosta
Give me a whisper
And give me a sigh
Give me a kiss before you tell me goodbye
Don't you take it so hard now
And please don't take it so bad
I'll still be thinkin' of you
And the times we had... baby.
MetereOpatia mOde: ON!
La mia canzOne del giOrnO. ♪
No groups invites or images in my comments, please .
Niente inviti o icone di gruppi nei miei commenti, grazie 1000!
Zoo - Barcelona (Spain).
ENGLISH
The Red Deer (Cervus elaphus) is one of the largest deer species. The Red Deer inhabits most of Europe, the Caucasus Mountains region, Asia Minor and parts of western and central Asia. It also inhabits the Atlas Mountains region between Algeria and Tunisia in northwestern Africa, being the only species of deer to inhabit Africa. Red Deer have been introduced to other areas including New Zealand and Argentina. In many parts of the world the meat (venison) from Red Deer is widely used as a food source.
Although at one time Red Deer were rare in some areas, they were never close to extinction. Reintroduction and conservation efforts, especially in the United Kingdom, have resulted in an increase of Red Deer populations, while other areas, such as North Africa, have continued to show a population decline.
More info: en.wikipedia.org/wiki/Red_Deer
---------------------------------
CASTELLANO
El ciervo común, ciervo rojo "ciervo colorado" o venado (Cervus elaphus) es una especie de ciervo ampliamente distribuida por el Hemisferio Norte. Se han documentado unas 27 subespecies distintas con un rango de distribución que se extiende desde el Magreb, la Península Ibérica y Gran Bretaña hasta gran parte de América del Norte, que se diferencian entre sí por el tamaño, longitud y color del pelo y forma de las cuernas. Las seis subespecies de uapitíes norteamericanos, antaño clasificados en la especie propia Cervus canadensis, se clasifican actualmente como subespecies de Cervus elaphus.
El ciervo común es un ciervo de gran tamaño (sólo superado por el alce dentro del conjunto de los cérvidos vivos), con un tamaño ordinario de 160 a 250 centímetros de longitud y un peso en los machos de hasta 200 kilos. Esta especie presenta dimorfismo sexual, siendo las hembras más pequeñas y menos corpulentas que los machos. Los individuos de sexo masculino presentan cuernas que renuevan cada año y, en algunas subespecies, una densa melena de pelo oscuro en cuello y hombros. El color del pelo es normalmente pardo en todo el cuerpo salvo en el vientre y los glúteos, blanquecinos, y puede variar en la intensidad de su tonalidad según los individuos. Las crías de pocos meses presentan una coloración rojiza, con manchas y rayas blancas que les ayudan a esconderse de los depredadores.
Más info: es.wikipedia.org/wiki/Cervus_elaphus
Dad's Cameras Inheritted On Black
Photochange Day #263: Camera
Dad had few beautiful cameras!! We were not allowed to touch!! I still remember the clicks, the rewinding sounds and how we had to stay still for him to focus and him saying "I need your nose" for profile portrait, or "without moving raise your index" for full face individual or family portraits!! When he realized how poor quality prints I had with my automatics/instamatics he gave me his Kodak Retina III C (the lower from the two)!!! The Argus stayed with my brother after dad passed 20 years ago!!!
Last year my brother said you can have the Argus if you like you're crazier than I am about photography and cameras!!!
Today these two cameras, in their original cases, the way dad had them set and all are showcased in place of honor in my wall unit. Pull them out little while ago, and memories rushed into my mind. It took me few hours to decide should I take a shot? should I post? Here they are a little piece of my past with today's photochallenge assignment.
Thanks for stopping by and commenting!!
Your can still comment on my previous if you like!!