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Profile photo of Paul Sass, well known in the cage fighting circle for his ability to finish off his opponent with a (I think this is correct) rear naked choke.
Tonight is cage fighting night followed by me getting up early to watch the Formula One in Japan. I'm going to function so well on Sunday!
It's not just the bears that get big in Alaska! This red squirrel weighs between 400-800 - grams that is. :-)
Thought that I would have a little fun with this one...
On our recent trip, we decided to take a jet boat ride out to the Knik Glacier. The Knik is one of the largest glaciers in SC AK, 28 mi long and 5 mi across. We had never visited there yet, so thought we would see it this year.
While we were there at the glacial camp, we could see a bear WAY up on a distance mountain, foraging on the vegetation. Other than that, we didn't really see too much, as we sat around and shared stories with our fellow tour passengers. They gave us hot chocolate and trail mix, which was really nice since it really was a cold and dreary afternoon.
At one point, as we sat at the camp, we heard a thunder, which could only mean one thing.... calving of the glacier. We all ran to see it. An iceberg split in half and revealed itself to us - the most beautiful color of blue ever (will share that photo on a later post). As we retreated to the camp area, we noticed that a thief had been in our area. It was our little red squirrel, who was none too shy and would allow me to get as close as I wanted to him.
I have to admit, when I looked at those beady eyes and his quick movements, I was a bit scared being all in it's face. LOL
Sometimes when visiting a state known for it's wildlife, you learn to take what you get, and so, I share this one with you all. But honestly, on our way to the tour headquarters cabin, we did see several moose crossing the road and numerous birds soaring overhead.
Thanks so much for your views and your comments!
Happy Hump Day!
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Es tan grande la ameba sol, que un solo corazón no le basta, por eso la ameba sol Actinosphaerium llega a tener centenares de núcleos, para poder crecer, para poder flotar, para poder vivir, quizá también para poder amar. Es tan grande la ameba sol que sus ensaladas de joyas de diatomea no se sirven en un plato, las bebe directamente del agua, es tan grande la ameba sol, que como el más terrible de los ogros de cuento, cuando se come a otra ameba, la engulle con su casa de piedra entera. Es tan grande la ameba sol que su célula única puede tragar de un bocado a los centenares de ellas que forman el cuerpo de los pequeños animalitos, como los rotíferos, que merodean a su alrededor distraídos o atraídos por su belleza de sol y de luna.
Los finos brazos de Actinosphaerium son rayos de sol por el día y redes de día y noche, en ellos quedan atrapados los pequeños seres que se acercan a él, como los brazos de las hidras, anémonas y medusas, pero rígidos. Los de la ameba sol están salpicados de tricocistos, pequeños abultamientos con minúsculos arpones que se disparan al más leve roce inmovilizando así a sus posibles presas.
Poco a poco la presa capturada por los brazos de la ameba sol va siendo atraída hacia el interior de su cuerpo, arrastrada lentamente por la película móvil que recubre cada unos de sus brazos y atrapada finalmente por las burbujas de gelatina que modelan la forma esférica de esta ameba sol, estrella de día y luna adornada de joyas por la noche.
Actinosphaerium vive flotando entre dos aguas, camuflado entre la vegetación acuática, se mueve también lentamente, como un astro vivo en el agua y su universo.
La imagen de la galería se ha tomado en una muestra que procede de una laguna situada en las inmediaciones de Mahíde (Zamora) en las estribaciones de la Sierra de la Culebra, y la mostramos aquí fotografiada a 200 aumentos utilizando la técnica de campo oscuro.
Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
From Wikipedia
The Huntington Beach Pier is a municipal pier located in Huntington Beach, California. At 1,850 feet (560 m) in length, it is one of the longest public piers on the West Coast. (The longest is Oceanside Pier at 1,942 feet). It has been damaged or destroyed four times; in 1912, 1939, 1983 and most recently on January 17, 1988 destroying the End Cafe for the second time in the decade.
The most recent reincarnation of the pier is designed of reinforced concrete to withstand 31-foot (9.4 m) waves or a 7.0 magnitude earthquake and uses an increased space between piles to accommodate surfers - as requested by the City. The pier slopes gently up toward the seaward end in a straight line which alternates with three octagonal platforms and one rotated square (108 feet on a side) that forms a diamond at the pier's seaward end. Not only is the pier structurally sound, it also retains a number of design elements from the original pier including haunches at the pile caps and corbels supporting light standards.
The pier is frequented by sport fishermen as well as surfing spectators. A restaurant is located at the end of the pier.
PhotoAwardsCounter
Click here to see the awards count for this photo. (?)
View Large and on Black. Looks more like a painting, less like a photo. It's supposed to look like a painting, and "over processed".
Watch out, because she's gunna get you. Ok folks, here you go: The first of two insane edits, edited with Corel Painter 9.5. I was going for the "painting" effect. I'm very proud. I think It turned out amazing. If anyone wants to see the originals let me know. Also, my bone structure an everything like that: Not edited. I really do have those type of cheeks, and those lips, and that shaped nose, and those shaped eyes. I just don't have the light green irises, the platinum hair, or the flawless skin. Unfortunately...
Also, this is my alter ego. I really feel if I cracked my personal shell, I would be this daring, dangerous little kitten. Too bad, because that's just my Ideal. I'm far too happy-go-lucky/ real person to pull this off. Oh, only in my dreams. At least I can look it for now. That's the best part about photography: You can just be YOU.
After some comments: I would really like to know how people can rave about photos that are so over processed, like HDR photos, and other 'shopped photos, but when it comes to a photo turned painting (mind you a majority digital artists works this way) or EVERY edit of some woman, gets so much crap. How is adding a dosage of fantasy so horrible in comparison to the extreme edits of fashion photograph? I guess I'm beginning to rant, but I honestly do appreciate the opinions. I just wish people would approach this from a digital artist's P.O.V. rather than a photographers. And by digital artist I don't mean someone who does post processing, and editing, I'm talking about someone who creates art from a photo. What ever though.
PS: When rating photos, don't put something like ':) I like!' with a rating of 4/10. Just an example. It not only pisses me off, but it pisses off EVERYONE who gets ratings like that.
La, la, la. Sorry for the rant, I'm in a pissy mood...
Anyways I was going for something a little elf/ fairy/ nymph ish.
Here is the original. It was dusk out, so I just used the built in flash.
Architect: József Vágó www.art-nouveau.hu/art.php?menuid=2&id=107
Cooperating artists were the greatest Hungarian painters and sculptors of the period:
József Rippl-Rónai
www.hung-art.hu/frames-e.html?/english/r/rippl-ro/index.html
commons.wikimedia.org/w/index.php?title=Special%3ASearch&...
Béla Iványi-Grünwald
en.wikipedia.org/wiki/B%C3%A9la_Iv%C3%A1nyi-Gr%C3%BCnwald
hu.wikipedia.org/wiki/Iv%C3%A1nyi-Gr%C3%BCnwald_B%C3%A9la
Vilmos Fémes Beck
commons.wikimedia.org/wiki/F%C3%A9mes_Beck_Vilmos
hu.wikipedia.org/wiki/F%C3%A9mes_Beck_Vilmos
Zsolnay:
About the building, architect and owner:
www.sziabudapest.com/text/2011april_en.php
www.sziabudapest.com/text/vago_jozsef_en.php
Magyarul:
hg.hu/cikk/epiteszet/12623-a-szecesszio-elfelejtett-meste...
artportal.hu/kislexikon/vago_jozsef
Magyarul:
vam.gov.hu/muzeum/pages/schiffer_villa.html
There was a fountain in front of the window, work of Vilmos Fémes Beck, it was destroyed during WW2.
Stained glass windows by Károly Kernstok (Budapest, 1873 - 1940)
www.google.hu/search?q=kernstok+k%C3%A1roly&hl=hu&...
One of Hungary's most influential early twentieth century artists, Karoly Kernstok first studied painting techniques at the Budapest School of Design. He then went to Munich in 1892 to study under Simon Hollosy. Karoly Kernstok concluded his formal education at the Academie Julian, Paris, from 1893 to 1895 and at Benczur's School, Budapest, from 1896 to 1899. Kernstok's first major exhibitions took place in Budapest in 1897. Three years later one of his paintings was awarded a bronze medal at the Universal Exposition in the United States.
Karoly Kernstok's initial works were figure studies and genre depictions, largely in the vein of Hungarian turn-of-the-century early social realist painting. By 1906, however, his art began exploring stylized elements and postimpressionist techniques, and thus he became a leading exponent of modernism. In 1910, Karoly Kernstok was a founding member of the Nyolcak (Group of Eight) painters. Briefly this important movement advocated expressionism and an emphasis upon the body within space. It drew upon such divergent forms as Art Nouveau, Fauvism and native Hungarian art forms. The Nyolcak was also somewhat political and, through the art of its participants, attempted to move Habsburg Hungary toward a democratic republic. Karoly Kernstok's 1910 painting, Riders on the Shore, became a major catalyst for the art of Nyolcak (Group of Eight). During this period, Karoly Kernstok designed and painted major frescoes and glass windows for the Schiffer-villa (1911) and the County Hall, Debrecen.
Karoly Kernstok moved to Berlin in 1919. He both lived and exhibited in that city until his 1926 return to Hungary. For the following fourteen years the artist continued to paint and etch major works of art, often exploring and incorporating elements of ancient Etruscan art. As well, Karoly Kernstok established an art school in the Nyergesújfalu region of Hungary.
Today the art of Karoly Kernstok is found in most major Hungarian collections, including the Hungarian National Gallery, Budapest
Kernstok Károlyról (Ady csodálatos versével):
Firefighters' demonstration in Paris.
Riot police is blocking the way to the "périphérique" (ring road around Paris) near Porte de Vincennes, to prevent the demonstrators reaching it. The reddish / pink color comes from the flares thrown by the demonstrators, and you can see the water canon in action.
Straight out of the camera (no crop, no adjustment).
Part of "Au feu, les pompiers !" (please watch in the order of the set, to better understand the chronology of events)
Visited this place last Sunday (2Aug09).
90km from Bangalore.
I came to know that there are 86 laks of lingas are present. They plan to make 1 crore. That is why this is called Koti (1 crore) lingeshwara temple.
Kotilingeshwara is the presiding deity of the temple of the same name in the village of Kammasandra in India. Kammasandra is a small village situated in Kolar district of Karnataka state. It is about five kilometers from Kolar Gold Fields and about 6 Kilometers from Aalamaram. This place has the distinction of having the biggest Shivalinga in the world.
Used 10mm.
ALL RIGHTS RESERVED!
© Murali Alagar Photography
muraliwind@yahoo.com
★ ☆
-->> That's what it was all about, Man .. growin' up in the '90s, Man - - it was alla'bout "BREAKIN' ALL THE RULES" randomly, Man. Not conformin' to society's standards, Man .. and provin' to the world you were a real stinker, Man .. and you enjoyed every single fuggin' minute of it, Man !!
Dive' bomin' a RANDOM ..steamin' hot slice'a pizza,Man - WITH YOUR EYES CLOSED. Vibrant Neon ball-caps tilted to the side let society KNOW ..YOU WERE A NON-CONFORMIST,MAN .. YOU WEREN'T PLAYIN' BY THEM B8TCHES RULES !!
"No, Siree BOB'AROO-SKIE" .. as we used ta say in the '90s, Man. We rode our skateboards down random, obscure suburban streets - causing all sortsa of'a rukus and shenanigans just like out hero Bart Simpson, Man.
Yeah, Man .. we wore our sneakers with the laces untied IN SPITE OF THE LAW, MAN !! !! !! And about a 1/4 of us usually fell off the skateboards, tripped over the laces & slammed our skulls on the pavement rippin' up our fancy Turtle fleeces, and gettin' our blocks knocked off ( as well as our neon ball-caps ) by the big bully that usually had less than flattering things to say about out freakish '90s decorum. Yeh, there's pizza on ya face, Kid !!
Awe' - these fuggin' ol' ad clippings are pretty awesome, Man.
Oi !!
~ t
Ski Blue and Black Jackson Browne
My Books:
My book "Discover GUIMERÀ" (preview)
My book "Discover SANTA PAU" (preview)
My book "Discover BESALÚ" (preview)
In the calling out to one another
Of the lovers up and down the strand
In the sound of the waves and the cries
Of the seagulls circling the sand
In the fragments of the songs
Carried down the wind from some radio
In the murmuring of the city in the distance
Ominous and low
I hear the sound of the world where we played
And the far too simple beauty
Of the promises we made
If you ever need holding
Call my name, I'll be there
If you ever need holding
And no holding back, I'll see you through
Sky, sky blue and black
Where the touch of the lover ends
And the soul of the friend begins
There's a need to be separate
and a need to be one
And a struggle neither wins
Where you gave me the world I was in
And a place I could make a stand
I could never see how you doubted me
When I'd let go of your hand
Yeah, and I was much younger then
And I must have thought that I would know
If things were going to end
And the heavens were rolling
Like a wheel on a track
And our sky was unfolding
And it'll never fold back
Sky blue and black
And I'd have fought the world for you
If I thought that you wanted me to
Or put aside what was true or untrue
If I'd known that's what you needed
What you needed me to do
But the moment has passed by me now
To have put away my pride
And just come through for you somehow
If you ever need holding
Call my name, I'll be there
If you ever need holding
And no holding back, I'll see you through
You're the color of the sky
Reflected in each store-front window pane
You're the whispering and the sighing
Of my tires in the rain
You're the hidden cost and
the thing that's lost
In everything I do
Yeah and I'll never stop looking for you
In the sunlight and the shadows
And the faces on the avenue
That's the way love is
That's the way love is
That's the way love is
Sky blue and black
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
View On Black • Funny how things happen sometimes.
Today I was back at the agency. Couldn't wait this morning because I had a brand new computer under my desk. The latest Mac Pro, fully geared to do video editing... WOW!
Had a meeting with my Nivea client and then I had a shoot for something else. And decided to do it in the deserted floor right above the agency. I had to wait a bit since the person I was filming was late, so I decided to give a try for my 365! :)
Belgium.
National Botanic Garden.
www.br.fgov.be/PUBLIC/GENERAL/index.php
Melaleuca citrina or Callistemon citrinus is a shrub growing to 5 m (20 ft) tall but more usually in the range 1–3 m (3–10 ft) high and wide. It has hard, fibrous or papery bark and its young growth is usually covered with soft, silky hairs. Its leaves are arranged alternately and are 26–99 mm (1–4 in) long, 4–25 mm (0.2–1 in) wide, hard, flat, narrow egg-shaped with the narrower end near the base and with a pointed but not sharp end. There are between 7 and 26 branching veins clearly visible on both ides of the leaves and a large number of distinct oil glands visible on both surfaces of the leaves.
The flowers are red and arranged in spikes on the ends of branches which continue to grow after flowering and sometimes also in the upper leaf axils. The spikes are up to 45–70 mm (2–3 in) in diameter and 60–100 mm (2–4 in) long with up to 80 individual flowers. The petals are 3.9–5.8 mm (0.15–0.23 in) long and fall off as the flower ages. There are 30 to 45 stamens in each flower, with their "stalks" (the filaments) red and "tips" (the anthers) purple.
Reddish pigment blotching of body extends subepidermally into mesial face of cerata (1), often reaching half way up or further on large specimens. Upper surface of foot translucent white with no reddish pigment (2).
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Doto coronata Gmelin, 1791
Current taxonomy; World Register of Marine Species
www.marinespecies.org/aphia.php?p=taxdetails&id=139631
Synonyms
D. coronata was formerly an aggregate of species, many of which have now been segregated; seven are listed in 'Similar Species' below. It may still have other undescribed species within it.
GLOSSARY BELOW
Body description
Usually up to 12 mm long, exceptionally to 15 mm. Translucent whitish with dorsal blotches and streaks of red surface pigment extending between cerata onto flanks, but not around immediate base of each ceras (fig.1 flic.kr/p/SCsNxg ) and not onto upper surface of foot (fig. 2 flic.kr/p/Sr7NE2 ). Intensity of markings varies; if not too intense, yellowish spheroids of the ovotestis may be seen through the translucent dorsum within the body of mature individuals (fig. 3 flic.kr/p/SCsNii ). Pigment reduced or absent on juveniles (fig. 4 flic.kr/p/SCsZh2 ). There are a dorsolateral anal papilla between the first and second ceras on the right (fig. 5 flic.kr/p/SCsMX8), and a hermaphrodite genital papilla below the first ceras, sometimes with the penis partly extruded (fig. 6 flic.kr/p/Sr7N4T ).
The head has a crescentic oral veil, which extends into lateral flaps when spread (fig. 7 flic.kr/p/SCsMPx ), but no oral tentacles. A slight head crest runs from in front of each rhinophore to the base of the oral veil (fig. 5 flic.kr/p/SCsMX8 ); but they are often inconspicuous (fig. 8 flic.kr/p/Sr7MVX ); Thompson and Brown (1984) did not detect them, but they were described by Shipman & Gosliner (2015).
Reddish pigment on the dorsal surface of the head extends back between the rhinophores and forwards onto the central part of oral veil, but pigment is usually slight or absent laterally on the head and veil flaps (fig. 8 flic.kr/p/Sr7MVX ). The finger-like, smooth, translucent, white rhinophores have variable amounts of opaque white freckling (fig. 7 flic.kr/p/SCsMPx & fig. 9 flic.kr/p/Sr7Mtz ), mainly in the distal half. Each arises, tilting forwards, from a translucent white basal sheath with a smooth rim which is dilated, particularly at the front. The sheath usually has a few white pigment spots and, sometimes, some reddish pigment (fig. 9 flic.kr/p/Sr7Mtz ).
There is a longitudinal row of single cerata on each side of the body. The number of cerata in each row increases with growth to seven or eight
(fig. 4 flic.kr/p/SCsZh2 ); the most recent addition, at the posterior, is often small and easily overlooked (fig. 10 flic.kr/p/Sr7MeM ). The size of cerata varies; when they are plump and held over the body, little of the dorsum is exposed (fig. 9 flic.kr/p/Sr7Mtz). Cerata are translucent whitish, revealing the red, orange, white (fig. 4 flic.kr/p/SCsZh2 ) or pink (fig. 10 flic.kr/p/Sr7MeM ) internal digestive gland which extends almost to the apex as there are no cnidosacs. The colour of the digestive gland is influenced by diet; juveniles may feed on hydroid species different from those eaten by adults. The red pigment blotching of the body extends subepidermally into the mesial face of cerata, often reaching half way up or further (fig. 2 flic.kr/p/Sr7NE2 ) on large specimens, but less extensively on small adults (fig. 11 flic.kr/p/Sr7LVk ), and often absent on juveniles (fig. 12 flic.kr/p/Sr7LHB ). Each ceras usually has up to four (fig. 10 flic.kr/p/Sr7MeM ) rings of rounded b>tubercles, often with an indistinct partially formed fifth ring at the base, and a protruding apical tubercle. Internally, each tubercle usually has an apical reddish spheroid of varying shade and saturation (fig. 13 flic.kr/p/Sr7LDP ) and several sub-apical, white, granular bodies (fig. 10 flic.kr/p/Sr7MeM ). Small juveniles lack well developed tubercles and reddish spheroids (fig. 4 flic.kr/p/SCsZh2 & fig. 12 flic.kr/p/Sr7LHB ), and some adults have them weakly developed or missing (fig. 14 flic.kr/p/SCsLuD ). The mesial faces of cerata sometimes have indistinct pseudobranchs.
The foot has a translucent white sole (fig. 15 flic.kr/p/RoqWK2 ), which reveals the yellowish spheroids of the ovotestis in mature individuals.
There are no propodial tentacles but, from above, the flaps of the oral veil might be mistaken for tentacles. The upper surface of the foot is translucent white with no reddish pigment. (fig. 2 flic.kr/p/Sr7NE2 ). The foot can spread wide to crawl on flat surfaces, or curl into a deep gutter to grip round the stem of hydroid prey (fig. 15 flic.kr/p/RoqWK2 ).
Key identification features
1: oligophage, reported to feed on a range of hydroid species, including Dynamena pumila (fig. 16 flic.kr/p/Sr7KUT ), Obelia dichotoma (fig. 17 flic.kr/p/2ms4kU2 ), Obelia geniculata (fig. 18 flic.kr/p/2ms4kS8 ) and Sertularia cupressina (fig. 19 flic.kr/p/2mrVEoW ).
2: red pigment extends half way up mesial face of cerata on large adults (fig. 2 flic.kr/p/Sr7NE2 ); “the most distinguishable characteristic of D. coronata” (Shipman & Gosliner, 2015) but pigment is less or absent on juveniles (fig. 12 flic.kr/p/Sr7LHB ) and see D. hydrallmaniae in ‘similar species’, below. Unless a juvenile is on an appropriate food hydroid, its identification is usually unreliable.
3: usually each ceras has up to four concentric rings of rounded tubercles, often with an indistinct partially formed fifth ring at base, (fig. 10 flic.kr/p/Sr7MeM ); tubercles may be absent on juveniles.
4: each tubercle has a red spheroid and several white granular bodies on adults (fig. 10 flic.kr/p/Sr7MeM ).
5: pseudobranchs indistinct or absent.
Similar species
Specimens identified in the past as D. coronata are in a complex of species that have since been segregated with molecular methods. Some unrecognised species in the complex probably remain to be discovered.
“Morrow et al. discovered D. hydrallmaniae and D. sarsiae with the use of morphology, early molecular methods, and hydroid prey. -- - The relationships of D. eireana, D. sarsiae, and D.hydrallmaniae to the true D. coronata also require further investigation since D. eireana’s relationship within the complex clade is unresolved and D. sarsiae and D. hydrallmaniae were not incorporated [in the Shipman & Gosliner study] owing to the absence of appropriately preserved material.” (Shipman & Gosliner, 2015).
Few recorders feel able to confidently identify D. eireana, D. sarsiae, D. hydrallmaniae and some other segregates by morphology alone, so identifications usually rely on the species of hydroid they are found on. This can lead to misidentification unless feeding, rather than mere presence, is observed. Seaslugs are often most easily noticed when displaced from their usual prey on which they are well camouflaged. Some consumed hydroids are small, unobtrusive species which live epizoically on larger hydroids, leading the latter to be mistakenly assumed to be the prey. Knowledge of which slug species feed on which hydroid species is incomplete. Assumed monophages may subsequently be found to be oligophages like D. coronata, which feeds on some hydroid species used by monophages. Collaborating identification evidence, such as morphology, should be used in addition to species of prey.
With the exception of some D. hydrallmaniae, none of the following segregates have reddish pigment on the mesial faces of their cerata resembling that on D. coronata. Links in the list are to on-line images and information in Picton, B.E. & Morrow, C.C., 2016. Encyclopedia of Marine Life of Britain and Ireland.
D. hydrallmaniae Morrow, Thorpe & Picton, 1992.
www.habitas.org.uk/marinelife/species.asp?item=W12795
1: monophage, feeds exclusively on Hydrallmania falcata (fig. 20 flic.kr/p/Sr7Ksk , fig. 21 flic.kr/p/2ms4mjF and
www.habitas.org.uk/marinelife/species.asp?item=D6530 ).
2: subepidermal, dark brown-red pigment on lower part of mesial face of cerata (fig. 22 flic.kr/p/Sr7M3K ) on many, but not all (fig. 21 flic.kr/p/2ms4mjF ) adults (so red mesial face pigment is not unique to D. coronata).
3: typically 5 or 6 rings of tubercles on the larger cerata, with up to 9 tubercles in the third ring from the top. (fig. 23 flic.kr/p/SyLuvJ ).
4: dark red spheroid and several white granular bodies in each tubercle on adults (fig. 22 flic.kr/p/Sr7M3K & fig. 21 flic.kr/p/2ms4mjF ).
5: tips of the large pseudobranchs reach the third ring of tubercles from the top of the ceras and have a dark red spheroid like that of the tubercles (fig. 24 flic.kr/p/Sr7LcM ).
6: oral veil rectangular with broad lateral flaps (fig.25 flic.kr/p/Sr7JRv ).
Red pigment extending up to half way up the mesial face of cerata [on adults] is “the most distinguishable characteristic of D. coronata” (Shipman & Gosliner, 2015). D. hydrallmaniae is an exception to this is with “dark red marks on the inner faces of the cerata” (Morrow et al., 1992) on most specimens, though not the one in fig. 21.
D. sarsiae Morrow, Thorpe & Picton, 1992. www.habitas.org.uk/marinelife/species.asp?item=W12885
Feeds on Coryne eximia (fig. 26 flic.kr/p/2mrVET3 and
www.habitas.org.uk/marinelife/species.asp?item=D1700 ).
Specimens which might be D. sarsiae were found on Garveia nutans (fig. 27 flic.kr/p/SyLrSN and www.habitas.org.uk/marinelife/species.asp?item=D3180 ), but they did not exactly fit the description of D. sarsiae as, apart from their prey differing, their cerata had high apical tubercles, many or all of which contained no reddish spheroid.
D. dunnei Lemche, 1976.
www.habitas.org.uk/marinelife/species.asp?item=W12770 Genetically very close to D. millbayana, might be conspecific (Shipman & Gosliner, 2015).
Feeds on Kirchenpaueria pinnata (fig. 28 flic.kr/p/2ms4mgQ and www.habitas.org.uk/marinelife/species.asp?item=D5850 ).
D. eireana Lemche, 1976. www.habitas.org.uk/marinelife/species.asp?item=W12780
Feeds on Amphisbetia operculata (fig. 29 flic.kr/p/2ms1QmN and www.habitas.org.uk/marinelife/species.asp?item=D6320 ).
D. koenneckeri Lemche, 1976. www.habitas.org.uk/marinelife/species.asp?item=W12810
Feeds on Aglaophenia pluma (fig. 30 flic.kr/p/2ms1Qdm and
www.habitas.org.uk/marinelife/species.asp?item=D5540 ).
D. maculata (Montagu, 1804).
www.habitas.org.uk/marinelife/species.asp?item=W12830
Feeds on Halopteris catharina (fig. 31 flic.kr/p/2ms4m1E and
www.habitas.org.uk/marinelife/species.asp?item=D5780 ).
D. millbayana Lemche, 1976.
www.habitas.org.uk/marinelife/species.asp?item=W12840 Genetically very close to D. dunnei, might be conspecific (Shipman & Gosliner, 2015).
Feeds on Plumularia setacea which often grows on larger hydroids. (fig. 32 flic.kr/p/2mrZGSp and
www.habitas.org.uk/marinelife/species.asp?item=D6050 ).
Habits and ecology
D. coronata lives on the lower shore and sublittoral on hard substrate with hydroids. It is a generalist feeder (Shipman & Gosliner, 2015) and has been reported from a wide range of hydroids, but some records were of species now segregated from D. coronata. Specimens with D.N.A. conforming to that of the neotype established by Shipman & Gosliner (2015) were obtained by them from Obelia dichotoma (fig. 17 flic.kr/p/2ms4kU2 and www.habitas.org.uk/marinelife/species.asp?item=D7300 ), Obelia geniculata (fig. 18 flic.kr/p/2ms4kS8 and www.habitas.org.uk/marinelife/species.asp?item=D7310 ),
and Sertularia cupressina (fig. 19 flic.kr/p/2mrVEoW ). Intertidally, I have found numerous specimens on Dynamena pumila (fig. 16 flic.kr/p/Sr7KUT ) that morphologically match the redescription of D. coronata by Shipman & Gosliner (2015) (fig. 33 flic.kr/p/SCsKxZ ). Lemche (1985, in Picton & Morrow 2016) opined that D. onusta Hesse, 1872 specializes on Dynamena pumila, but none of the Doto specimens that I found on it had the black markings described by Hesse or illustrated tentatively at www.habitas.org.uk/marinelife/species.asp?item=W12860 . Dotidae differ from Aeolidiidae in avoiding the polyps of hydroids containing the stinging nematocysts by puncturing the stalks and sucking out the contents. Consequently, they have no need for cnidosacs to store ingested nematocysts.
D. coronata is a simultaneous hermaphrodite. It matures sexually at a small size; spawn masses vary with the size of the animal. The spawn is a white or pinkish-white band crimped into a regular Greek key pattern; a thin, adhesive line of mucus appears to hold the crimps in position (fig. 34 flic.kr/p/S3AXnd ). It breeds in most months, with up to four generations per year. Shelled veligers live in the plankton before transforming into adults.
Distribution and status
D. coronata is found from Iceland and Spitzbergen to the Mediterranean, and in New England, USA. Records from South Africa are another species (Shipman & Gosliner, 2015), GBIF map www.gbif.org/species/5190041 . It is widespread and often common in Britain and Ireland, but many records are of species now segregated from D. coronata sensu lato or are species yet to be recognised. UK map species.nbnatlas.org/species/NBNSYS0000175014
Acknowledgement
I thank Justin Evans of www.justinevans.co.uk for use of his image of Doto hydrallmaniae.
References & links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society.
www.biodiversitylibrary.org/bibliography/65015#/summary
Index, old nomenclature; most listed in genus Eolis or Doris, at www.biodiversitylibrary.org/page/41958183#page/551/mode/1up .
Hesse, H. 1872. Diagnoses de nudibranches nouveaux des côtes de Bretagne. Journal de Conchyliologie. 20: 345-348.
www.biodiversitylibrary.org/page/15684555#page/352/mode/1up .
Hincks, T. 1868. A history of the British hydroid zoophytes vol. 1 & 2. London, Van Voorst.
www.biodiversitylibrary.org/item/16848#page/7/mode/1up .
Morrow, C.C., Thorpe, J.P. & Picton, B.E. 1992. Genetic divergence and cryptic speciation in two morphs of the common subtidal nudibranch Doto coronata (Opisthobranchia: Dendronota: Dotoidae) from the northern Irish Sea. Mar. Ecol. Prog. Ser. 84: 53 to 61. www.int-res.com/articles/meps/84/m084p053.pdf? .
Picton, B.E. & Morrow, C.C. 2016. Encyclopedia of Marine Life of Britain and Ireland www.habitas.org.uk/marinelife/species.asp?item=W12740
Shipman, C. & Gosliner, T. 2015. Molecular and morphological systematics of Doto Oken,1851 (Gastropoda: Heterobranchia), with descriptions of five new species and a new genus. Zootaxa 3973 (1): 057 to101.
www.researchgate.net/publication/278374256_Molecular_and_...
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Current taxonomy; World Register of Marine Species
www.marinespecies.org/aphia.php?p=taxdetails&id=139631
GLOSSARY
anal papilla = small nipplelike protruberance bearing anus.
cerata = (sing. ceras) lobes on dorsum of Aeolidiidae and some other seaslugs, including Dotidae.
cnidaria = hydroids, jellyfish, sea anemones etc.
cnidosac = storage capsule at tips of cerata of Aeolidiidae, but not Dotidae, for ingested unexploded nematocysts.
dorsolateral = at or near junction/merging of dorsal and lateral surfaces.
epizoic = living on the exterior of another living animal.
gastrozooid = feeding polyp of a hydroid.
genital papilla = nipplelike protruberance bearing genital opening.
gonotheca = chitinous receptacle in which gonozooids are produced on a hydroid.
gonozooid = reproductive polyp of a hydroid.
head crest (on Doto) = raised rib from front of rhinophore to anterior edge of head.
hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner(s).
hydroid = cnidarian with a stem and, often, branches bearing a colony of gastrozooids (feeding polyps) and gonozooids (reproductive polyps).
hydrotheca = chitinous receptacle containing a gastrozooid on a hydroid. monophage = an animal which feeds exclusively on a single prey species.
mesial = on or facing towards the midline of the body.
nematocysts = explosive stinging cells of hydroids, jellyfish, sea anemones etc.
oligophage = an animal which feeds on a restricted number of species.
oral tentacles = pair of tentacles on or near anterior edge of head near mouth.
oral veil = flat anterior extension of head.
ovotestis = hermaphrodite organ serving as both ovary and testis.
plankton = animals and plants that drift in pelagic zone (main body of water).
pseudobranch = (on Doto)feature located at base of mesial faces of cerata; definition and function uncertain. May be rudimentary and indistinct , irregularly shaped, bifurcating, finger-like or fan-shaped, and sometimes tipped with a red spot.
rhinophore = chemo-receptor tentacle; nudibranch sea slugs have a pair on top of head.
sensu lato = (abbreviation s.l.) in the wide sense, possibly an aggregate of more than one species.
sensu stricto = (abbreviation s.s.) in the strict sense, excluding species that have been aggregated or confused with it.
subepidermal = below surface of skin.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.
Combat skills (at least at my base) is a two day course that helps prepare you for combat situations when you deploy. If you go to somewhere more hostile where you'll arm up, they send you through a longer training course, but two days is plenty when you aren't even going to be carrying a weapon at your deployed location. The class is surprisingly a lot of fun, even if it is exhausting. The first day is all classroom instruction with a brief overview of the weapon, refreshing your memory on how painful the low crawl is...that kind of thing. The best part of the course is the last part of day 2 where you actually get to fire off blank rounds. It's challenging and reminds you that "Hey, I really am in the military." I was hoping I would actually be able to take pictures of us in the field the M16 during lunch was all I had. I wish I could say that I'm mad in this picture, I'm just physically exhausted. I'm definitely out of shape...
a skeletalmess texture was applied
Swayambhunath (Devnagari: स्वयम्भूनाथ स्तुप; sometimes romanized Swoyambhunath) is an ancient religious complex atop a hill in the Kathmandu Valley, west of Kathmandu city. It is also known as the Monkey Temple as there are holy monkeys living in parts of the temple in the north-west. The Tibetan name for the site means 'Sublime Trees' (Wylie:Phags.pa Shing.kun), for the many varieties of trees found on the hill. However, Shing.kun may be a corruption of the local Newari name for the complex, Singgu, meaning 'self-sprung'.
For the Buddhist Newars in whose mythological history and origin myth as well as day-to-day religious practice, Swayambhunath occupies a central position, it is probably the most sacred among Buddhist pilgrimage sites. For Tibetans and followers of Tibetan Buddhism, it second only to Boudhanath.
Entre otras cosas porque o te llenas de cardos, o te llenas de barro o te hace la visita típica la Guardia Civil....
Nuevas galerías en www.mariorubio.com y www.fotografonocturno.com
Canal TV en YOUTUBE NightPhotography
Nuevos dominios en www.lightpainting.es y en www.cursosdefotografianocturna.com
Hay ocasiones en que el sujeto en el visor de la cámara es tan fascinante que olvido apretar el disparador. Ken Padley.
Cita extraída de El lenguaje del arte de José B. Ruiz
Exif:
Camera Nikon D700
Exposure 300.7
Aperture f/8.0
Focal Length 19 mm
ISO Speed 200
WB 3300
Blue gelled flash and warm light torch
Back in November 2012 I finally saw Madama Butterfly, my all time favourite opera, live. There were evidently a few in the audience who had never seen it or even know of the story - during the applause for the performers, the singer who had the role of B.F. Pinkerton was heckled. In jest, ofcourse.
Then I got to thinking why it is that I like this opera so much. Why do I gravitate towards heart shattering "love" stories where the heroine almost invariably dies (mortally or spiritually) for a man who, on reflection, can more or less be described as the embodiment of fluff... read: Swan Lake (my favourite ballet), The Little Mermaid (the original Hans Christian Andersen story that i first read as a child, not the Disney-ised crap).... Is it because in mortal or spiritual death I can believe that the purity of these heroines' love is preserved?
B.F. Pinkerton offered Cio Cio San nothing but a fog of unreal romance - petals, bubbles, rainbows, glitter... promises of forever, undying love, integrity, songs, poetry... beautiful but fleeting and ultimately insincere.
Why do lesser men, with sweet tongues but with false hearts, attract such extreme devotion and sacrifice? Lately I've been wishing that Cio Cio San had a chance to exact vengeance on Pinkerton...
You took my heart and you held it in your mouth
And, with a word all my love came rushing out
And, every whisper, it's the worst, emptied out by a single word
There is a hollow in me now
So I put my faith in something unknown
I'm living on such sweet nothing
But I'm trying to hope with nothing to hold
I'm living on such sweet nothing
And it's hard to learn
And it's hard to love
When you're giving me such sweet nothing
Sweet nothing, sweet nothing
You're giving me such sweet nothing
It isn't easy for me to let it go
Cause
I've swallowed every single word
And
Every whisper, every sigh
Eats away at this heart of mine
And there is a hollow in me now
So I put my faith in something unknown
I'm living on such sweet nothing
But I'm trying to hope with nothing to hold
I'm living on such sweet nothing
And it's hard to learn
And it's hard to love
When you're giving me such sweet nothing
Sweet nothing, sweet nothing
You're giving me such sweet nothing
And it's not enough
To tell me that you care
When, we both know the words are empty air
You give me nothing
Best viewed Large on Black
I captured this image of the Green Heron (formerly Green-Backed Heron) at the "Ding" Darling National Wildlife Refuge in Sanibel Island, on the southwestern coast of Florida. Access to Ding Darling is through a paved one-way road (Wildlife Drive) which winds itself through the watery refuge. On this day the birds seemed to be particularly far from the road and so difficult to photograph. This heron seemed to be one of the few exceptions. He just stood on top of a rock by the water's edge and posed for the dozen or so photographers.
Green Heron (Right Profile) at Ding Darling National Wildlife Refuge, Florida
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (5 of 5): The cliff lookout /
CITA EN EL CINE (5 de 5): El Mirador
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
PHOTOSTORY: In English / En Español
Dom: Hahaha, is that okay? Are you happy now? (well, it worth to spend an embarrassing moment if she gets happy)
/
Dom: Jajaja, ya? Ya estás contenta? (bueno, merece la pena pasar vergüenza si es para que ella esté contenta)
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
This is one of artist Dale Chihuly's glass art displays at the Desert Botanical Garden in Phoenix, Arizona. The exhibition at the Garden is named "Chihuly: The Nature of Glass" and Chihuly's work is displayed from November 22, 2008 to May 31, 2009. The Nature of Glass exhibit features new and unique works of glass artfully located throughout the Garden. Dale Chihuly is known for his innovative glass sculptures, and his work is immediately recognizable for its grand scale and vibrant colors. This is Chihuly's first exhibition in an outdoor desert environment.
“The artist permits and encourages photography of the artwork in this exhibition for educational and non-commercial use only.”
INFORMATION ON ARTIST DALE CHIHULY:
Dale Patrick Chihuly (b. September 20, 1941 in Tacoma, Washington, United States) is an American glass sculptor. Chihuly graduated from high school in Tacoma. Supported by his mother, after his brother George's death in a flight-training accident in Florida and his father's death of a heart attack, he enrolled at the College of the Puget Sound (now University of Puget Sound) in 1959.
In 1967, he received a Master of Science in sculpture from the University of Wisconsin-Madison, Chihuly lives and works in his 25,000 square foot (2300 m²) studio, nicknamed "The Boathouse" for its former use, on Lake Union. Since losing the vision in one of his eyes in a car accident in 1976, Chihuly (who wears an eyepatch) no longer has the depth perception necessary to handle the molten glass himself. Instead, he conceptualizes each project with paint and canvas and then employs a team of artists to do the work.
About his work: His fascination with abstract nature forms comes from his mother's garden in Tacoma, Washington. One of his sculptures would be prominently displayed on the sitcom Frasier, which is set in nearby Seattle. His love for the ocean and its creatures is also reflected in his art.
Over the past forty years, Chihuly's glass sculptures have explored color, design, and assemblage. Although his work varies in size and color, he is best known for his multipart blown masterpieces. Also interested in Irish culture, he has produced a sizeable volume of "Irish cylinders," which are more modest in conception than his blown glass works.
Some of Chihuly's works cover whole ceilings of casinos and hotels, while others are hand-sized abstract flowers. Chihuly uses intense colors to bring his work to life. He is also known for using neon and argon.
Chihuly uses nature as a setting for his pieces, and tries to create his pieces as though they are part of nature. He sometimes entwines his pieces around tree branches and trunks. He also suspends them in space and floats them in water. Although it is not widely known, some components of Chihuly's installations (for example, the stacked aqua-colored chunks that decorate the Tacoma "Bridge of Glass") are made of an acrylic-type material rather than glass.
Source: Wikipedia
INFORMATION ABOUT THE DESERT BOTANICAL GARDEN:
Nestled amid the red buttes of Papago Park, the Desert Botanical Garden hosts one of the world’s finest collections of desert plants. One of only 44 botanical gardens accredited by the American Association of Museums, this one-of-a-kind museum showcases 50 acres of beautiful outdoor exhibits. Home to 139 rare, threatened and endangered plant species from around the world, the Garden offers interesting and inspiring experiences to more than 300,000 visitors each year.
A charter member of the Museum Association of Arizona and National Center for Plant Conservation, the Garden is fully accredited with the American Association of Museums and American Association of Botanical Gardens and Arboreta. It continues to build on its 63-year legacy of environmental stewardship, and has become nationally and internationally renowned for its plant collections, research and educational programs.
Source: www.dbg.org/index.php/about
Well, we did it, we went camping. It was so nice when we got there. We got the tent set up had some beers and mom some wine. I went and got us some firewood so we could have a campfire that night. The campfire didn't happen because the rain came in. It was scary, with the lightening and then seconds later the thunder. That storm last a long time and by the time it was over, it was to dark to have a fire and make dinner over it. So we had a sandwich for dinner. The next day the we went fishing in this beautiful little lake but we didn't catch anything but the rocks on the bottom of the lake. After fishing I drove mom around the campground and then around Show Low. When we returned the Ranger told us that the storm the night before was the worst storm they had all summer. We got back to the tent and guess what....you got it, it started to rain. This time it rained for 7 hours straight. It did lighten up enough for me to start a quick campfire to grill our hot dogs but that didn't last long and back to the downpour. In the few days that we were gone, we go to know the inside of our tent very well. I told mom she had to go again because this wasn't what it was suppose to be. So, we will be heading off again one of these weekends.
Thanks to Kim Klassen for the use of your textures.
www.eurobricks.com/forum/index.php?/forums/topic/182444-f...
The darkness of the temple was all-encompassing. Their hololamps felt like comically weak attempts to fight back, as dim and small as they were. The huge, empty halls seemed to call out to them as they passed. More than once, Nathan thought he’d heard someone.
“What was that?” he’d asked Ozz, who stared at him with concern.
“Nothing, kid. Just like last time. Get a grip, would ya?”
Something glinted in Ozz’s light. He peered at it, trying to get a closer look.
Eefo, their guide, (and current victim of blackmail) led from the front.
“Come,” she said. “The deep archives are this way. If there are any records related to Balaam’s Heart, we will find them there.” Then she added, more bitterly, “We can only hope this excursion does not doom the known galaxy.”
Nathan frowned over at her. “Or maybe it’ll keep it safe. If we don’t find the Heart, Pyerce might. It’s worth the risk.”
“Woah, woah, woah!” Ozz exclaimed, and his excited cry echoed in the tunnel. He hurried over to what he’d found—a pile of artifacts, gleaming beneath the dust and sand. “These babies look valuable!”
Eefo and Nathan stood in the entrance of another hall, pausing to look back at him. Eefo couldn’t hide her disgust with his priorities.
“Artifacts for processing, not what you seek.”
“Yeah, not what we came here for,” Nathan said. “Come on, Ozz. Sooner we get out of here, the better.”
Of course, Nathan should never have said that, because that’s the exact kind of thing that leads to ironic catastrophe. And so it did.
The rumbling began quietly, but was deafening before they had a chance to react. The walls were trying to shake apart. The ground bucked underneath them. The tunnel was filled with the cacophony of shouting and the crashing of rock as they all dodged rubble dropping from overhead and dived for cover. What felt like forever was over in just a few seconds.
Nathan pushed himself off the ground and looked frantically for his friend.
“Ozz, Ozz!”
“Nerd?” came the weak reply, through a layer of fallen rock.
“Ozz!” Nathan shouted again, trying to pull away rubble. His efforts were in vain.
“I’m alright, kid! Just…in a different room. You got our bounty?”
Nathan felt a mixture of relief and annoyance surge through him, and he took several deep breaths. Eefo was getting to her feet nearby.
“You okay?” he asked. She replied with a thumbs up.
“Yeah, she’s okay,” he told Ozz. “Hey, we’re gonna make it out of this. Listen, try and go back the way we came, or find another path out. We’ll all join back up at the entrance, got it?”
“Sure, sure. Me, worried? About the dark? Nah. See ya in a bit, no problem.”
Nathan took a moment to rest after the stress of the cave-in. “He’ll be fine,” he told himself.
“Perhaps he will,” Eefo replied dryly. “Forgive me for my lack of concern.”
“Okay, Ozzie, okay. You’re gonna be okay,” Ozz whispered, casting his hololamp around the rubble to find a good path out. The way they’d come in was blocked, so he chose the next best doorway and started trudging along. “No worries, no worries. Think happy thoughts. You’ll get paid! Oh—“ he turned back and—at least something was going right—a few of the gleaming artifacts were strewn across the floor.
“Ooh-hoo-hoo-hoo!” Ozz hooted in glee, scooping up a few golden discs to stuff into his jacket. “Come to Ozzie! Now we just gotta find a way outta this pit, and Papa Ozzie can find a nice fence to hock to you to!”
He was glad Nathan wasn’t here to see him talk to treasure.
Now weighed down with future fortunes, Ozz trudged ahead into the dark tunnels and empty halls of the temple, all by his lonesome. He hummed to himself to ward off any fears. He really needed to start carrying a blaster. Nothing like a blaster to make you feel safe.
“Your pockets are heavy, thief.”
Ozz spun around, looking for the source of the voice. “Whosaidthat!” he cried, brandishing one of the discs.
“A denizen of this sacred place,” said the voice from nowhere.
“Oh…oh great, now I’m really going crazy. Amazing. Just ignore it, Ozzie, keep walkin’…”
“Ignoring a thing does not make it go away. Your name is Ozzie?”
“What? No, it’s…Ozzamandes. Hey, I’m not talkin’ to you. You’re just a voice in my head. Guy might look crazy talkin’ to himself like that.”
“I am not a manifestation of insanity, but of the force.”
“Ha, the force! Good one, brain.”
Suddenly, a creature appeared before him, a woman who seemed both there and not there at the same time, who shone with a ghostly blue glow. Ozz froze in place and stared at her, stunned.
She spoke with power and grace, and her face was severe. “A faith is a necessity for a creature, Ozzamandes. Woe to them who believes nothing. Woe to you, for I sense this void...within you.”
Shocked, Ozz’s grip went limp. A disc fell to the floor with a ‘clang’.
“Follow me,” Eefo said. “I will find us a way out of the tunnels.”
Nathan stopped in his tracks. “Wait a second. I want to get out too, but not before we find what we came for.”
Eefo’s face twitched. “Don’t you want to find your friend?”
“Yeah, but he’ll be fine, and ticked off at me if we leave this place with nothing to show for it. Can we still get to the archives after the cave-in?”
Eefo had been caught trying to wiggle out of showing him the archives, and she looked accordingly hateful.
“…Yes,” she spat. “Come, do not lose the way.”
As they walked, Nathan questioned her.
“The Scriptist’s madness, or whatever…he mentioned spirits. That’s just you, right? You’re gaslighting your mentor?”
“The spirits are real. The sabotage is mine, but the drain on his mind…the spirits are real. Dark things.”
This was not exactly the answer Nathan had wanted to hear while spelunking in a pitch-black tunnel.
“Oh, I see,” he said, shining his light behind him and hurrying to catch up.
“So what was your life like around here, huh? See any good holos?”
“As a Jedi scholar, I forbade myself from material pleasures, if that is what you ask.”
“Sheesh, aren’t you a bucket of fun.”
Ozz now continued his journey through the tunnels with the ghost woman at his side.
"You scoff. There is moral grandeur in this, no? The renunciation, the sacrifice this station requires? The self-exile, the remembrance of mortality, the committing of one's spirit to mystery and thought rather than toil?"
"Hah, I'd love to see you tell that to my pops. He loved toil."
"You use the past-tense. Your father is one with the force?"
"He's dead, if that's what you're askin'. We didn't see eye-to-eye, so wouldn't make much of a difference if he wersen't."
“But now you have another family? One of your own?”
“Hah! A family, nah. Just this kid mooching off my ship.”
“You have a child?”
Ozz shook his head, muttering to himself before replying. “No, no. Human’s name is Nathan, we’ve been working together for a few weeks. Can’t stand the guy, honestly. Always going on about safety and stuff. Takes himself too seriously. Got me fired once! For something I didn’t do, I’ll have you know.”
The woman smiled softly. “I sense care in your voice.”
“Pah! You’re hearin’ things too, then.”
“Love finds us in unlikely places. When it crosses our path, we are often slow to embrace it. We deny ourselves the comforts of familial care in order to protect our vulnerable, fragile egos.”
Ozz raised an eyebrow up at her and grimaced. “Geez, you get personal, lady. Bet you were a weirdo as a kid.”
They were stopped by sounds up ahead, strange howls and whispers that seemed to slither by in a tunnel before them. The woman flew in front of Ozz, her expression stern.
“What the keff was that!” Ozz cried, covering his head and looking around for danger.
“Dark spirits. My counterparts. The other side.”
“Well geez, terrible roommates! You just all hang out in the temple together? Just a big spirit party, good and bad?”
“I do not wish it to be this way. Their presence is a desecration.”
“Okay, okay…why don’t you evict ‘em then? You’re all glowly, I bet you could get rid of ‘em.”
“It’s not a question of my power, but of my purpose. I pledged myself in life to study and knowledge, it is not my place to raise hands against evil, but to equip those who do. I put them out of mind, and avoid their distraction.”
“Hm, couldn’t you make, like, an exception?”
She rounded on him, her expression fierce, her eyes wide.
“Does my life sound like one of exceptions, Ozzamandes?”
Ozz shrunk back from the frightful display. “Well, no. No, that’s a good point. But…”
The look on her pale face told him not to continue, but he was never good at listening to warnings.
“Well, you don’t really have a life, anymore. You’re—sorry if I’m the first one to tell you this—but you’re dead, lady.”
“I know this. Don’t insult my intellect.”
“Well then, you did good! You held to your pledges! They were pledges for life, right?”
She looked thoughtful, her brow knit. She said nothing.
“Besides, weren’t you the one that told me…ignoring something doesn’t make it go away?”
The deep archives were once locked behind doors that required power to open, powers neither Nathan nor Eefo had. But time and war wears away all things, this time to Nathan’s benefit. The doors were long since destroyed, and their access unblocked.
It was a narrow hall. Rows and rows of old books, many of them destroyed, lined the shelves.
Eefo gestured forward. “Feast away, you fool.”
Nathan shot her a look. “Kind of unnecessary, but…thank you for bringing me here. Where do I start?”
“Balaam’s Heart? I recommend ‘B’.”
“Oh, it works like that? Huh, I expected something weirder,” he said, and he stepped forward to scan the massive stacks.
Eefo looked on the shelves—the sheer amount of terrible, dangerous knowledge—and at the young man now searching amongst the tomes. Fear clutched at her heart. Her mind went to the blaster under her robes.
“You speak sense. Most unexpected,” the ghostly woman said.
“Oh, nice,” Ozz grunted. “I’ll try not to be offended about how you said that.”
“My apologies. Perhaps, as a spirit, my purpose is something different than what I was bound to in life. Perhaps I must evolve, as my being has evolved. Perhaps I must oppose the dark things here, and purify this temple. Thank you, Ozzamandes, for speaking with me. It has been most enlightening.”
“Sure, sure, any time. Now, I gotta get outta here, any chance…?”
“We have been following that path for some time. I have been leading you to your friends while we talked. They are just ahead.”
Ozz blinked in surprise. “No kidding? You’re alright, lady.”
“Ozzamandes,” she said, and her voice became serious and heartfelt. “Do not deny your care for your friend. You would rob yourself of greater riches than those you carry in your coat.”
Ozz avoided her gaze, nodding vaguely. “Oh, uh, sure, sure. Yeah, thanks for the advice.”
“And Ozzamandes,” she said again.
“What?”
“Please leave behind the things you’ve pilfered from my temple, if you please.”
“Oh,” Ozz blushed, and he casually removed the golden discs from his pockets and dumped them on the floor as gently as he could. “Sure thing, of course.”
She smiled. “Thank you. Farewell, I hope we meet again.”
“Me too, ‘cept I got no plans to come back to this joint. But uh, I’ll see ya when I see ya.”
A fondly amused expression was the last thing on her face before she faded away, and he was left in the dark. A door stood in front of him.
Ozz smiled proudly. “’Most enlightening’…Old Ozzie, who woulda thought!”
Ozz entered the deep archives. The first thing he saw was Eefo, hand on her blaster, and an unaware Nathan. Something in his chest swelled up, and his eyebrows furrowed. She was gonna blast his partner? Not on her life.
“Hey, what’s the big idea?” he shouted, and Eefo spun in alarm. She hastily drew her blaster. “Nate, look out!”
Ozz threw himself into the Rodian researcher, knocking both of them to the floor. The blaster went off harmlessly, a bright red bolt striking an ancient tome and completing its transition to nothing more than a pile of ashes.
Nathan ducked and swiveled. He stared at the prone Eefo. A few seconds and he would’ve been toast.
“Woah, woah! Thanks Ozz!” He suddenly grasped that Ozz was here, and grinned widely. “Ozz! You made it!”
“Yeah, yeah,” Ozz said, dusting himself off. Eefo looked trapped. “Had some help. I’ll tell ya about it later. Geez, once a spy, always a spy, huh!”
Eefo glared at him defiantly. “You’ll bring ruin to the galaxy!” she said, her voice trembling.
She stood on shaking legs, and occasionally her eyes darted towards the shelves, wide with fear. She was like an animal, and Nathan felt, most of all, pity. He understood what was driving her.
Nathan grabbed Ozz's arm and pulled him aside. He whispered, "Hey, I'm trying to honor what you said on Yavin, I'm telling you before I do something crazy."
Ozz looked at him warily. "...Kid, whatever you're thinking, you better not risk our profit, here. We're in a golden spot with this!"
"No, I'm not okay with how we've done this. Catching spies is one thing, but blackmailing, threatening deserters to get what we want?" He shook his head firmly. "That's not how I want us to do things."
Ozz looked between his eyes, searching for a way to convince him otherwise. There was no chance. He had no choice but to back down.
"That's...another payout lost, kid. I hope you know what you're doing: we need credits! Finding your girl is gonna take credits, you understand?"
"I know, we'll figure it out! I'm sure we can pick up a side job or something, but...I want to let Eefo go free. She's not even a spy anymore."
Ozz threw up his hands. "Have it your way. But you're the least lucrative partner I've ever had."
"This pays off in other ways, Ozz.” He turned back to the Rodian, approaching her cautiously.
“Hey, I’m not mad that you wanted to shoot me, alright? It’s…well, it’s not okay, Eefo. But I get it.” He stepped forward, and she flinched. “I don’t want to hurt you,” he told her. “We’re going to let you go free. You don’t have to worry about us leaking anything, or telling anyone where you are, okay?”
Eefo raised a brow skeptically. She waited for him to continue.
“Now, I know you think what we’re doing is wrong. But…I wish you could trust me. My intentions are nothing but good, I swear. You’re right that this is dangerous stuff. The Empire is looking for it, and I can’t leave whether they find it or not up to chance. Please, you don’t have to agree, but…don’t shoot me?”
She met his gaze, and gradually seemed to calm. Her eyebrow still twinged in frustration, but she sighed, and the fight had left her.
“Yes. Alright.”
“Great,” Nathan nodded. “Ozz, help me find this book!”
Ozz was already by the stacks, and held up an old pile of slates bound together with rope. “Was it ‘Balaam’?”
“Yeah, why—“
“Here ya go.”
He passed the slates to Nathan. Sure enough, Balaam’s name was on them.
“No way,” Nathan said, staring. “Ozz, thank you!”
“No problem,” he shrugged, unaware of his partners efforts to do what he’d just done in one glance.
“We’ve got what we needed. Let’s go see sunlight again, huh?”
Eefo led them back through the tunnels until they found the staircase they’d originally descended. They were cheered to see the light flooding through the open archways of the temple doors. Cold wind filled their ears as they crossed the old atrium floor and ventured out into the open air.
They gasped in horror when they saw the sky.
An Imperial Light Cruiser lay in the upper atmosphere. A small, white shape was gliding down towards them; a shuttle.
“Aw, hell,” Ozz grunted, slumping hopelessly.
“No!” Eefo screamed. “No! They’re coming for the temple!”
Nathan blanched, and held Balaam’s slates tightly under his arm. “We’ve got to get out of here. We can’t fight that thing.”
“The temple is bad enough, but we must not lead them to the Searchers! The unencrypted archives, the research, they cannot be allowed to have it!”
His jaw firmly set, Nathan made a decision. “Ride back to the outpost, I’ll hold them here.”
“Kid,” Ozz said weakly. “What the keff are you gonna do?”
A plan was formulating in his mind. Nathan approached the small conductor Eefo had planted in the ground when they’d arrived.
“Eefo, show me how to work this thing. Then you both go, get to safety!”
“Hey, kid,” Ozz said, his tone full of worry in a way Nathan had never heard.
“Yeah?”
“We’re gonna come back for you. Just hold out, okay? Trust in the…the force, or whatever. You better be alive when I get here.”
“I’ll do my best,” Nathan shrugged. “Chances aren’t great.”
A grin broke on Ozz’s face. “Oy, bring back the optimism. You’re downright depressing, you know that?”
“I’ll bring back the optimism when we make some money, how about that.”
“Oh, so never.”
“Well, never say never!”
“Ha! There it is,” Ozz grinned. He patted Nathan on the side. “Take care, kid. Don’t do anything I wouldn’t do.”
“Geez, what’s gotten into you?”
“Oh, shut up. I dunno, had some time to think while I was in those tunnels. Anyway, enough dwaddling! Let’s get this show on the road!”
“Yeah, I’ll see you in a bit, Ozz.”
A few minutes later, Ozz and Eefo sped back towards camp, Balaam’s slates in hand.
Alone at the entrance to the temple, Nathan waited for the shuttle to touch down.
[Shots from my 2007 Ladakh Bike Expedition ]
Pang is probably the testing point of tolerance. High altitude acco. In tents. Less oxygen.
One of our Bullets Broke !! Yeah. Broke. Engine was out of the chasis !!!
Thankfully there was a military camp in pang. They welded the chasis and fit the engine back.
About 30 mins uphill drive from Pang , we reached Moore Plains. Vast Plains. No words can describe our relief then.
Thanks to the Pang Military Camp.
Thanks to Diamox, a drug to increase oxygen retaining capacity.
HDR image processed from 5 exposures with Photomatix Pro.
Captured close to one of the main entrances of the Forbidden Palace in Beijing about a week ago ...
Please don't use this image on any media without asking for permission.
© All rights reserved.
Seasonal colours are at their best in Ballaglass Glen in this island. This was my last stop for this fall before I travel to North Western fells in the Lake district. Cascades of dark water on black slates with yellow leaves on the sides, a classic picture of autumn, cliched but enchanting as always!
If you like my work you can view my images for sale at Getty images
Shot taken with Canon 5D mkII, 17-40 L Canon@17mm, f/8, exposure-30seconds, ISO-200, B+W CPL.
Copyright © Suddhajit Sen Photography.
This photo may not be used in any form without prior permission. All rights reserved
You can buy a print of this image from here
Gay & Lesbian Pride March 2010
It’s back in 2010, the event that stops traffic… On Sunday February 7th, the 15th annual Pride March takes over Fitzroy St, St Kilda in a blaze of colour, noise and movement!
Pride March 2010 is an open air celebration culminating in a Pride March down Fitzroy Street St Kilda and finishing with performances on the foreshore. Pride March is to express courage, solidarity, pride, diversity and a strong sense of community.
Gay & Lesbian Pride March
Down Fitzroy Street to Catani Gardens
Sunday 7 February 2010
Fitzroy St, St Kilda Victoria 3182 Australia.
Telephone: 03 9513 3054
Turning 30 in 2010, St Kilda Festival is one of Australia’s best known and Melbourne’s most loved events. It utilises St Kilda’s stunning foreshore and celebrates the cream of Australia’s musical talents.
Saturday 6 February is Yalukit Wilam Ngargee: People, Place Gathering, an outdoor Indigenous festival featuring music, dance, children’s activities and more that welcomes people to St Kilda for the week ahead, O’Donnell Gardens.
From 7-13 February experience Live N Local: St Kilda venues throw open their doors to host a variety of local bands, musicians, performers, artists and comedians in a series of one off and special events - everything you love about St Kilda and more.
Úbeda, Jaén (Spain).
ENGLISH
The main parish church of Santa María de los Reales Alcázares displays the most significant mixture of architectural styles, to be found in the city. The buildings historic and artistic patronage is complex and its solid external appearance is of a defensive fortification.
Built on an archaeological site where remains of bronze and Roman civilisations have been found, the Church rests of the foundations of the main mosque of Muslim Úbeda. According to tradition the Romans built a temple here dedicated to Diane. After the conquest of the town by Ferdinand II the Saint, in 1223, the Mosque was consecrated in the Catholic faith with the title High Parish Church of the Royal Alcazares and of Our Lady of the Ascension. In 1259 it achieved the rank of High Collegiate Church. In 1852 the Church's collegiate rank was withdrawn, reversing to the rank of High Parish Church. Being the principal temple of the city, it has preserved important archives and a multitude of treasures. The latter being donations and numerous priviledges bestowed by Popes, Kings and bishops.
Its external appearance blends Medieval and Classicist styles. Being built on to the ols walls of the fortress, Santa María church has been the main witness to the great changes and strife of Úbeda. Today it still offers a special attraction to the town which is due to its great historical character and the population's identification with its heritage.
Source: www.ubedainteresa.com/portal/
---------------------------
CASTELLANO
Asentada sobre un subsuelo arqueológico de la Edad del Bronce, y con mínimas diferencias ocupando el emplazamiento dé la antigua mezquita mayor de la ciudad, la tradición dice que en el mismo sitio los romanos tuvieron un templo dedicado a Diana.
Tras la conquista de la ciudad en 1233 por el rey cristiano Fernando III el Santo, la entonces mezquita fue transformada al culto católico bajo la advocación de Iglesia Mayor Parroquial de los Reales Alcázares y de Nuestra Señora de la Asunción. Desde 1259 fue titulada Iglesia Mayor Colegial y desde 1852 ostenta el título de Iglesia Mayor Parroquial.
Iglesia principal de la ciudad, durante siglos ha conservado un importante archivo y multitud de obras de arte y joyas, fruto de donaciones y de numerosos privilegios concedidos por reyes, papas y obispos.
Con una imagen exterior entre medieval y clasicista, adosada al primitivo muro del alcázar, Santa María ha sido la iglesia que históricamente más movimiento y ajetreo ha tenido de toda la ciudad, y aún hoy sigue ofreciendo para el ciudadano de Úbeda una atracción especial que le viene dada por su fuerte carácter histórico y el grado de identificación conseguido con la ciudad y sus habitantes, al albergar desde los meses de mayo a septiembre a la Stma. Virgen de Guadalupe, patrona de la ciudad.
Fuente: www.ubedainteresa.com/portal/
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y también en Twiter
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Hoy una gota de agua se ha puesto el traje de fiesta transparente e invisible como el aire, y sobre su cuello ha dejado de señal su collarcito de Anabaena, allí, ingrávido, sus perlas verdes se mueven silenciosas y ondean lentamente unidas por el hilo de la vida al soplo de las corrientes del agua.
Anabaena es una cianobacteria, una alga verdeazulada. Ancestral, tan antigua como los primeros seres vivos que florecieron de la nada en las aguas de la Tierra cuando la vida era excepción, también futurista como los últimos que desaparecerán con ella. Ha acompañado a nuestra nave azul en épocas de calma y de también de convulsión y es capaz de soportar ambientes extremos, aguantando heladas intensas y soportando temperaturas superiores a los 70ºC.
Anabaena va añadiendo cuentas al collar que adorna esta gota de agua,como mago sin chistera y de cada una va haciendo poco a poco dos, como si nada, así se teje su vida entre las manos de la corriente que la lleva en volandas por el infinito del Lago de Sanabria.
Todas las cuentas de los collarcitos de Anabaena, dejan espacio, a intervalos regulares, para que otras gemas, los “heterocistes”, células perfectamente esféricas y algo mayores que las demás, se destaquen, y lo hagan tanto por su forma y tamaño, como por su función. Los heterocistes se encargan de fijar el nitrógeno, que procedente de la atmósfera, se ha disuelto en el agua y de esta forma constituyen uno de los primeros eslabones para la formación de proteínas.
Anabaena es verdeazulada, como una turquesa teñida de cielo, de su luz toma la energía para realizar la fotosíntesis y del aire y el agua el nitrógeno que recorrerá las vidas de otros seres. La vida en el Planeta se ha hecho posible gracias a cianobacterias como ellas que transformaron una atmósfera irrespirable en la que tenemos desde hace millones de años.
Anabaena es un mucho más que un collarcito que va creciendo cuenta a cuenta mientras se da un paseo por la vida y adorna el cuello de fiesta de las gotas de agua.
La especie de hoy Anabaena planctonica flota enfundada en su traje transparente de mucílago, casi invisible, pero eficaz y protector, evitará que sus cuentas se desgranen y se caigan despistadas hacia el fondo.
Al igual que otras cianobacterias Anabaena se defiende fabricando potentes sustancias neurotóxicas -anatoxina, saxitoxina y microcystina- que provocan graves daños en el sistema nervioso, lesiones hepáticas irreversibles o incluso la muerte a los animales que se alimentan de las plantas con las que puede llegar a establecer simbiosis. Anabaena ha establecido estos estrechos vínculos de amistad, una amistad con la que defiende su vida y la de sus amigos .
Anabaena planctonica vive en aguas estancadas en las que puede formar parte del plancton y crecer de forma explosiva si las condiciones para ella son favorables y se cita por vez primera para el Lago de Sanabria desde esta galería
La fotografía de hoy, realizada a 400 aumentos empleando la técnica de contraste de interferencia, se ha tomado sobre
una muestra recolectada a cinco metros de profundidad, el 30 de agosto de 2015, por Laura, Mª José y Tomás en las
inmediaciones de la Isla de Moras en el Lago de Sanabria (Zamora), desde el catamarán Helios Sanabria el primer
catamarán construido en el Planeta propulsado por energía eólica y solar.
presentación ponencia congreso internacional de Limnología
informes de contaminación en el Lago de Sanabria
la contaminación en el Lago de Sanabria
This picture is not HDR processed
Camera: Pentax K200D
Lens: Pentax 18-55mm F4-5,6
Filters:
-GND Cokin Filter P121S
-HOYA Filtre Polarisant 52mm
Tripod: VELBON CX 440
Tripod Head:--
Focal Length:18mm
Shutter Speed: 10 sec
Aperture: f13
ISO: 100
Lumbier, Navarra (Spain).
ENGLISH
The Foz de Lumbier is carved out of the limestone rock by the river Irati at the western end of the Leyre range of mountains, at the foot of the Navarrese Pyrenees. It is one of the most spectacular gorges in Navarre, a landscape created over millions of years by the waters of the river Irati, which have left their mark on this sanctuary of nature day by day. The gorge was declared a Nature Reserve in 1987.
Lumbier is a narrow and small gorge, just 1,300 metres long, but of spectacular beauty. Its vertical walls reach a maximum height of 150 metres and large birds of prey live in the cracks and ledges, with species such as griffon vultures whose flights will accompany you in your visit to the gorge. It is also a refuge for foxes, boar, badgers and owls, and is strewn with gall and kermes oaks and bushes such as thyme, lavender and gorse that hang from the cracks, vegetation that is transformed into woods of poplars, willows and ash trees at the entry and exit of the gorge.
In contrast to many other canyons, you can walk through Lumbier along an easy track that runs along the bottom of the cliffs for 2.6 kilometres. The route was created for the old Irati train (the first electric train in Spain) that linked Pamplona with Sangüesa between 1911 and 1955.
The signposted path runs along the river and crosses the rock through two tunnels (206 and 160 metres long) that do not have artificial light. Towards the end of the path the route goes around the rock and reaches the remains of the Puente del Diablo (Devil's Bridge), which was built in the 16th century with a raised arch 15 metres above the river. It was destroyed by the French in 1812 during the War of Independence, and owes its name to a legend that says that its builder asked the devil for help to finish it.
More info: www.visitnavarra.es/eng/organice-viaje/recurso/relacionad...
---------------------------
CASTELLANO
La foz de Lumbier es un desfiladero excavado por el río Irati sobre la roca caliza en el extremo occidental de la sierra de Leire, al pie del Pirineo navarro. Es una de las gargantas más espectaculares de Navarra, un paisaje labrado a lo largo de millones de años por la acción del río Irati que, día a día, sigue marcando su huella en este santuario de la naturaleza, reserva natural desde 1987.
La de Lumbier es una hoz estrecha y pequeña, de 1.300 metros de longitud, y de una belleza espectacular. Sus paredes verticales alcanzan en su cota máxima 150 metros de altura, y en sus grietas, roturas y repisas viven grandes rapaces, entre los que abundan los buitres leonados, cuyo vuelo le acompañará en su visita al desfiladero. La foz, que también sirve de refugio para zorros, jabalíes, tejones y alimoches, está poblada de quejigos y coscojas, además de arbustos como tomillo, espliego y ollaga que se cuelan por las grietas, vegetación que se transforma en bosques de álamos, sauces y fresnos a la entrada y salida de la foz.
A diferencia de otras gargantas, la de Lumbier puede ser recorrida a través de un sencillo camino que discurre al pie de los acantilados, a lo largo de 2,6 kilómetros. El trazado fue realizado para el tren Irati, el primer tren eléctrico de España, que comunicó Pamplona con Sangüesa entre 1911 y 1955.
El camino está señalizado, discurre junto al río y atraviesa la roca a través de dos túneles, de 206 y 160 metros de longitud, que no poseen luz artificial. En la parte final del sendero, el camino bordea la roca y llega hasta los restos del Puente del Diablo, construido en el siglo XVI, con un arco elevado 15 metros sobre el río. Destruido por los franceses en 1812, durante la Guerra de la Independencia, debe su nombre a una leyenda según la cual su constructor pidió ayuda al diablo para levantar el puente.
Más info: www.visitnavarra.es/esp/organice-viaje/recurso.aspx?o=303...
View Kapalua Bay Sunset on Black
View Kapalua Bay Sunset Map/EXIF
Nikon D800E + 24-70 mm f/2.8 @ 26 mm - 1/5 sec at f/16, ISO 50
Manual mode @ -2/3 EV E.C - Pattern metering - no flash
Subject Distance: unknown
Haley and I had a wonderful dinner at Merriman's an hour or so after this was taken. She was also a good enough sport to stand in the water and let me take some long exposure shots of her right near where this was taken :).
21°0'4" N 156°40'4" W, 17.1 ft
Kapalua Bay, Maui
Lahaina, Hawaii, United States
Taken on 09.17.2012, uploaded on 09.26.2013.
©2012 Adam James Steenwyk. Please contact me at ajamess [at] gmail [dot] com if you would like to use this photo. Blog: www.f128.info
Esta foto es muy parecida a una que subí anteriormente, y que os la recordaré en el primer comentario, en dicha foto, es más que nada para usarla como fondo de escritorio, y esta que os pongo es un encuadre similar pero esta vez en vertical, y cada vez que hago más fotos verticales sobre el mar, las rocas. Etc., mejor es el resultado, muchas veces le pregunto a mis amigos, que porqué no hacen fotos verticales, y la respuesta es porque no se ve bien en el ordenador, con el tiempo me he dado cuenta que las fotos verticales para sacarlas en papel también quedad muy bien, después de esta reflexión os explicaré el procesado:
Nota: El procesado como siempre, un doble revelado a partir de un mismo RAW, una foto para el cielo y otra para el reflejo, siempre estoy hablando con objetos inteligentes, cuando más o menos he tenido el resultado a mi gusto, he seleccionado la parte del cielo, le he creado una, máscara de capa, he desenfocado las máscara con un desenfoque gaussiano con unos parámetros a gusto del consumidor para unir las dos fotos.
Una vez terminado con el cielo, me he ido al reflejo, aplicando unos ajustes muy similares a los del cielo para que parezca aún más real, después procesado por zonas en la parte del reflejo para obtener más textura aún si cabe, y aplicando sus respectivos desenfoques, cuando más o menos he tenido la foto a mi gusto, he acoplado todo en una foto, luego he duplicado otra vez, le he aplicado un desenfoque gaussiano con un valor de 8 pixeles, y me he ido a capas y le he cambiado el modo de fusión a luz suave, y le he bajado la opacidad a un 20% más o menos, para eliminar un poco la mini aparición de ruido por la parte más oscura.
Cámara: D40
Modo De Exposición: Manual + Trípode
ISO: 200
Velocidad: 0.3
Focal: 19.0 mm
F/ 22.0
Filtro: PL
Objetivo: 18.0-55.0 mm F/ 3.5 -5.6
Procesado: Light room 2
Camera Raw 4.3
Photoshop Cs 3
www.youtube.com/watch?v=yoh_j5kTlDU
Best Days by Matt White
Every time I look at you
You always look so beautiful
Driving on the road again
The chevys packed up
and its dusk
And I would take some photographs
So I can dream of you
Can't say I've felt such a twisting in my heart this
way
We pitch a tent and i wont sleep i just stay awake .
Fires burning , softly singing songs .
So close to you .
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life.
Can't take away those times
We stayed up and we talked all night
Chain smoking cigarettes and
Three bottles of red wine
Falling asleep together
Holding your body close to mine .
Oh and in the morning
Your eyes opened so innocent
The sun is blazing , we are sweaty
You look lovely
Nothing else matters anymore 'cause you're
In my arms again
Do you believe
In love at first sight
I think you do .
We're lying naked under the covers
Those are the best days of my
Those are the best days of my
Those are the best days of my life
Oh Ill never want to be without you
So just stay with me
I will love you endlessly .
Oh darling, darling
Those are the best days of my
Those are the best days of my .. life
Do you believe
In love at first sight
I think you do
We're lying naked under the covers
Those are the best days of my life
Those are the best days of my
Those are the best days of my
Those are the best days of my life
i took like 60 different shots for today. i love the way this turned out.
shannon is not here cause shes pet sitting. 7 dogs, 2 cats, 5 miniature horses and a llama. no i'm not kidding.
this week is gonna be all about reading the script for the show im designing at the begining of Sept. y'all gotta stay on me to get it done!
365 - 7.26.09
I never used to drink coffee. After I moved to Guelph a few years ago I tried it. Then I tried our local Planet Bean Coffee...... and it was all over. I now buy freshly roasted coffee every week or so.... and grind it in my new burr grinder right before I brew it in my french press. I have somehow become a coffee snob. Never saw it coming.
A bonus of drinking Planet Bean coffee is that it is Fair Trade and Organic!
Camera: Nikon D700 [ISO 200]:[5s] Lens:135mm 2.8 AIS [f4]
Strobist: SB900 @ 17mm 1/8th power, into 28" wescott softbox camera right. Used a whiteboard to attempt to reflect some of the light back to left side of subject.
Triggered by PWII's.
After the flash went off, I used a small pen flashlight and made quick circles in the air during the remainder of the 5 second exposure. I kind of like this one because the "halo" is all messed up. it sure is hard to draw a straight line while reaching over your setup in the dark. single exposure, no photoshop editing.
Duisburg, Hüttenwerke Krupp Mannesmann HKM
TKSE 857
Krauss-Maffei MH 05
20335 / 1997
98 80 0505 107-9 D-EH
© All Rights Reserved
No Usage Allowed in Any Form Without the Written Consent of Serena Livingston
This Timber Wolf was trying to ensure that he got a piece of the beaver meat. The Alpha Male of the pack had already tossed this poor fellow into the snow more than once......claiming the good meat of his choice..........leaving only leftovers to be picked through by the rest of the pack.
I did tone down the blood in the photo using Lightroom 2.......was a little too bright and gorey. So if your a little squeamish about blood....sorry about that. But it was a great look at Nature at it's wildest.
The oldest stone built mosque in China located in Quanzhou city in the Fujian province in 1009 AD. The patch of grass to the right is the edge one of many graveyards in the city housing the thousands of immigrant Arabian Muslims to the city/ region since the time of Prophet Muhammad. These Muslims married and 'integrated' creating a new Chinese Muslim culture.
The mosque is a testament to the local community where interfaith relations have continued to be strong. A few hundred feet down the road behind me is, for example one of the largest Buddhist temples in town, equally elaborate in design.
The colouring on this the outer stone wall which faces a busy road is very different to that of the preceding photo of the inner stone wall, on account of the pollution.
San Lorenzo 2008 - Huesca (Spain).
They really enjoy it? / ¿Realmente lo pasan bien?
ENGLISH
In 1940, the night before their first mass jump, the 501st Parachute Infantry Regiment of U.S. paratroopers at Fort Benning watched the film Geronimo (1939 film), in which the actor playing Geronimo yells his name as he leaps from a high cliff into a river, depicting a real-life escape Geronimo successfully attempted in which with his Cadillac horse, he jumped off Medicine Bluff at Fort Sill, Oklahoma into the Medicine Creek. Private Aubrey Eberhardt announced he would shout the name when he jumped from the airplane to prove he was not scared. The trend has since caught on elsewhere, becoming widely associated with any sort of high jump in popular culture. This unit was the first parachute battalion of the U.S. Army.
More info: en.wikipedia.org/wiki/Geronimo
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CASTELLANO
Allá por 1940, un grupo de soldados del regimiento 501 de paracaidismo de los Estados Unidos se preparaba para realizar su primer salto con paracaídas y el día de antes se juntaron todos y decidieron ver una película y echar unas cervecitas para calmar los nervios. La película que vieron era Gerónimo, filmada en 1939, y trataba sobre la vida de un ilustre jefe indio apache en Norteamérica del mismo nombre.
En una escena de la película sobre Gerónimo, salía su protagonista huyendo y para escapar se tiraba a un río desde una gran roca. Y efectivamente, mientras se tiraba gritaba su nombre a todo pulmón: “Gerónimoooooooooooooo“.
A los paracaidistas americanos les pareció una buena idea gritar igual que el apache cuando realizaran su primer salto, como una forma de quitarse los miedos, y así lo hicieron. A partir de entonces el regimiento adopta el nombre de Gerónimo bajo su insignia.
Large on black or at BEST 1280 x 850 pixels.
New group: Overschie!
I started a new group - couldn't believe it didn't exist yet - about Overschie, Rotterdam!
Overschie is a neighbourhood in the north of Rotterdam, with +15.000 inhabitants. It has a lot of beautiful spots, but also the A13 running through it and the Kleinpolderplein traffic junction (another group I started, btw). Feel free to throw all your Overschie shots in this new group. Ta!
About the picture
Trying to slipstream the Dutch Masters... ;-)
With the sun coming up behind my back I suddenly noticed this atmospheric view of 'vintage' Overschie, a rootsy Rotterdam neighbourhood - all this while I was reporting the demolition of a modern appartment at the other side of this bridge.
This is HDR, but I processed it in a different way, I was trying to make it look like an old Dutch painting, or something. :-)
Hope you enjoy it. Ta!
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View Large [press L] and/or use the arrows on your keyboard to Flick through my images. Ta!
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Date: Taken on January 24, 2012 at 8.51 am CET
Exif data
Camera Nikon D700
Exposure 3x (1/125) for HDR
Aperture f/2.8 / f/5.6 / f/8
Focal Length 50 mm (Nikon 50mm f/1.4)
ISO Speed 200
3 shots into Photomatix Pro into Photoshop CS5 for further processing.
Estábamos en una zona de Osona que conocíamos poco. Los pueblos de los alrededores del pantano de Sau son pequeños y coquetos. Algunos se componen unicamente de una masía grande, una iglesia, su estafeta y el ayuntamiento. Una calle Mayor con casas bajas donde se agrupan la panadería y un bar, pequeño y cuidado, en donde disfrutar de un buen bocadillo de productos del lugar es lo mas apropiado.
Estábamos saboreando del aroma de las piedras centenarias de la iglesia de Vilanova de Sau, y disfrutando del silencio de su cementerio, pequeño y muy cuidado, cuando un estruendo nos trajo de nuevo a este mundo. No supimos discernir si el maremágnum de pitos, bocinas y griterío vario era una manifa de agricultores, o una repentina y no deseada aglomeración de coches con intenciones de aparcar junto a la iglesia, situación que me hubiera sacado de mis casillas, pudiendo ser el inicio de un altercado entre domingueros jubilados y yo mismo, algo siempre muy embarazoso, ya que por la experiencia tenida, esas embestidas siempre dan en fracaso y bochorno, saliendo del lugar con mala leche y sin hacer agua clara.
No fue el caso... la algarabía que se oía en la Calle Mayor era, no una mani de gente en desacuerdo con alguna autoridad, o jubileo, si no una bonita quedada como hoy se dice, de moteros con sus respectivas monturas, todo salido así como de una película de los años 40, tales eran las trazas de las motocicletas y sidecares, así como los cascos y gafas de los dueños de ellas. Ibamos a por piedras añejas y terminamos fotografiando Sanglas y Ducatis de época, algo que no teníamos previsto, pero que nos lleno de gozo.
"L'invitation au voyage"
Charles Baudelaire
Mon enfant, ma soeur,
Songe à la douceur
D'aller là-bas vivre ensemble !
Aimer à loisir,
Aimer et mourir
Au pays qui te ressemble !
Les soleils mouillés
De ces ciels brouillés
Pour mon esprit ont les charmes
Si mystérieux
De tes traîtres yeux,
Brillant à travers leurs larmes.
Là, tout n'est qu'ordre et beauté,
Luxe, calme et volupté.
Des meubles luisants,
Polis par les ans,
Décoreraient notre chambre ;
Les plus rares fleurs
Mêlant leurs odeurs
Aux vagues senteurs de l'ambre,
Les riches plafonds,
Les miroirs profonds,
La splendeur orientale,
Tout y parlerait
À l'âme en secret
Sa douce langue natale.
Là, tout n'est qu'ordre et beauté,
Luxe, calme et volupté.
Vois sur ces canaux
Dormir ces vaisseaux
Dont l'humeur est vagabonde ;
C'est pour assouvir
Ton moindre désir
Qu'ils viennent du bout du monde.
- Les soleils couchants
Revêtent les champs,
Les canaux, la ville entière,
D'hyacinthe et d'or ;
Le monde s'endort
Dans une chaude lumière.
Là, tout n'est qu'ordre et beauté,
Luxe, calme et volupté.