View allAll Photos Tagged pigmentation
From the Houston Zoo website:
“Blanco, our resident white alligator is one of only 14 known white alligators in captivity. Most of our visitors do not know the difference between albino and leucitic (albino means lacking pigmentation). An albino alligator is white in appearance, but a leucitic alligator has real pigmentation, which makes him really white.”
So, after the best part of five weeks doing little else than take photographs, I decided to spend Saturday painting the shed.
No I didn't, I went out orchiding.
Or did once we went to Tesco for the remainder of the shopping.
Another glorious warm day, that would be very good for photography,I thought.
Home for coffee and fruit for breakfast, before I packed my camera and headed to the Medway towns to meet up with two other people from my orchid group to hunt down some super rare orchids.
But then, they always are.
I drove up the A2/M2 to Chatham, turned off, and in a quiet residential area, I found Ian parked, so I pulled up behind him. Graham soon arrived too, and so we got out and set out down a narrow alleyway between the houses, into woodland behind.
Orchids are variable. Even the most common ones can produce spikes that are as rare as the rarest orchid species. And as all species can produce spikes with little or no pigmentation, they can also produce spikes with hyper-pigmentation.
Dactylorhiza fuchsii var. rhodochila, or a hyper-coloured Common Spotted Orchid. And in a colony where most spikes had strongly marked lips, there were four that really stood out, as the rings and dots had been covered by pigmantation, and the lips were a solid block of colour. I mean, I had seen shots of these, but to see them in person was something else.
We all took lots of shots, and then Graham said, I know of a colony of Lesser Butterfly orchids, would you like to see them?
We would.
The Lesser Butterfly at Barham have died out, and the ones at Stockbury seem to have had their flowers deliberately picked off this year, so another colony would be great to know about.
We drove in convoy for half an hour, met up in a pub car park, then drove in Graham's car to the end of a quiet, little used lane. A six-foot-sixer, Tony! And we set out on foot, a mile up the lane to a gate, where climbed over.
A car went by.
"What are you doing?"
We explained about the LBO and how rare they were and we knew they were in the wood. The gamekeeper knew about them too, and was happy to let us go, and if someone stopped us again, we could mention his name to say we had his blessing. We also said we would tell no one about the site.
We climbed over a fence into the wood, and shortly afterwards we saw the first of about twenty spikes, one measuring in at 68cm tall, and one that had a clear green colour to it.
We took shots of them all, though the humidity was getting to me, fogging the viewfinder and by glasses. Sometimes at the same time.
We walked back to the car, then droove back to the pub, so that we could go our separate ways. My plan was to head back to Dover, to call in at the council offices to see if the unusually marked Bee Orchid was showing.
It was, and had only just opened as the pollina had only just dropped and had not been visited by an insect yet.
I got shots, one of which came out rather well, even if i say so myself.
Then back home for a drink, then a bacon butty and a brew.
Phew, it was a scorcher.
I reviewed shots through the afternoon before we had Caprese again with the leftover bread from the day before.
Life was good.
We listened to Craig in the evening before heading up to bed at half eight.
Phew.
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
You know, sometimes I wonder, I have no fear of these caterpillars no matter how icky they are, but show me a moth, and I'll run away like a little girl!
I found this caterpillar by chance on a plant and I noticed the blue pigmentation and that's when I thought it'd be cool to shoot it! (with my D60 of course)
Link to pattern: www.ravelry.com/patterns/library/honey-trail
20171026_091908
It still needs washing, as the yarn bleeds badly (my fingers were black every time I finished a knitting session) - I guess it is just excess colour. I used Rowa Purelife Organic Wool, and can't say if this thing of too much pigmentation happens also in other colourways, but hopefully it will be sorted with a good soaking and bath in vinegar. More pictures when it's blocked and dry - so far, measurements are 200x41cm, just off the needles.
Before joining the Chicago Police Department in November of 1986, I worked for the Hyde Park Co-op, then Hyde Park's largest grocery store, and one of the community's most venerable institutions. Like the neighborhood it served, it was independent. The store was owned by thousands of ordinary Hyde Parkers and not affiliated with corporate giants like Jewel or Dominick's, or any of the national chains.
I worked there for nine years, starting while I was still in graduate school at the University of Chicago. My last two years at the Co-op, I worked on the Night Crew, a motley crew indeed, which restocked the store during the overnight hours.
With one other White guy - also a Grad School drop-out - the Night Crew was an otherwise entirely African American undertaking. Leroy, the leader of our crew, was a particularly despicable product of Robert Taylor Homes, who tried to make up for his lack of basic intelligence by imposing his own rendition of totalitarian rule. He assumed I was from "South Holland" - a Chicago suburb - because that was the only "Holland" he had ever heard of.
The Night Crew was not a happy workplace. Leroy constantly felt the need to validate his rule by pounding his chest, grabbing his genitals, and hollering whenever something went awry. As the two token White guys on the crew, we were on the bottom rung of the ladder, and "White jokes" were a popular pastime for the dominant faction.
Living in Hyde Park and working on the Night Crew, did prepare me to some extent for the racial divide within the Chicago Police Department. In 1986, the Department had only recently been purged of its "White" command structure, in the wake of Harold Washington's election as Mayor of Chicago.
He had promised change and that's what he delivered: most South and West Side districts now had African American Commanders. The former White commanders either retired or coasted on to retirement with their civil service rank of Captain or Lieutenant, and could still be found as Watch Commanders and Field Lieutenants in various districts. There simply was no way to get rid of them until they reached their mandatory retirement are.
When I arrived at the 3rd District in 1987, Leroy Martin was our new Superintendent. I only knew the man as someone who'd make an occasional appearance at the 3rd District station to get gas for his company-car, usually on his way to Leo's Den, a bar at 71st & Woodlawn, where he'd hold court and played cards with his cronies.
Leroy was the "West Side Police" and he was reportedly "old school," and rumored to be "dirty" or "on the take." I don't know if he was or not, just what people said about him. Some Black officers who claimed to have direct knowledge of his dealings, said they were amazed that he was never indicted after he retired.
White officers in the 3rd District who had served under the old regime as well as the new, were adamant that the change in leadership was one of pigmentation only. The new leadership, according to them, was no less corrupt, unjust, or racist; there was just a different crew at the public trough, and a different set of cronies who benefitted from the largesse of their benefactors.
The guys I worked and hung out with, were almost all ethnic Whites, predominantly Irish and East European, with an occasional Mexican, Italian or Greek. They all seemed to be Catholic, and they'd usually want to know which Parish you belonged to, so they could peg you into the right hole in their mind.
Needless to say, I was something of an odd duck in the 3rd District pond. I was White and European alright, but with a pedigree that did not match expectations. I wasn't Catholic, wasn't the product of a typical Chicago police dynasty, and - worst of all - I was a long-time resident of Hyde Park.
My Zip-code got me in trouble right off the bat. My Field Training Officer was the product of a mixed marriage. Her Black father had married this White broad from Hyde Park, and she hated her White mother from Hyde Park - and all those other White liberals who lived there - with a passion. Needless to say, I couldn't do anything right and our brief partnership ended with a lot of hollering and screaming.
My next FTO was also African American but he was cool. He had no axes to grind or points to score, he just worked his Beat Car and taught me how to be the police.
Nate had come from somewhere else as well: Alabama, back in the days of Jim Crow, and had come up North during the Great Migration of the Fifties and Sixties. Nate did his job for 8 hours each day, and then he'd kick back and have a few cocktails with the guys, maybe entertain someone of the female persuasion, and that was about it.
After completing my Field Training, I had to leave the calm and comfort of Nate's world, and landed among the knuckleheads who have no regular partner for one or more reasons, none of them good. These guys came in a variety of races and religions, but they were all misfits who had some kind of monkey on their back, usually in the form of an addiction to alcohol, gambling, drugs, or all of the above.
In the Spring of 1988, I teamed up with a regular partner, which allowed both of us to concentrate on learning our profession, instead of worrying that each 8-hour shift could be our last.
For safety reasons, we'd always work a two-man car on both Afternoons and Midnights. Considered to be the most dangerous shifts, it was vital that you worked with someone you could entrust with your life. Looking around the roll-call room at the 3rd District in 1988, that usually meant you'd select a partner of the same race. So, is it just a matter of race? Is it just some knee-jerk reaction of "I'll take anyone as long as he's White?"
No, of course not. You will be stuck with each other for at least eight hours, so personal hygiene definitely becomes a factor in such close quarters, and you definitely want someone who'll have your back, and won't get you jammed up in one beef after another. Beyond that it's a matter of finding someone you're comfortable with, and race is one of many characteristics that can contribute to that bond.
Same-race partnerships were not the exclusive domain of White officers. African American coppers also gravitated towards partners of the same race.
However your partnership came about, reality is waiting for you out there in real time, and the dispatcher on Zone 7 Radio has your number. He's ready to hammer you with a bunch of assignments on your Beat, stuff that should have been handled an hour ago, but wasn't.
The world outside the station was just as race-sensitive as the one within, if not more so. The population of the 3rd District was about 95% African American according to the statistics, but I don't know where the remaining 5% was hiding, cause I never got to meet them.
Within the Black community at that time, "light" was usually better than "dark." Everyone was scored as Light, Medium, or Dark, not by us, but by the victims who had just been robbed or beaten by some dude. We'd dutifully recorded those descriptions in our reports, because it assisted us in apprehending the right individual.
I don't know what happened to slogans like "Black is Beautiful" and "Black Pride," but that's not what I saw out on the street. Jesse Jackson was still talking that "I am somebody" stuff at Operation PUSH, but the billboard at 63rd & King Drive proclaimed that women should go "Vamping with the Bros." It was a time of excess, and drugs and money were its currencies.
To be continued...
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From Wikipedia, the free encyclopedia
Albinism (from Latin albus, "white"; see extended etymology, also called achromia, achromasia, or achromatosis) is a congenital disorder characterized by the complete or partial absence of pigment in the skin, hair and eyes due to absence or defect of tyrosinase, a copper-containing enzyme involved in the production of melanin. Albinism results from inheritance of recessive gene alleles and is known to affect all vertebrates, including humans. While an organism with complete absence of melanin is called an albino (pron.: /ælˈbaɪnoʊ/ American English,[1] or /ælˈbiːnoʊ/ British English)[2] an organism with only a diminished amount of melanin is described as albinoid.[3]
Albinism is associated with a number of vision defects, such as photophobia, nystagmus and astigmatism. Lack of skin pigmentation makes for more susceptibility to sunburn and skin cancers. In rare cases such as Chédiak–Higashi syndrome, albinism may be associated with deficiencies in the transportation of melanin granules. This also affects essential granules present in immune cells leading to increased susceptibility to infection.[4]
Signs and symptoms
In humans, there are two principal types of albinism, oculocutaneous, affecting the eyes, skin and hair, and ocular affecting the eyes only.
Most oculocutaenous albinistic humans appear white or very pale as the melanin pigments responsible for brown, black, and some yellow colorations are not present. Ocular albinism results in pale blue eyes, and may require genetic testing to diagnose.
Because individuals with albinism have skin that entirely lacks the dark pigment melanin, which helps protect the skin from the sun's ultraviolet radiation, their skin can burn more easily from overexposure.[5]
The human eye normally produces enough pigment to color the iris blue, green or brown and lend opacity to the eye. However, there are cases in which the eyes of an albinistic person appear red, pink or purple, depending on the amount of pigment present, due to the red of retina being visible through the iris. Lack of pigment in the eyes also results in problems with vision, both related and unrelated to photosensitivity.
The albinistic are generally as healthy as the rest of the population (but see related disorders below), with growth and development occurring as normal, and albinism by itself does not cause mortality,[6] although the lack of pigment blocking ultraviolet radiation increases the risk of skin cancer and other problems.
[edit]Visual problems
Development of the optical system is highly dependent on the presence of melanin, and the reduction or absence of this pigment in albinistic individuals may lead to
Misrouting of the retinogeniculate projections, resulting in abnormal decussation (crossing) of optic nerve fibres[5]
Photophobia and decreased visual acuity due to light scattering within the eye (ocular straylight)[5][7]
Reduced visual acuity due to foveal hypoplasia and possibly light-induced retinal damage[5]
Eye conditions common in albinism include:
Nystagmus, irregular rapid movement of the eyes back and forth, or in circular motion.[5]
Astigmatism, irregular shaped cornea requiring additional cylindrical corrective lenses in spectacles.[8]
Amblyopia, decrease in acuity of one or both eyes due to poor transmission to the brain, often due to other conditions such as strabismus.[5]
Optic nerve hypoplasia, underdevelopment of the optic nerve
Some of the visual problems associated with albinism arise from a poorly developed retinal pigment epithelium (RPE) due to the lack of melanin.[citation needed] This degenerate RPE causes foveal hypoplasia (a failure in the development of normal foveae), which results in eccentric fixation and lower visual acuity, and often a minor level of strabismus.
The iris is a sphincter formed from pigmented tissue that contracts when the eye is exposed to bright light, to protect the retina by limiting the amount of light passing through the pupil. In low light conditions the iris relaxes to allow more light to enter the eye. In albinistic subjects, the iris does not have enough pigment to block the light, thus the decrease in pupil diameter is only partially successful in reducing the amount of light entering the eye.[citation needed] Additionally, the improper development of the RPE, which in normal eyes absorbs most of the reflected sunlight, further increases glare due to light scattering within the eye.[9] The resulting sensitivity (photophobia) generally leads to discomfort in bright light, but this can be reduced by the use of sunglasses and/or brimmed hats.[10]
[edit]Genetics
Most forms of albinism are the result of the biological inheritance of genetically recessive alleles (genes) passed from both parents of an individual, though some rare forms are inherited from only one parent. There are other genetic mutations which are proven to be associated with albinism. All alterations, however, lead to changes in melanin production in the body.[6][11]
The chance of offspring with albinism resulting from the pairing of an organism with albinism and one without albinism is low. However, because organisms can be carriers of genes for albinism without exhibiting any traits, albinistic offspring can be produced by two non-albinistic parents. Albinism usually occurs with equal frequency in both sexes.[6] An exception to this is ocular albinism, which it is passed on to offspring through X-linked inheritance. Thus, ocular albinism occurs more frequently in males as they have a single X and Y chromosome, unlike females, whose genetics are characterized by two X chromosomes.[12]
There are two different forms of albinism: a partial lack of the melanin is known as hypomelanism, or hypomelanosis and the total absence of melanin is known as amelanism or amelanosis.
[edit]Diagnosis
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)
Genetic testing can confirm albinism and what variety it is, but offers no medical benefits except in the cases of non-OCA disorders (see below) that cause albinism along with other medical problems which may be treatable. The symptoms of albinism can be treated by various methods detailed below.
[edit]Treatment
For the most part, treatment of the eye conditions consists of visual rehabilitation. Surgery is possible on the ocular muscles to decrease nystagmus, strabismus and common refractive errors like astigmatism.[5] Nystagmus-damping surgery can also be performed, to reduce the "shaking" of the eyes back and forth.[13] The effectiveness of all these procedures varies greatly and depends on individual circumstances.
Glasses and other vision aids, large-print materials as well as bright but angled reading lights, can help individuals with albinism, even though their vision cannot be corrected completely. Some people with albinism do well using bifocals (with a strong reading lens), prescription reading glasses, and/or hand-held devices such as magnifiers or monoculars.[10] Contact lenses may be colored to block light transmission through the iris. But in the case of nystagmus this is not possible, due to the irritation that is caused by the movement of the eyes. Some use bioptics, glasses which have small telescopes mounted on, in, or behind their regular lenses, so that they can look through either the regular lens or the telescope. Newer designs of bioptics use smaller light-weight lenses. Some US states allow the use of bioptic telescopes for driving motor vehicles. (See also NOAH bulletin "Low Vision Aids".)
[edit]Epidemiology
Albinism affects people of all ethnic backgrounds; its frequency worldwide is estimated to be approximately one in 17,000. Prevalence of the different forms of albinism varies considerably by population, and is highest overall in people of sub-Saharan African descent.[14]
[edit]Society and culture
Main articles: Persecution of people with albinism and Albinism in popular culture
In physical terms, humans with albinism commonly have visual problems and need sun protection. But they also face social and cultural challenges (even threats), as the condition is often a source of ridicule, discrimination, or even fear and violence. Cultures around the world have developed many beliefs regarding people with albinism.
In African countries such as Tanzania[15] and Burundi,[16][17] there has been an unprecedented rise in witchcraft-related killings of albino people in recent years, because their body parts are used in potions sold by witchdoctors. Numerous authenticated incidents have occurred in Africa during the 21st Century.[18][19][20][21] For example, in Tanzania, in September 2009, three men were convicted of killing a 14-year-old albino boy and severing his legs in order to sell them for witchcraft purposes.[22] Again in Tanzania and Burundi in 2010, the murder and dismemberment of a kidnapped albino child was reported from the courts,[16] as part of a continuing problem. National Geographic estimates that in Tanzania a complete set of albino body parts is worth $75,000.[1]
Another harmful and false belief is that sex with an albinistic woman will cure a man of HIV. This has led, for example in Zimbabwe, to rapes (and subsequent HIV infection).[23]
Certain ethnic groups and insular areas exhibit heightened susceptibility to albinism, presumably due to genetic factors. These include notably the Native American Kuna and Zuni nations (respectively of Panama and New Mexico); Japan, in which one particular form of albinism is unusually common; and Ukerewe Island, the population of which shows a very high incidence of albinism.[24]
Famous people with albinism include historical figures such as Oxford don William Archibald Spooner; actor-comedian Victor Varnado; musicians such as Johnny and Edgar Winter, Salif Keita, Winston "Yellowman" Foster, Brother Ali, Sivuca, Willie "Piano Red" Perryman; and fashion models Connie Chiu and Shaun Ross. Emperor Seinei of Japan is thought to have been an albino because he was said to have been born with white hair.
Octopus / Vulgaris
Octopus vulgaris uses monocular vision almost exclusively and can move its eyes independently. The amount of binocular vision is small because the eyes are on the sides of the head. Pigmentation of the ventral side of the arms tended to be most intense on the side of the preferred eye and the body was most pigmented on the side of the eye currently in use.
Ground colour of body translucent white, heavily mottled with black/burnt umber and a little opaque white, combining with visible, internal, fawn-brown viscera to give an over all brown appearance to head and body. Pigmentation on dorsum continues to posterior of tentacles on parts likely to be exposed to view, but ceases further back into shell (1).
No penis on males; possibly because would obstruct respiration in such a small aperture.
Full SPECIES DESCRIPTION: flic.kr/p/RCFpWq
Sets of OTHER SPECIES:
Fresh fragrant flowers from our tree...
Apple blossom tea improves digestion, removes excess fat, clears acne, lightens pigmentation, eases nerves and revitalizes blood.
The apple flower is often used in the Chinese medicine to promote skincare, help digestion, detoxify liver, promote blood circulation, and nourish blood.
Wondered whether this might be a juvenile Entomobrya nicoleti. Two pigment spots at rear of abdomen; smaller than others I've seen and with a larger head.
Humpback Whales: Black & White
Please don't copy this image without my written permission.
© 2015 All rights reserved: john c. bruckman @ innereye photography
COOL FACTS:
•Males sing complex songs on wintering grounds in Hawaii that can last up to 20 minutes and be heard 20 miles (30 km) away!
•In the Pacific, humpbacks migrate seasonally from Alaska to Hawaii--they can complete the 3,000-mile (4,830 km) trip in as few as 36 days!
•Humpback whales are well known for their long pectoral fins, which can be up to 15 feet (4.6 m) in length. Their scientific name, Megaptera novaeangliae, means "big-winged New Englander" as the New England population was the one best known to Europeans. These long fins give them increased maneuverability; they can be used to slow down or even go backwards.
•Several hunting methods involve using air bubbles to herd, corral, or disorient fish. One highly complex variant, called "bubble netting" is unique to humpbacks. This technique is often performed in groups with defined roles for distracting, scaring, and herding before whales lunge at prey corralled near the surface.
•Their body coloration is primarily dark grey, but individuals have a variable amount of white on their pectoral fins and belly. This variation is so distinctive that the pigmentation pattern on the undersides of their "flukes" is used to identify individual whales, similar to a human fingerprint.
•Humpback whales are the favorite of whale watchers, as they frequently perform aerial displays, such as breaching (jumping out of the water), or slapping the surface with their pectoral fins, tails, or heads.
•Humpback whales travel great distances during their seasonal migration, the farthest migration of any mammal. The longest recorded migration was 5,160 miles (8,300 km); seven animals, including a calf, completed this trek from Costa Rica to Antarctica.
•Also on wintering grounds, males sing complex songs that can last up to 20 minutes and be heard 20 miles (30 km) away. A male may sing for hours, repeating the song several times. All males in a population sing the same song, but that song continually evolves over time. Humpback whale singing has been studied for decades, but scientists still understand very little about its function.
Source: www.nmfs.noaa.gov/pr/species/mammals/whales/humpback-whal...
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Fox is a name applied to any of roughly 27 species of small to medium-sized canids, characterized by possessing a long, narrow snout, and a bushy tail, or "brush". By far the most common and widespread species of fox is the red fox (Vulpes vulpes), although various species are found on almost every continent. The presence of fox-like carnivores all over the globe has led to their appearance in the popular culture and folklore of many nations, tribes, and other cultural groups.
Most foxes live 2 to 3 years, but they can survive for up to 10 years or even longer in captivity. Foxes are generally smaller than other members of the family Canidae such as wolves, jackals, and domestic dogs. Dogs (male foxes) weigh on average, 5.9kg and vixens (female foxes) weigh less, at 5.2kg (13 lbs and 11.5 lbs, respectively). Fox-like features typically include an acute muzzle (a "fox face") and bushy tail. Other physical characteristics vary according to their habitat. For example, the fennec fox (and other species of foxes adapted to life in the desert, such as the kit fox) has large ears and short fur, whereas the Arctic fox has small ears and thick, insulating fur.
Another example is the red fox which has a typical auburn pelt, the tail normally ending with white marking.
Unlike many canids, foxes are usually not pack animals. Typically, they are solitary, opportunistic feeders that hunt live prey (especially rodents). Using a pouncing technique practiced from an early age, they are usually able to kill their prey quickly. Foxes also gather a wide variety of other foods ranging from grasshoppers to fruit and berries.
Foxes are normally extremely wary of humans and are not kept as pets (with the exception of the fennec); however, the silver fox was successfully domesticated in Russia after a 45 year selective breeding program. This selective breeding also resulted in physical and behavioural traits appearing that are frequently seen in domestic cats, dogs, and other animals: pigmentation changes, floppy ears, and curly tails.
Description courtesy of Wikipedia.
Photographer: David Weeks
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
Hyaluronic Acid Serum, Best Face & Skin Moisturizer for Dry & Oily Skin. myorganiczone.com/product/hyaluronic-acid-serum/ Hyaluronic Acid Serum, Best Face & Skin Moisturizer for Dry & Oily Skin. Skin & Face Moisturizer for Oily & Dry Skin, Hyaluronic Acid Serum Moisturizes & Hydrates your face & skin. My Organic Zone’s Hyaluronic Acid Serum is the best skin & face moisturizer for oily & dry skin. The natural ingredients are carefully combined in order to moisturize & hydrate your face & skin.
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Photographing more of these to try to understand the range of colours/pigmentation. This one quite orangey with moderately dark lateral pigmentation. A bit like the earlier one that Frans said looked like f. maculata, but without the "comma-shaped" area of pigmentation dorsally.
Canon 1D3 + MP-E 65mm (at x5) + TwinLite Flash.
Diode, an albino budgerigar (parakeet) naturally lacking all pigmentation has taken to tweeting of a different variety.
Albinism is a recessive genetic trait in budgies, who are native to Australia but are commonly kept as pets in many regions of the world.
Photo by Daniel M. Reck.
Santeva Glow Glutathione has 500 mg of Glutathione in each capsule and 30 powder capsules in each bottle. It does the following:
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If you are using Santeva Glow for skin lightening, hyperpigmentation, melasma, sun spots & etc you will need 2 or more bottles for results for your first month. You can take 2-6 capsules a day depending on the speed you would like your skin to lighten. Be sure to take Santeva Glow glutathione with vitamin c and wear sunblock because Glutathione makes your skin more sensitive to The Sun. Add exfoliating and our Santeva Charcoal Soap for Optimal results. If you are using Santeva Glow for anti-aging and health benefits 1 bottle and 1-2 capsules Is fine when purchasing a month supply. How to calculate your dose for anti aging/anti oxidant: 10mg per kg BW (body weight) per day. 500 mg/day that is 1-2 Capsules a day. How to calculate your dose for skin lightening: To achieve the skin lightening effects of glutathione you must calculate the dose necessary for therapeutic levels. You should take 20-40mg per kg (~2.2 lbs) of body weight, per day in 2-3 divided doses. We recommend taking them after a meal. Remember to spread the doses out. When you have reached your desired complexion you can cut back to a "maintenance dose" of half your regular dose. If you keep taking the product at maximum dosage you will continue getting lighter.
Ingredients: L-Glutahtione 500mg , Alpha Lipoic Acid 300mg, Vitamin C 200mg, Collagen 100mg,
Capsules shell ingredients: Vegetal and Gelatin
HOW TO USE: Take 6 Santeva Glow plus 3 Santeva Vitamin C spread out in even dosages throughout the day 30 mins before a meal. That means, 2 Santeva Glow plus 1 Santeva Vitamin C in the morning, 2 Santeva Glow plus 1 Santeva Vitamin C in the afternoon and 2 Santeva Glow plus 1 Vitamin C at night.
Disclaimer: Results may vary. These statements have not been evaluated by the Food and Drug Administration. Content on this site is for reference purposes and is not a substitute for advice from a licensed health-care professional. You should not rely solely on this content. Always read labels and directions before using a product. These products are not intended to diagnose, treat, cure, or prevent any disease or condition.
Safety Warning: If you have a medical condition, are pregnant, lactating, trying to conceive, or taking medications, consult your health care practitioner before using this product.
Masai Giraffe (giraffa camelopardalis tippelskirchi)
- Range: the Savannas of eastern Africa. Note: in prehistoric time this single species ranged over most open areas in Africa. The giraffe range began to shrink 1,400 years ago to its present size.
- Diet: Girraffes are browsers. plucking leaves, buds and fruits from trees such as acacia, mimosa and wild apricot.
- Fun Fact: a giraffe's 18-inch tongue helps extend its reach way up into the treetops and curls in between spiny thorns on acacia trees. It is believed that the black pigmentation prevents the tongue from getting sunburned.
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SABUN EUMORA adalah SABUN KECANTIKAN yang begitu unik dan diperbuat dari bahan yang bermutu tingi, sesuai untuk semua jenis kulit dan untuk kegunaan harian.
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Although the default eye colour for dogs is brown, they can also be amber or blue. Furthermore, one iris, or a part of one iris, can be a different colour from the other (Heterochromia).
Most of the genetic factors that influence eye colour are tied into whole body colour (amber eyes) or pigmentation (blue eyes). Blue eyes, commonly seen in Huskies, can also be as a result of completely separate genes, unaffected by coat colour/pigmentation.
Top to Bottom:
Rebel: brown eyes (default eye colour)
Foxy: partial or sectoral heterochromia
Bowie: complete heterochromia
Skye: blue eyes
Masai Giraffe (giraffa camelopardalis tippelskirchi)
- Range: the Savannas of eastern Africa. Note: in prehistoric time this single species ranged over most open areas in Africa. The giraffe range began to shrink 1,400 years ago to its present size.
- Diet: Girraffes are browsers. plucking leaves, buds and fruits from trees such as acacia, mimosa and wild apricot.
- Fun Fact: a giraffe's 18-inch tongue helps extend its reach way up into the treetops and curls in between spiny thorns on acacia trees. It is believed that the black pigmentation prevents the tongue from getting sunburned.
Photographing lots of these "aureus group" types to try to understand the range of colours/pigmentation. This one with orange transverse stripes and dark lateral pigmentation. More like Sminthurinus reticulatus.
Canon 1D3 + MP-E 65mm (at x5) + TwinLite Flash.
[Thanks Frans for the Comment]
A blue rose is a flower of the genus Rosa (family Rosaceae) that presents blue-to-violet pigmentation instead of the more common red, white, or yellow. Blue roses are often portrayed in literature and art as a symbol of love and prosperity to those who seek it, but as a result of genetic limitations do not exist in nature. White roses have been dyed blue.
Keep Smiling
A smile is one of the main things that individuals notice about you and now and again it is quite possibly the main things to establish the principal connection right. It says a lot about your character and how sound your way of life is. Indeed, to be explicit here, a smile connotes certainty, warmth, delight, and imperativeness.Improved with normal fixings like peppermint, kaolin, bentonite mud and diatomaceous earth, the Exposed Body Fundamentals Star Residue Teeth Brightening Powder is wonderful to accomplish a normally white search for your teeth! It is really simple to utilize and helps eliminate stains to bring back the lost sparkle of your teeth. Time to express farewell to yellow-stained teeth. Welcome this progressive brightening powder into your life for a superior, more white, more brilliant and shimmering grin. Get a grin that is brilliant and kill easily with the Exposed Body Basics Star Residue Teeth Brightening Powder. With strong fixings like peppermint, kaolin, bentonite mud, and diatomaceous earth, our teeth brightening powder can help you brighten and light up your grin. Make it a piece of your everyday consideration schedule today!
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Not to hide anymore
To ease up the underarms, it are compelling to follow subjects creams or salves. Counsel your PCP to know which one suits your skin condition.
Hydroquinone: Creams that contain hydroquinone are best for hyperpigmentation since it fills in as a fading specialist to ease up the skin tone. Hydroquinone may likewise be endorsed in mix with different salves.
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The facial skin, especially around the eyes, is quite delicate. Perhaps this is why the face loses. Especially in the post-pandemic world, when most people spend half of their day staring at laptop screens or smartphones, straining eyes and the area surrounding it, has become a norm. Apart from the increased screen time, other factors like smoking, dehydration, exhaustion from lack of sleep, and sun exposure further damages your under-eye area, leading to dark patches or a sunken look. As a result, paying special attention to the skin around the eyes has become more important than ever. In this context, under-eye gels are taking the personal care andbeauty industry by storm. By targeting the exact areas of concern, these gels reduce puffiness, dark circles, and fine lines. And, even though applying under-eye gels is relatively straightforward, consumers must keep a few things in mind to ensure the best results.
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Please View On Black and/or View On White
A very old breed, there descriptions of Silkies going back several hundred years. Marco Polo described similar birds in the C13th and they were described as having 'fur like cats' in 1645. It is thought that they originated in Asia, possibly China or even Japan. The first birds to arrive in the UK came from India in 1850 when their unusual looks won love and admiration which has continued to this day.
They are unique. Their fluffy appearance is due to their feathers not having the small barbs that keep other feathers together and consequently they are soft and silky to handle. Silkies are no fliers and can be kept within a low fence. They are renowned for their broodiness and their calm, friendly and trusting nature. Their skin is dark purple, sometimes appearing black, this pigmentation being carried into the meat & bones and the Chinese regard them as a delicacy with medicinal properties.
Silkies are a large breed but there is a lot of variety in size & weight. The body is broad and round with a short back and saddle rising to the tail whick is plentiful, fluffy and raggy looking in the cock. The heads are quite different in the male & female. The cock has a pronounced purple comb and a crest of longer feathers swept back towards the neck hackles. The hen has a short, neat pom-pom like a powder puff. On both sexes, the wattles & face are purple with black eyes and bright blue ear lobes. Legs are short, grey blue, lightly feathered with a fifth toe.
The hens do make wonderful broodies and are used widely as natural incubators by breeders of pheasants, partridges and ducks as well as chickens. Although they might lay up to about 150 pale tinted eggs a year, which tend to be a bit smaller than average, this number can be much lower if they sit a lot. Chicks are difficult to sex with any accuracy before about 15 weeks because of their peculiar feathers.
Just spotted this sparrow (I think it's a sparrow) in the hedge before it hid. It's either an albino or has leucism but as it's eyes are red could be albino. Is this a rare siting?
Ref: "The sparrow's white colour is caused by a condition similar to albinism called leucism, which occurs when pigmentation cells fail to develop properly. Sparrows usually have mixed brown, grey and black feathers.
While albino animals tend to have red eyes, creatures suffering from leucism - like the sparrow - usually have normal coloured eyes."
So, after the best part of five weeks doing little else than take photographs, I decided to spend Saturday painting the shed.
No I didn't, I went out orchiding.
Or did once we went to Tesco for the remainder of the shopping.
Another glorious warm day, that would be very good for photography,I thought.
Home for coffee and fruit for breakfast, before I packed my camera and headed to the Medway towns to meet up with two other people from my orchid group to hunt down some super rare orchids.
But then, they always are.
I drove up the A2/M2 to Chatham, turned off, and in a quiet residential area, I found Ian parked, so I pulled up behind him. Graham soon arrived too, and so we got out and set out down a narrow alleyway between the houses, into woodland behind.
Orchids are variable. Even the most common ones can produce spikes that are as rare as the rarest orchid species. And as all species can produce spikes with little or no pigmentation, they can also produce spikes with hyper-pigmentation.
Dactylorhiza fuchsii var. rhodochila, or a hyper-coloured Common Spotted Orchid. And in a colony where most spikes had strongly marked lips, there were four that really stood out, as the rings and dots had been covered by pigmantation, and the lips were a solid block of colour. I mean, I had seen shots of these, but to see them in person was something else.
We all took lots of shots, and then Graham said, I know of a colony of Lesser Butterfly orchids, would you like to see them?
We would.
The Lesser Butterfly at Barham have died out, and the ones at Stockbury seem to have had their flowers deliberately picked off this year, so another colony would be great to know about.
We drove in convoy for half an hour, met up in a pub car park, then drove in Graham's car to the end of a quiet, little used lane. A six-foot-sixer, Tony! And we set out on foot, a mile up the lane to a gate, where climbed over.
A car went by.
"What are you doing?"
We explained about the LBO and how rare they were and we knew they were in the wood. The gamekeeper knew about them too, and was happy to let us go, and if someone stopped us again, we could mention his name to say we had his blessing. We also said we would tell no one about the site.
We climbed over a fence into the wood, and shortly afterwards we saw the first of about twenty spikes, one measuring in at 68cm tall, and one that had a clear green colour to it.
We took shots of them all, though the humidity was getting to me, fogging the viewfinder and by glasses. Sometimes at the same time.
We walked back to the car, then droove back to the pub, so that we could go our separate ways. My plan was to head back to Dover, to call in at the council offices to see if the unusually marked Bee Orchid was showing.
It was, and had only just opened as the pollina had only just dropped and had not been visited by an insect yet.
I got shots, one of which came out rather well, even if i say so myself.
Then back home for a drink, then a bacon butty and a brew.
Phew, it was a scorcher.
I reviewed shots through the afternoon before we had Caprese again with the leftover bread from the day before.
Life was good.
We listened to Craig in the evening before heading up to bed at half eight.
Phew.
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The Common Spotted-orchid is one of the few species that are still thriving in Britain despite the ongoing environmental damage and habitat desctruction that has caused so many other orchids to decline. Its secret is an adaptability that enables it to colonise new areas. Few of us can have failed to spot the vast numbers of Dactylorhiza fuchsii on urban roadside verges and roundabouts - this orchid is living among us. It lives up to its common name on both counts: this orchid is indeed common, and its leaves are profusely marked with dark spots and blotches. Although best known from alkaline habitats such as fens, dune slacks, old quarries and lime pits, the Common Spotted-orchid is also tolerant of mildly acidic substrates and so can sometimes be found on heathland among heather. In Britain and Ireland this orchid flowers from mid May to the end of July. On mainland Europe the range of Common Spotted-orchid extends from Scandinavia in the north through central Europe and southwards to the Mediterranean.
Taxonomy & Hybrids
Pollination is highly successful, and a number of insects - particularly beetles - are attracted to the flowers' nectar.
The specific name 'fuchsii' refers to the German botanist Leonard Fuchs.
There is one subspecies found in Britain: Dactylorhiza fuchsii subsp. hebridensis which is found in Scotland, the Outer Hebrides and western Ireland.
There are a number of varieties and hybrids. Dactylorhiza fuchsii var. albiflora has unmarked white flowers and is fairly widespread. Dactylorhiza fuchsii var. alpina has small, darker flowers and is found in Scotland and parts of northern England; it has also been reported from Wales. Dactylorhiza fuchsii var. cornubiensis is a smaller plant with a relatively large infloresence and larger flowers; it is found in Cornwall. Dactylorhiza fuchsii var. albiflora has unmarked white flowers and unspotted leaves; it is widespread but uncommon. Dactylorhiza fuchsii var. okellyii is somewhat contentious: it resembles Dactylorhiza fuchsii var. albiflora but the leaves can be either spotted or unspotted; this variety is thought to be confined to western Ireland, the Isle of Man and parts of Scotland. Dactylorhiza fuchsii var. rhodochila is a widespread but rare hyperchromatic variant with excessive pigmentation; the lips of its flowers are reddish purple with a paler border, and the leaves can have either heavily marked or completely purple leaves.
There are also several hybrids. Dactylorhiza x transiens is the hybrid with Heath Spotted-orchid Dactylorhiza maculata. Dactylorhiza x kernerorum is the hybrid with Early Marsh-orchid Dactylorhiza incarnata. Dactylorhiza x mixtum is a rare hybrid with the Frog Orchid Dactylorhiza viridis. Dactylorhiza x venusta is the hybrid with Northern Marsh-orchid Dactylorhiza purpurella. Dactylorhiza x grandis is the hybrid with Southern Marsh-orchid and is widespread in southern Britain. Dactylorhiza x silvae-gabretae is the hybrid with Narrow-leaved Marsh-orchid Dactylorhiza traunsteinerioides. Dactylorhiza x braunii is the hybrid with Irish Marsh-orchid Dactylorhiza occidentalis and is recorded from County Clare.
There is also an intergeneric hybrid. X Dactylodenia st-quintinii is the hybrid with Fragrant Orchid Gymnadenia conopsea and possibly with Britain's other two Fragrant Orchids.
www.hardyorchidsociety.org.uk/hos%201012/orchidphotos/dac...
Quite a few moss species have distinct patches of cells at the extreme base of the leaves: often relatively large, with few chloroplasts and with orange pigmentation. Compare these cells with those further up the leaf lamina, shown in the previous image.
Also note the fine detail revealed in this oblique transmitted light photomicrograph, happily lacking in the usual chromatic aberration.
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asia-care.net/en/krem/-drjart-v7-pink-toning-light-cream-...
Tight shot of J28 surfacing, revealing finely detailed surface pigmentation.
Photo taken June 20th, 2012 as the J's and L87 visited Saturna's East Point from about 4:15 pm until about 5:15 working against a moderate flood tide, heading towards Haro Strait. Fairly spread out, travelling in four groups, some foraging going on in the tidal rips. In the range of about 25-30 whales, led by J2 -- with the last group, the J17's, holding tight to the
shoreline.
This is the MG Qubeley Mk II used by Ple Two, the clone of Newtype prodigy Elpeo Ple.
For my build, I greatly expanded the design work of the markings. The original kit only contains markings (in yellow) for the front facings of the shoulder binders-- Psycommu System marking and Qubeley script with Ple Two mascot on the left and Neo Zeon insignia on the right. EVERYTING else was all designed and laid out by me (repeated markings on back of shoulders, split Neo Zeon insignias on top of binders, text on legs and arms, danger warnings, funnel binder text and isignia, etc.). I also changed the color to gold to match the metallic finish I was creating. I sent this design off to Samuel to produce the decals for me.
Regarding the metallic finish, I wanted to add some visual interest and not just do the same old color over chrome metallics. I lightly sanded the gloss black primer before spraying on the chrome Alclad and it gave me the brushed metal look seen here. A way of weathering the finish without getting dirty. The red was Alclad Transparent Red (I've said it before-- DO NOT USE HOT METAL RED!!! It has nowhere near the amount of pigmentation for primary color use). Gold is also Alclad. Grays and blacks are Gunze and Gaia respectively.
There are also some physical mods with the addition of HiQParts thrusters inside the binders and on the outside of the legs. Metal collar parts were used for the hoses.
Friday 23rd June 2023
Last day of the week, and if I am honest, beginning to feel a little bit better after suffering more than I'd like to admit since knacking my back before going to Svalbard.
This was the first time I have felt sure on my feet since then, happy and confident as my brain ordered them plates to climb a down, and they obeyed and I didn't feel like I was going to come tumbling back down.
But before all that, there was work. And putting out the bins.
Jools went to yoga, so was on bin duty. Made a second coffee and made ready for work.
My colleagues are travelling this weekend, both going to Taiwan, meanwhile I will have an online audit on Tuesday. My audits are loaded to the second half of the year, so for now I try to make sense of our planning "tool", and try to make sense of the chaos.
Its different chaos from the usual general chaos.
I have chosen to pick a fight with someone two corporate levels above me, mainly because I am right and they're not. And because, what the fuck?
Anyway, the morning was spent swapping messages as they were too busy for a call. And is going on holiday at the end of the day.
So I throw a few grenades over the wall before signing off, and smiled to myself.
Jools returned at half one, changes and we go out. It was a glorious afternoon, she was going to go swimming in the harbour, and I was going to meet Graham and look for orchids.
An orchid.
Jools said not to hurry back, so I wouldn't. Within reason.
Drove to Wye where I was to meet Graham, before I got in his car and we drove to another down.
Last week two people posted shots of a rare "yellow" form of a Late Spider, and after some detective work, I decided it was at the site we were about to explore. I had not been here before, and Graham had found it only a few weeks back, where he saw maybe 15 spikes.
We had to limbo under a fence, go along a track then up the down, where we saw the first Late Spiders.
In huge numbers.
And monster spikes too, one with 10 (ten) flowers, and many with unusual lip markings, colouration and one with a yellow spike.
And the spikes kept showing all up to the top of the down, but the orchid we came to find, we did not see.
Two hours passed, and I had to go to pick up Jools, so we walked back down to Graham's car, so he could run me to ours, then back along lanes to Stone Street and the short run to the motorway and to home.
Jools had met an old friend and they had talked for over an hour, so no worries on keeping her waiting.
We went back home, getting back at quarter past five, so time to feed the cats, and get ready for the quiz. Meanwhile, Jools went to collect a Chinese takeaway, so that when the quiz was done, I would be collected and we would go to Jen's for dinner and cards.
ylv is still here, and running interference. She means well, but chaos follows here. Everywhere.
We eat well, then after packing away, we play cards, taking two hours to get through a game of Meld, as Sylv is poorly organised she seems just to stare at her cards. Jools helps here twice, and she wins the hands as a result.
But not John, it was too late for a hand of Queenie. So we went home.
---------------------------------------------------------------------------------------
Classed as Vulnerable in the Red List of threatened orchids, the Late Spider-orchid is one of Britain's rarest orchids. It is now restricted to a few sites in Kent, where many of the plants are protected by cages to prevent damage by grazing animals and other predators. Like its close relative the Bee Orchid Ophrys apifera, Ophrys fuciflora has evolved to mimic the form of a pollinating insect, and this facilitates pollination. Interestingly, the particular species of bees that pollinate Late Spider-orchids on mainland Europe do not occur in the UK, and so what little pollination takes place here must be facilitated by other insects, possibly small beetles. Seed-set is very low, and the likely factor which saves the small populations of Late Spider-orchids in Kent is that fully developed plants live for a long time and therefore only a small number of new plants are required annually in order to keep the population stable. The Late Spider-orchid flowers from late May to late July. Ophrys fuciflora is widespread in other parts of Europe from France eastwards to Romania and south to Italy.
Plant: 5-30cm.
Leaves: 3-5 lanceolate leaves form a basal rosette of which the lower leaves lie flat on the ground. They are greenish-grey and prominantly veined. There are 2-3 smaller, more pointed leaves higher up and loosely sheathing the stem.
Bracts: lanceolate and grey-green.
Flowers: the sepals vary in colour from pale- to dark pink with a prominent green 'rib' on their outer surfaces, and they are green-veined on the inner surface. The triangular petals are much smaller than the sepals and sometimes have dark reddish swellings (auricles) towards the base. The lip is a rich velvety dark brown and its shape is noticeably square. Square 'shoulders' at the base of the lip vary in size and are often hairy. The speculum (mirror), which is extremely variable in colour and patterning, radiates from a semi-circular 'necklace' that surrounds the column.
The Late Spider-orchid belongs to the Ophrys genus. Its Latin name derives from the words 'focus' and 'flos' meaning 'bee-flowered'.
There are no subspecies, but there is such considerable range of colour and patterning of the lip as to invite numerous suggested variations, notably Ophrys fuciflora var. flavescens which lacks colour pigmentation and has white sepals and petals, a greenish lip with very faint markings. Two hybrids are recorded, Ophrys x albertiana is a hybrid with the Bee Orchid Ophrys apifera, while Ophrys x obscura is a hybrid with the Early Spider-orchid Ophrys sphegodes.
www.hardyorchidsociety.org.uk/hos%201012/orchidphotos/oph...
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
Laguna Colorada
Laguna Colorada (Red Lagoon) is a shallow salt lake in the southwest of the altiplano of Bolivia, within Eduardo Avaroa Andean Fauna National Reserve
The lake contains borax islands, whose white color contrasts nicely with the reddish color of its waters, which is caused by red sediments and pigmentation of some algae.
James's Flamingos abound in the area. Also it is possible to find Andean and Chilean flamingos, but in a minor quantity.
Roseate Spoonbill. They get their pink pigmentation from the oxides in the silt they process as they sift through the water filtering out food items.
Friday 23rd June 2023
Last day of the week, and if I am honest, beginning to feel a little bit better after suffering more than I'd like to admit since knacking my back before going to Svalbard.
This was the first time I have felt sure on my feet since then, happy and confident as my brain ordered them plates to climb a down, and they obeyed and I didn't feel like I was going to come tumbling back down.
But before all that, there was work. And putting out the bins.
Jools went to yoga, so was on bin duty. Made a second coffee and made ready for work.
My colleagues are travelling this weekend, both going to Taiwan, meanwhile I will have an online audit on Tuesday. My audits are loaded to the second half of the year, so for now I try to make sense of our planning "tool", and try to make sense of the chaos.
Its different chaos from the usual general chaos.
I have chosen to pick a fight with someone two corporate levels above me, mainly because I am right and they're not. And because, what the fuck?
Anyway, the morning was spent swapping messages as they were too busy for a call. And is going on holiday at the end of the day.
So I throw a few grenades over the wall before signing off, and smiled to myself.
Jools returned at half one, changes and we go out. It was a glorious afternoon, she was going to go swimming in the harbour, and I was going to meet Graham and look for orchids.
An orchid.
Jools said not to hurry back, so I wouldn't. Within reason.
Drove to Wye where I was to meet Graham, before I got in his car and we drove to another down.
Last week two people posted shots of a rare "yellow" form of a Late Spider, and after some detective work, I decided it was at the site we were about to explore. I had not been here before, and Graham had found it only a few weeks back, where he saw maybe 15 spikes.
We had to limbo under a fence, go along a track then up the down, where we saw the first Late Spiders.
In huge numbers.
And monster spikes too, one with 10 (ten) flowers, and many with unusual lip markings, colouration and one with a yellow spike.
And the spikes kept showing all up to the top of the down, but the orchid we came to find, we did not see.
Two hours passed, and I had to go to pick up Jools, so we walked back down to Graham's car, so he could run me to ours, then back along lanes to Stone Street and the short run to the motorway and to home.
Jools had met an old friend and they had talked for over an hour, so no worries on keeping her waiting.
We went back home, getting back at quarter past five, so time to feed the cats, and get ready for the quiz. Meanwhile, Jools went to collect a Chinese takeaway, so that when the quiz was done, I would be collected and we would go to Jen's for dinner and cards.
ylv is still here, and running interference. She means well, but chaos follows here. Everywhere.
We eat well, then after packing away, we play cards, taking two hours to get through a game of Meld, as Sylv is poorly organised she seems just to stare at her cards. Jools helps here twice, and she wins the hands as a result.
But not John, it was too late for a hand of Queenie. So we went home.
---------------------------------------------------------------------------------------
Classed as Vulnerable in the Red List of threatened orchids, the Late Spider-orchid is one of Britain's rarest orchids. It is now restricted to a few sites in Kent, where many of the plants are protected by cages to prevent damage by grazing animals and other predators. Like its close relative the Bee Orchid Ophrys apifera, Ophrys fuciflora has evolved to mimic the form of a pollinating insect, and this facilitates pollination. Interestingly, the particular species of bees that pollinate Late Spider-orchids on mainland Europe do not occur in the UK, and so what little pollination takes place here must be facilitated by other insects, possibly small beetles. Seed-set is very low, and the likely factor which saves the small populations of Late Spider-orchids in Kent is that fully developed plants live for a long time and therefore only a small number of new plants are required annually in order to keep the population stable. The Late Spider-orchid flowers from late May to late July. Ophrys fuciflora is widespread in other parts of Europe from France eastwards to Romania and south to Italy.
Plant: 5-30cm.
Leaves: 3-5 lanceolate leaves form a basal rosette of which the lower leaves lie flat on the ground. They are greenish-grey and prominantly veined. There are 2-3 smaller, more pointed leaves higher up and loosely sheathing the stem.
Bracts: lanceolate and grey-green.
Flowers: the sepals vary in colour from pale- to dark pink with a prominent green 'rib' on their outer surfaces, and they are green-veined on the inner surface. The triangular petals are much smaller than the sepals and sometimes have dark reddish swellings (auricles) towards the base. The lip is a rich velvety dark brown and its shape is noticeably square. Square 'shoulders' at the base of the lip vary in size and are often hairy. The speculum (mirror), which is extremely variable in colour and patterning, radiates from a semi-circular 'necklace' that surrounds the column.
The Late Spider-orchid belongs to the Ophrys genus. Its Latin name derives from the words 'focus' and 'flos' meaning 'bee-flowered'.
There are no subspecies, but there is such considerable range of colour and patterning of the lip as to invite numerous suggested variations, notably Ophrys fuciflora var. flavescens which lacks colour pigmentation and has white sepals and petals, a greenish lip with very faint markings. Two hybrids are recorded, Ophrys x albertiana is a hybrid with the Bee Orchid Ophrys apifera, while Ophrys x obscura is a hybrid with the Early Spider-orchid Ophrys sphegodes.
www.hardyorchidsociety.org.uk/hos%201012/orchidphotos/oph...
2016 入選 2016 Selected Work Award
白子／許尊凱
他們是白化症患者，身體無法留住黑色素的他們，外觀是清一色的白，因此又名「白子」。
白色的頭髮、白皙的皮膚、美麗的眼眸是他們的特徵，是他們與普通人最大的差異特徵。透過這組肖像，讓更多人看到屬於白子的美。
拍攝地點：台灣
－
They are people with albinism. Their bodies can’t retain skin pigmentation. Because of their pale appearance, people refer to them as the “white ones.”
White hair, pale skin and beautiful eyes are their special features and also their most noticeable differences with most other people. These portraits will enable more people see the beauty of the white ones.
Location：Taiwan
Never seen a gecko with leopard spots before. Have you? Is the pigmentation natural? Or maybe its just a dirty old reptile.
Are you looking for a quick and effective facial? If yes, then Carbon Peel Facial is the best option for you. It is a safe skin treatment that lightens up your wrinkles, dark circles, pigmentation and blackheads or whiteheads, etc. Get the best skin care services in our salon. For your satisfaction, watch our video.
Cure vitiligo oil is refined from natural organic ingredients; our vitiligo oil is formulated for fast pigmentation in natural way.
Mother Nature made this place with her ancient giantess hands. She toiled for billions of years, just so we could pop in and be more impressed in two seconds than we've ever been - as we stood noting the immensity of the time in a brief moment that rushed by us almost undetected.
I've been here three times in my life. The Caverns haven't really changed since my first trip at age 4 to my last trip at age 32. Equally astounding every time I've been.
This is a relatively inexpensive place to take road trip to (depending on where you're coming from) if you're into that kinda thing... and totally worth every second you spend there. Also, this a great place to beat the summer heatwave. The caverns are deep below the melting and singed New Mexican landscape. They harbor air chilled to a lovely 56°F (13°C) which makes the long walk deep deep down inside of time, inside of our planet's crusted blanket of indiscretions, a super cooled journey into a Martian-like alien setting.
Imaginations run amok in the caves like a genome that's lost it's need for pigmentation or eyesight, they stumble and blunder until they sense everything on a deeper level of intuition, drawing out their paths on the canvases of time - or so we imagine.