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Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
Such precise and sophisticated rear tampo detailing used to be the preserve of more premium priced diecasts but Mattel have for many years been kings of the art ensuring even basic Mainline castings designed to be childrens playthings benefit from it.
The rear of this newly recoloured 1989 Mazda Savanna RX-7 is a great example of the sophisticated application of detailing and sets of this factory stock casting perfectly.
Mint and boxed.
Savage Echoes.
Précises urgence affectée histoires vastes successions chaos grand poète radieux épuisé ennemis horreurs fatigue,
memoriam descendens ignotantia affectata miscalculations superaverunt fragmenta comminuit nave celeri animarum, exasperato leges praecepta de causis inmutata est,
kuzatuvlar massajlar suhbatlar tushuntirishlar joylar tashvishli qarshilik bo'ron yo'nalishlari qo'pol yo'ldoshlar ulkan tog ',
spargerea speranțelor puncte înspăimântătoare pericole neobișnuite conducerea orizontului tăierea mâinilor țipăt mizerie scăpare de fum,
realização de metas intervalos de dependência suspensos direitos recolhendo dobras direções circulares ajustando cursos pombos comparações,
vehementní opatření utvrzení stížností třepotání dojmy atmosférické anály komprese srdce,
持続的な症状満足のいく考慮事項ミラーを計算する比類のない凝縮計画優れた信頼性絶対的なパワーモルダリングシャドウニット.
Steve.D.Hammond.
Let’s take a step back. To be more precise, let’s step back exactly two frames. See, the last two photographs I posted were takeoff flight shots #1 and #2, in sequential order. But this here photograph is rightfully #0, the moment right before flight.
This photograph also represents my reaction time. I had been standing with my lens pointed at the harrier for, oh, about 4 minutes. I knew she wouldn’t stay there long, particularly with a Red-tailed Hawk active in the marsh not far away. So if you are like me, you dial in a shutter speed of 1/3200 and stand at the ready, eye pressed to the viewfinder, right thumb pressing the back button focus button, right index finger gently resting on the shutter button. Waiting, waiting, waiting, and watching the bird just sit there, looking around, preening, looking around. Sometimes a bird will give you a signal that it is about to fly, usually by dropping ballast (also known as taking a shit). But not this time. She went from nonchalantly looking around to taking off without any warning. And this photograph represents how long it took me to recognize the motion and press the shutter button.
caesar, to be precise. somehow, shakespeare sounds so much better now that i'm out of 7th grade. this shot is actually a great combo of julius caesar and romeo and juliet. anyway, i'll be gone for a week.....a week of solar showers, cabins with kerosene lamps, and my favorite: peeing in a bucket! hope you all get to do something equally special!
A very precise reflection from lake surface at late evening after sunset. Could you tell if it's upside down?
VAN NUYS - Precise helicopter water drops that tapered the advance of flames, allowed 48 Los Angeles Fire Department responders on the ground to quickly contain and extinguish a non-injury grass fire in the Sepulveda Basin Recreation Area on the afternoon of June 18, 2021. The fire, near a homeless encampment northwest of Lake Balboa, was considered accidental, and attributed to careless cooking.
© Photo by Greg Doyle
LAFD Incident: 061821-0867
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Oberes Torhaus (in English: "Upper Gatehouse") in the village of Ickelheim, a district of the town of Bad Windsheim, Franconia (Bavaria)
Some background information:
Yes, one of the two gatehouses of Ickelheim, the lower one, to be precise, is available for purchase. However, both are almost identically constructed. Of course, you cannot buy the large building at its site, but only a small model of it for your model railway. The company Busch, a German producer of model railway equipment, has recreated the gate and offers it as a building kit for sale. So if you are the proud owner of a model railway, how about a nice little timber-framed gatehouse for your model railway layout?
With its more than 600 residents the village of Ickelheim is situated just about four km (2.5 miles) south of the district town of Bad Windsheim, in which it is incorporated. It is also located about 50 km (31 miles) west of the city of Nuremberg. Most likely, the settlement was already founded during the so-called Franconian colonisation in the 6th century. However, documented is its existence since the year 741.
In 889, Ickelheim was mentioned in a document as a Franconian royal seat. In the following centuries, the settlement evolved into a so-called Rundling (a circular village) with two gatehouses, which was surrounded by a rampart and a moat. However, the two gatehouses, which exist now, are not the original ones from medieval times. Instead, both were built in 1713 just to flag both accesses to the village. Anyway, the timber-framed gatehouses of Ickelheim are very unusual buildings and I don’t remember ever having seen any gatehouses resembling them – neither in Germany nor anywhere else.
In 1249, Pope Innocent IV put Heilsbronn Abbey and the fortified settlement of Ickelheim under his protection. However, another charter proves that in 1259, Ickelheim was already in possession of the burgraves of Nuremberg. In 1294, burgrave Conrad IV bestowed the municipal area to the German Order. Subsequently, Ickelheim became a minor administrative seat of the German Order, while the major seat of the whole area was in nearby Virnsberg Castle.
In the first half of the 16th century, the reformation in Franconia was in full swing. Many neighbouring communities had already converted to Protestantism, while Ickelheim was still under control of the Catholic German Order. In 1539, the villagers even demanded a Protestant minister, but the reformation wasn’t implemented in Ickelheim before 1565.
The Thirty Years’ War didn’t spare the community. In 1621, Ickelheim was afflicted with lootings and infringements by the Catholic Imperial forces under command of the military leader Peter Ernst, Count of Mansfeld. And in 1631, Imperial forces once again looted Ickelheim and its neighbouring communities Marktbergel and Ipsheim.
In 1806, the village was incorporated into the new Kingdom of Bavaria. In 1811, the rural community of Ickelheim was created. In 1856, a significant part of the commune was destroyed by fire. The fire was caused by arson and fanned by adverse winds. At the end of World War II, American troops tried to occupy the village. But as the resistance was rather fierce, they draw back and shelled Ickelheim with incendiary grenades. As a result, several houses were destroyed and the municipality was finally seized on 15th April 1945.
Today, Ickelheim is a beautiful little village with not less than three inns. In 1987, the commune won a gold medal in the Germany-wide competition "Unser Dorf soll schoener werden" (in English: "Our village should become more beautiful"). Ickelheim, which used to be an agricultural settlement in the past, is now mainly a village of commuters who work in the towns of Bad Windsheim or Ansbach or even in the city of Nuremberg. Only a few farms have survived. However, it’s noteworthy that at the southern slopes of Ickelheim vines are cultivated, which is quite unique in this area.
Promptly triggered by the truth?
Precise reality can be harsh for the feeble, frail, weak minds.
I can't find more dignified adjective to describe the uneducated
that want to remain ignorant and missing the essence of the truth.
Alex Jones’ InfoWars Sent To The Digital Gulag
Red Ice TV Published on 7 Aug 2018
www.youtube.com/watch?v=odLn3J_jtao
The biggest free speech battle in modern American history been initiated with the removal of Alex Jones and InfoWars from the Internet. Legislation and mass protests against the monopoly platforms that have banned Alex Jones from the internet is the only way forward.
It is very important to be precise!
The assignment this week in Twitter Photochallenge is Self Portrait.
About:
Another creation from my basement. My Sigma 10-20mm was set on 10mm and placed on the floor, one strobe to the left a bit up and another to the right next to the camera.
In post process I realized that I had overexposed the hand, I tried to fix it, but I never got a decent result. Anyway this is me working the floor with a hobby knife :))
Thanks
In and out of Explore, thanks to all for comments and faves :))
Discussion
Comments and critique are as always welcome. Let me hear your opinion, why do you like this, or even better, how would you approach this scenery. Give me your thoughts... If you can't find anything to critique, a simple "nice" is cool too :))
Use
This photo is Copyrighted 2010 © Morten Prom. All rights reserved.
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"New Masters’ Houses
by Bruno Fioretti Marquez (2014)
After the Bauhauslers moved out in 1932 the Masters’ Houses were radically transformed by modifications. Gropius House and Moholy-Nagy House were destroyed in an air raid in the final days of WWII. In the GDR era a single-family home with a pitched roof was erected on the foundations of Gropius House, but this was demolished again later.
Architecture of imprecision
The gaps left behind in the ensemble of buildings were closed in 2014. A historically accurate reconstruction was rejected; Berlin-based architects Bruno Fioretti Marquez (BFM) created an ‘architecture of imprecision’ for the two demolished buildings. This evokes a deliberate sense of oscillation between specific historic state and reinterpretation.
Reopening ceremony
On 16 May 2014 Joachim Gauck, President of the Federal Republic of Germany, opened the new Dessau Masters’ Houses to the public. Internally, they demonstrate their distinctness. Emerging from the residential architecture designed by Walter Gropius in 1926 is an open spatial structure, which is used for exhibitions. [...]"
Whist today, the highest sedimentary mountains of Europe have precise names for each peak, in their Haut-Aragon region - with its local dialect Aragonaise, the Massif retains a single name, and a name so strong as to enter into the title of the national park, and a name so vivid that it asks to be looked at in the same category as mythical mountains and hills that may have held significance during chapters of the great ages of prehistory. The traditional name for today's Pico Añisclo, Cylindro and Mont Perdu is the 'Tres Serols' or three sisters. Whilst it is difficult to measure, many important prehistorical ritual sites were over-written by post Christian spiritual elements - the idea of crosses and chapels appropriating the space of gatherings for prechristian worship, rite and song.
Many high points on a horizon can be seen from foothills and planes, and with a 3355m summit, the scattered population that lived under its snow capped veils must have been culturally significant during all ages. and from a very long distance. Sedimentary landscapes can naturally provide high plateaus and shoulders for vistas (by contrast, ignious rock tends to point). With mixed densities of strata, mountains and hills often naturally tilt like vast sarcophagie - giants bodies held in rocky memory: ancestral myths and life forces. As with much of the deep rural on either side of the Pyrenees, stories of witches, giants and fairies are still just-about within aural-history's touching distance: now closer to a new glitz overlay with 'heroic fantasy 'and kitsch projecting false memory to the now exotic and vivid terms. 'Tres Serols' or 'Three sisters' has the unique scale and geology to generate enough myth for a mother earth and her sisters. Three proto angels lifting their heads to the stars, overseeing the very weather itself, the seasons and passing migrations.
Whilst mythologies from the Mesolithic and its slopes of time have long uncoupled from modern-man's train of thought, there is a further element that lets us measure the past significance of this loci. For multiple reasons it is unlikely that ancient pilgrimages took to the very summit of the Tres Serols - an intermediate glacier, the chance of sudden storms, technicity of hiking, and vertigo management all perhaps excluding the summit from being a general pilgrimage destination, and one should expect lowland populations to be drawn from time to time to a close viewing point rather than the very summit itself.
Normally, a major pagan loci should be met with attempts to Christianise - but here a cross on the summit would be invisible and an early chapel would have its foundations in snow. Christianisation of late prehistorical myths are perhaps detectable from the fifth century, with stories of Visigoths converting the three sisters to Christianity. Despite this story, evidence from around the mountains suggest that Christianity co existing with earlier spiritual and cultural traditions, and by implication ones that existed prior to the fifth century tale.
The Christianisation of pagan sites could come from benevolent directions, for example from those seeing it as a protective way of consolidating against Roman vacuity, from conviction and faith, or from a negative direction - the stigmatisation of local culture to remove points of local power to enable an unquestioned feudal domination and centralisation of wealth. From whichever direction the will to realign symbols came, the desire to Christianise a powerful and seemingly unChristianisable landscape icon may have found an outlet - and although the data is compressed by the folds of time, it is worth looking into.
Under the peaks of the three sisters - along the south wall of the Pineta Canyon, in the sierra d'as Zucas, are found a line of three similar peaks; three subordinate peaks of around 2781m so about 600m under the adjacent three sisters (see the above Flickr text box). These lesser peaks are the 'Roncha', 'Punchuda' and 'Plana', and from afar - especially when seen from the east (for example the important and ancient path over 'Le port de Plan') - they look to be an anticipation and primer for the three sisters. These three adjacent and smaller peaks are collectively known as the 'Tres Marias' and the col that passes aside is known as the 'Portillo de Tella' or passage in the direction of the village of Tella. Marias is Spanish for Mary or Marie-Madeleine, and here a Christianised name change within the parameters of an ancient myth is possible; and Tella, the destination of the named col, is neither large or that close, but does cluster both pagan and Christian gathering and pilgrimage (four adjacent ancient chapels, documented pagan rituals, a newly discovered chromlech and so on) - again possibly suggesting that the naming of the three subordinate and reflective peaks added a Christian regard on a dominant prechristian landscape symbol. Were the three mountains Roncha, Punchuda and Plana have been understood in prechristian legend as ladies in waiting of the three sisters? A depiction of the cycle of life in preparation and permanence? Christianised as the three Mary's, and on a path to the pilgrim destination of Tella (see adjacent posts) does look like it may be an example of an expected pragmatic juxtaposition of Christian symbols.
Here, the fact that the Tres Serols remained above Tres Marias and 'power' was not found to give the Tres Serols a direct Christian name, may indicate the strength of local belief and determination.
The importance of the village of Tella regarding its capacity to have been a pilgrimage destination and viewing point will be discussed in an adjacent post.
Other peaks on the panorama include:
Puntal de Bachaco 2317m
The hill's name translates to 'stroll of the hairy one' - with the personification perhaps closer to a 'wild character' than hairy as 'golden locks'. "Bachaco" is also used for a type of characterful insect. The peak is a little under the main snow line, so the vegetation may be a more scrubby than the higher kast and mountain meadow. A poorly frequented land will also be less grassy. It may also be that most valley based 'pilgrims' climbed to higher viewpoints and meeting-points on lower ridges and paths and that the people who strolled up this slope were met with a cul-du-sac of a cliff's edge and were stigmatised to be wild outsiders lacking in local knowledge (haircuts and style were important in the Celtiberic and the tools to fashon facial hair existed from the shards of the neolithic through to the bronze and iron blade). Beards can also be shaped.
The last mountain featured on the above panorama is the
'Pico la Pala Portañús' 2593m An unusual name in today's language that may simply refer to the crest.
For reference, the village and four ancient chapels of Tella are on pathways between the Bachaco and Portanus, and on pathways under and to the left of the same peaks, with the village itself still a good panorama to the left of the image. Once at Tella (1402m), there is a crest walk directly down to a lower valley (below 1000m) and from there, easy navigation to the foothills of the south. This clean north/south rise is also part of an ancient east/west pathway stretching from the Maladeta Massif to Jaca or from the central to eastern Pyrenees.
AJM 20.12.19
I don't know the precise breed of these bantams, but I think they're brilliant!
View large for full effect!
Cleveland has something really neat: a lake. Lake Erie to be precise, "the fourth-largest lake (by surface area) of the five Great Lakes in North America, and the eleventh-largest globally if measured in terms of surface area" (Wikipedia). It's gorgeous, and its shoreline hosts a beautiful park, Edgewater park. The park includes a pier, used by wandering souls, tourists, and people who like to fish.
This pier has been battered by the world around it, by weather, has been repaired, remodeled many times, and in turn features great textures.
I took my trusty camera, and captured sixteen of these great textures. I gently edited them, color-corrected them, and here we are. The set includes the original textures, negative versions, transparent versions, Bitmap TIFF versions, and vector versions.
These can be used for backgrounds, distressing, to give depth. Use the negative versions as aging artifacts on photos, by changing their blending mode to screen, and lowering the opacity to 25-50%. Have fun!
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- Sixteen (16) raster textures, sized at 3264x2448 pixels
- Includes high contrast versions for softer effects
- Includes negative versions (screen textures)
- Includes Bitmap TIFF versions (ideal for vector work, without bogging down your machine)
- Includes transparent versions
- Includes vector versions (bonus vintage color palettes, sampled from 1960s-1970s packaging)
- Archive size: 3.42 GB
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You should add your name to the Shop's mailing list at https://mailchi.mp/de8bed089b59/theshop. On the menu: new release sneak peeks, deals information, and other general updates from the factory floor. No spam, guaranteed.
I captured this Atlas Mountain village in the early morning, at that precise moment when the dawn light begins to caress the mountainsides. I chose this vantage point to showcase the harmonious relationship between three elements: the cultivated fields in the foreground with their natural lines guiding the eye, the traditional village emerging from the earth itself, and the powerful Atlas Mountains standing guard in the background. The clouds bring dynamism to the sky while the soft morning light reveals textures and colors without overexposing them. This image captures how traditional Moroccan architecture integrates perfectly into its environment, using local materials to create a habitat that seems to have always been there - a testament to timeless harmony between human presence and natural landscape.
Avec les Femmes à la fontaine, précisément datées de l’été 1921, le maître inaugure sa période néo-classique. Si le thème est cher aux peintres, il prend chez Picasso une symbolique particulière : la femme devenue mère est aussi la source de la vie
ENGLISH :
In the summer of 1921, Picasso stayed in the town of Fontainebleau, some time after the birth of Paul, the son he had with Olga Kokhlova. During this holiday, the park and the castle of Fontainebleau directly inspired the artist. With Women at the Fountain, precisely dated in the summer of 1921, the master opens his neo-classical period. If the theme is dear to painters, to Picasso it takes a special symbolic: the woman became mother is also the source of life
I was attracted to the geometric paterns at that window but couldn't find how to shoot it in an interesting way.
Then, I heard another train coming along the other way and grabed the camera !
I was lucky to click at the very precise moment when the end of the other train, creating the blurred lines, let appear a water castle exactly in the top left corner.
The so called "decisive moment" I guess. :)
Again the Fuji X100 captured in perfectly, just made very sligt contrast/tones adjustments on the OOC Jpeg.
Your comments & critique, as always, will be very welcome !
Thai dragon peppers, to be precise. These babies are about 50k-100k Scoville units (compare to habaneros at 100k-350k), and have a unique pain profile that is sharp and pulsing. They also have a pleasant fruity taste. They are good in anything spicy, but best when soaked in fish sauce, allowing the heat, salt, fruitiness and umami to complement each other.
I've seen then classified as both Capsicum frutescens and Capsicum annuum.
AKAs include Thai volcano pepper, facing-heaven pepper.
Usually they are green, ripening to red, but these also go through a purple phase, where they express anthocyanin (the same pigment as blueberries). Unfortunately, like many purple fruit and vegetables (like purple beans and purple asparagus), the purple turns green when cooked.
One thing to remember for those who are not fire eaters, if you get too much heat, drinking something usually won't help, unless it has sugar (this is why many commercial hot sauces add fruit or carrots).
Water helps while it's in your mouth, but when you swallow, the pain comes back. Capsaicin is a fat soluble molecule, so alcohol just spreads it around your mouth. Carbonation hits the same pain receptors as the capsaicin, so beer is probably the worst choice.
Milk is supposed to be a good cure, but I hate milk. Luckily, I have rarely had anything that was too hot for me.
I’ve finally taken the plunge and bought a Chinese-made lens.
Well, to be precise, I have used a Chinese lens before—the Seagull/Haiou, a Biotar copy—as an old lens. But I had never used a brand-new, currently-produced Chinese lens. So for me, this is both my first modern Chineas lens and my first non-“old-lens”
lens. I’m getting a little excited.
Speaking of Chinese lenses, there are the famous ones like 7Artisans and TTArtisan, and more recently Viltrox, Brightin Star, and many others—it really feels like a flourishing field now.
Let me skip the middle of the story.
Full-frame or APS-C? Well, for a start, I’ll go with APS-C. And the lens I chose is the TTArtisan 23mm f/1.4. Since it’s a 23mm lens on APS-C, it works out to about 35mm in full-frame terms—perfect!
Well then… let’s see how it turns out.
遂に中国製のレンズに手を出してしまった。否、過去にオールド・レンズとしてのレンズで海鸥/Seagull/HaiouなるBiotarのコピー物を使った事はありますが…、現行商品である新品のレンズは使った事がありませんでした。私にしてみれば、初の中国製という事と初のオールド・レンズじゃないレンズという事になるんですね。ちょっと興奮してきます。中華レンズと言えばあの7ArtisanとかTTartisanとか、最近だとViltroxとかBrightin Starとかとかちょっと百花繚乱な感がしますね。途中の話は省きましょう。で、Full FlameかAPS-Cかということになるんですが、まあ最初はAPS-Cでいってみましょう。ということで選んだのはTTartisan 23mm f1.4というのを選びました。23mmのAPS-Cですからフルサイズでいうと焦点距離は35mmになりOK!ということです。さあ、どうなりますか…。
This photograph captures a modern cemetery arranged in precise, geometric rows under an overcast sky. In the foreground, a prominent, dark rectangular headstone stands on the left, casting a sharp shadow onto its base. It is part of a long, straight line of identical or similarly styled polished granite monuments that stretch deep into the background, creating a powerful sense of perspective and repetition. To the right of these headstones runs a narrow strip of grass and soil, followed by a wide, clean walkway paved with light-colored stone tiles. In the background, a low, textured wall separates the burial grounds from a distant landscape of rolling hills and dense trees, all rendered in muted, earthy tones. The sky above is filled with soft, heavy clouds, adding a somber and contemplative mood to the scene. The overall composition emphasizes structure, stillness, and symmetry.
Bundang Memorial Park, Rest In Peace, South Korea-03635
Last weekend I played around with some flashes, 2xYN560II and 2xSoligor42DA to be precise as well as with three sets of Lee gel samples. I will upload this week a few series of photos to illustrate what I have done.
All photos are SOOC, so no postprocessing except of the frame, no cropping and no photoshoping. It's just to show what you can achieve if you use the Lee gel samples together with some speedlights.
Enjoy! And many thanks in advance for leaving a comment or adding to your favorite.
Here we have only one flash, a Soligor 42DA which lights from behind the tulip
RM 1217 at Seven Sisters on 27 December 1980. The precise location is the Broad Lane crew changeover point for westbound 41`s and it looks to be an unattended bus awaiting a crew.
A location I knew well from my time as a conductor on the 41`s a few years before this picture was taken. Around 5pm there was a shift change at the huge Gestetner factory nearby. The exodus from which could fill a bus at the previous stop and many of the workers knew to avoid a certain running number around that time as it would be a crew change bus. The next bus was scheduled so close behind that they knew it would almost certainly overtake the previous one!
The milk float was once such a familiar sight all over the UK but they seemed to just disappear in a way that nobody noticed so catching one on film recalls a bit of social history. Improbable really that they hung on well into the supermarket age offering just a few products that could be so easily picked up along with other shopping. Their demise was inevitable.
I noticed Laura, or to be more precise her bright yellow jacket when she was having a break from her workplace nearby.
Laura is originally from Hull, Yorkshire, a fact which was given away by her lovely broad Yorkshire accent but has been living/working in London for around 5 years.
"I've got a bit of a blow-dry situation going on here!" said Laura when I had asked her to be part of my project. The weather was turning grim as we spoke and I feared she wouldn't wish to venture too far from the relative shelter of a nearby doorway but Laura was happy to walk a short distance to this nearby painted wall which I thought complemented the colour of her jacket.
Laura told me;
"I have just started in a new job, this is my first day today as a receptionist at a hairdressers. Its going well, its a lovely place, its a bit vintage and quirky, just like me!" she said with a smile.
What makes you happy?
"Me Mum's Yorkshire puddings and gravy!"
Thanks Laura!
This is included in the group 100 strangers:
www.flickr.com/groups/100strangers/pool/
This is included in the Human Family Group. To view more street portraits and stories visit
A precise lift of my giant ballgown skirt, just high enough to show you my lacy stocking tops and just low enough to keep it decent. Perfect for a playful golden lady.
ESA's star-surveying Gaia mission has released a treasure trove of new data as part of its ‘focused product release’. One of the new papers reveals more about 156 823 of the asteroids identified as part of Gaia DR3, the orbits of which are shown in this image. The new dataset pinpoints the positions of these rocky bodies over nearly double the previous timespan, making most of their orbits – based on Gaia observations alone – 20 times more precise.
This image utilises DR3 data to show the 156 823 asteroid orbits. The wider blue and yellow circles in the frame show planetary orbits, while the myriad colourful inner swirls are asteroids. The central region all lies within the orbit of Jupiter (blue circle). See more on these asteroids.
Alt-text: This image shows many looping and overlapping orbits encircling the Sun, all of different colours (to differentiate between asteroids). The centre of the image – representing an area within the orbit of Jupiter – is very densely packed with orbits, while the outer edges remain clearer, showing the background plane of the Milky Way.
Acknowledgements: Stefan Jordan, Toni Sagristà, Paolo Tanga; Gaia Sky (developed by Toni Sagristà); Gaia DR3 data
Credits: ESA/Gaia/DPAC, CC BY-SA 3.0 IGO
The primary amateur astronomy event for the past week has been the conjunction of Jupiter, Venus and Mars, best seen low in the eastern sky just before dawn. Conjunction has a precise definition, but in simple terms, it means that the planets were in close apparent location in the sky.
Venus is the brightest object in this photograph, near the centre right edge. It is flanked by Jupiter (above and to the left) and Mars (below and to the right). The planets were just below and to the right of the constellation of Leo. After consulting the pUniverse iOS app, I can identify the primary stars from this constellation - i.e., Regulus (just above the centre of the image) and Algieba (below and slightly to the left of centre). When I look closely, I can see several other unnamed stars. This image contains all of the objects with astronomical magnitude of 4 and brighter.
The shot was taken from the edge of the East Basin of Lake Burley Griffin. There was a gentle breeze producing ripples across the surface of the lake, making for the rather attractive reflections of the lights. The prominent column near the left edge is the Australian - American Memorial. It was completed early in 1954 and stands 74 m high. It is surrounded by offices that are occupied by the Department of Defence. Mount Pleasant is the highest of the hills- it is to the right of the buildings, at the bottom centre of the image.
I was very pleased to get this photo - I was already a few days late for the closest grouping of the planets, but even more importantly, the weather is set for a change with clouds and rain predicted for the next week or so.
The iPhone is extremely challenged in these conditions. It was actually far darker than this image would suggest. There are apps (e.g., NightCap Pro) that can capture and stack multiple frames to overcome the random noise in individual frames. The weakness in these apps, or at least the ones that I have found to date, is that they do not provide the option to manually focus. The iPhone can do this, it is simply that it hasn't been implemented in these apps. In this instance, I used an averaging time of around 20 seconds, with each frame shot with a shutter speed of 1/5 s, an ISO equivalent of 4000, and the fixed aperture of f2.2.
www.skyandtelescope.com/astronomy-news/observing-news/ven...
en.m.wikipedia.org/wiki/Conjunction_(astronomy)
en.wikipedia.org/wiki/Australian%E2%80%93American_Memorial
Barton, Australian Capital Territory, Australia.
iPhone 6s - Photograph taken with the back-facing camera on an iPhone 6s.
NightCap Pro - This camera app was used to capture the image (4032 x 3024 pixels) using Long Exposure mode, an averaging time of around 20 seconds.
FrontView - A trapezoidal crop was applied to change the apparent perspective.
Big Photo - The image was stretched to produce an image of 4032 x 3424 pixels
Photoshop Express - Cropped the image to square format (2858 x 2858 pixels).
Photogene - Chroma de-noising applied.
Photoshop Express - Applied Defog, vibrance, exposure, noise reduction, and sharpening adjustments to the image.
Pixlr - Added the Soft vignette to the image.
ExifEditor - Transferred the EXIF data from the original photographs to the final image.
Aeolus was blasting like a mad man so I had to get a helping hand to stabilize this little bug and immortalize it.
Early this morning (01.10 to be precise) at Wheal Prosper, above Rinsey Cove. The Milkyway in clear view above the enginehouse.
My website - & - Facebook page
Equipped with fast, very precise AF that immediately captures the intended subject, and an electromagnetic diaphragm that achieves stable exposure control with high-speed continuous shooting bit.ly/Nikkor24-70mm
Found this lovely pink and yellow patterned moth (ca. 2cm long; Polytelodes florifera, Noctuidae, Lepidoptera, ID credit: Terathopius) in the miombos of Katanga (DR Congo, 35km NE of Lubumbashi, January 2015). Attracted to lights and sitting on grasses under our camp light ... still there the next morning.
Field stack taken with the Aputure V-control instead of a macrorail. Allows very precise control of the focus.
The leaf was blocked with a small clamp, just above and under the frame. Image based on 48 exposures, assembled in Zerene Stacker (Dmap & Pmax). Canon 5D mkii, 21mm extension tube, EF 100mm macro 1:2.8 USM, ISO-100, f/5, -0.3step, 1/40s, natural light, early morning.
Cyclon Pam to be precise ..who had already destroyed large parts of Vanuatu, the smallish Island in the South Pacific
if you have a spare Dollar or two, Oxfam or your Red Cross is working in the region helping those who are in dire need
www.nzherald.co.nz/world/news/article.cfm?c_id=2&obje...
New Zealand's North Island got away with a black eye
www.stuff.co.nz/national/67382617/cyclone-pam-weakening-a...
Poem.
Reflection of breathless stillness.
Right, left, right.
A precise symmetrical image of the slopes above
Loch a Mhuillidh in Strathfarrar.
Not a breath.
Not a ripple.
Perfection.
Iridescent blue reflecting a sublime autumn’s day.
Pine, birch, gorse, rock-faces, telegraph poles and steep hillside repeated in darker tones, on the glassy loch.
Then, the lone Scots Pine,
perched on its roche moutonee,*
surveying a valley of remarkable unspoiled vistas.
Strathfarrar.
roche moutonee* - glacially scoured and scratched rocky outcrop.
Hi
Its been a little bit (about 13 days to be precise) since I've uploaded Batman Years and before that, they weren't exactly steady.
Why is this? Well I'm sure many of you know and have the same problem, so I don't know if I have the right to complain. My major problem is school and time. Again, I know many of you have this exact same problem, soI'll keep it mainly to myself while we all suffer together.
But in terms of writing, I have the last 5 issues of Year Four planned(thats right, the finale is 5 issues) and I have most of it done. But after that I think I'm going to take a break. Not from writing, but from Batman. I've realized that I kind of burned myself out and I love writing Superman and soon Flash. I've also been thinking about writing Spiderman. So Batman will go on hiatus then reformation.
Superman is also on hiatus, because I need the Superman Lex Suit (reasons will be uploaded in an issue soon) and won't be getting that until Christmas.
Spiderman is on Hiatus because I want to wait until the new sets come out (I guess I could do a prequel). Though I really want to write Spiderman.
That leaves me with Flash. He is definitely my Holiday Special.
Next Up: Collaboration?
Not sure how easy it is to write with someone else. I may at least want to establish a collective universe with a couple people. Let me know if you're interested. I will be making a separate post about this.
Welp, thanks for looking at this. There will probably be a few more posts going into detail about this.
Palmer, Alfred T.,, photographer.
The careful hands of women are trained in precise aircraft engine installation duties at Douglas Aircraft Company, Long Beach, Calif.
1942 Oct.
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Douglas Aircraft Company
Airplane industry
Women--Employment
World War, 1939-1945
Assembly-line methods
United States--California--Long Beach
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-39 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35325
Call Number: LC-USW36-60
I am not sure where the precise epicentre of redstart diversity is, but Qinghai Province in western China must be in contention for the prize. We saw eight species on the Oriental Bird Club's tour of the area, including highly prized rarities such as Przevalski's (Ala Shan) and Guldenstadt's (White-winged) Redstart.
This bird was singing enthusiastically in the dawn light from a fence post at a small farm in a forest clearing. We found such sites to be very good for photography, with an abundance of open perches, good light, under-eave nest crevices and lots of flies and grubs for birds to forage on.
Someone showed me a Zippy the Pinhead comic strip of a familiar looking rowhouse porch view in Baltimore, so I was inspired to go back to my old apartment porch and take a photo. I don't think it was this exact block in Zippy, but it couldn't have been more than a few blocks away. Rowhouses might look alike to outsiders, but the details are pretty different around the city. Here's the comic strip version with 3 photos: www.flickr.com/photos/zombie37/1593319239/
used in Photo Dominoes: www.flickr.com/groups/photodominoes/discuss/7215760230126...
Note: if anyone would like to use this photo, please just ask and let me know where or how you'd use it. Thanks.
See where this picture was taken. [?] [for some reason Flickr calls this "Harwood" instead of Charles Village, which is not listed as a choice. So I chose "Wyman Park Area", which sounds less precise and therefore less wrong.] The spot on the map is correct, though. [Update: now Flickr's calling it "Wyman Park Area," which I suppose is closer.]
.... when travelling with your young child on a long trip, precise planning is always needed especially when traveling to different places and visiting relatives in different parts of the country. There's absolutely was no time to waste to fit in everyone's busy schedules for the visits, nothing loosey goosey... it was a great visit for brendan also, but I'm glad we're home finally! home sweet home...
~straight from film. View On Black
Davis Mountains State Park, Fort Davis, Texas
Hasselblad 500 C/M, Carl Zeiss Planar 80mm f/2.8 C T*, Fuji Velvia 50
The sky is where we should have started.
A window without a windowsill, without a frame, without a pane.
An opening wide open, with nothing
beyond it.
I don’t have to wait for a starry night,
nor crane my neck,
to look at the sky.
I have the sky behind me, and close at hand and on my eyelids.
It is the sky that wraps me tight
and raises me from underneath.
The highest mountains
are no closer than the deepest valleys
to the sky.
No place has any more of it
than any other place.
A cloud is as thoroughly
crushed by the sky as a grave.
A mole is as high, sky high
as an owl beating its wings.
Whatever falls into an abyss,
falls from sky to sky.
Friable, fluid, rocky,
flammable, volatile stretches
of sky, crumbs of sky,
gusts of sky, heaps of sky.
Sky is omnipresent,
even in darkness under the skin.
I eat the sky, I excrete the sky.
I’m a trap in a trap,
an inhabited inhabitant,
an embrace embraced,
a question that answers a question.
Dividing earth and sky
is not the right way
to think about this wholeness.
It only allows one to live
at a more precise address—
were I to be searched for
I’d be found much faster.
My distinguishing marks
are rapture and despair.
~ Wislawa Szymborksa, Sky