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**Prompt :**
Reine mystique de la forêt ancienne, guerrière elfique majestueuse debout au cœur d’une forêt enchantée millénaire, armure dorée finement gravée aux motifs elfiques et organiques, métal antique patiné reflétant la lumière du soleil, plastron sculpté élégant, épaulières ornées de cornes décoratives et de filigranes anciens, posture puissante et noble, tête renversée vers la lumière divine traversant la canopée, longs cheveux brun doré flottant au vent dans un mouvement naturel et fluide, expression sereine et transcendante comme si elle absorbait l’énergie de la forêt.
Autour d’elle : forêt magique dense, arbres gigantesques recouverts de mousse et de lianes, fleurs violettes et bleues lumineuses au sol, particules féeriques flottant dans l’air, papillons lumineux multicolores, poussière magique scintillante, rayons de soleil volumétriques traversant le feuillage et illuminant la scène, atmosphère mystique et sacrée.
Éclairage cinématographique dramatique, **god rays puissants**, contraste doux entre lumière dorée et ombres froides de la forêt, profondeur de champ subtile, bokeh naturel dans l’arrière-plan, ambiance fantasy épique, sentiment de renaissance spirituelle et de connexion avec la nature.
Style **hyperréaliste**, rendu **ultra détaillé 8K**, textures extrêmement précises (métal, cuir, peau, feuilles, mousse), composition digne d’un film fantasy épique, color grading cinématographique (verts profonds, or chaud, touches magiques bleutées), rendu photoréaliste, éclairage global réaliste, **fantasy cinematic masterpiece**, **Unreal Engine render**, **octane render**, **sharp focus**, **high dynamic range**, **epic fantasy concept art**, **magical realism**.
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**Prompt:**
Mystical queen of an ancient forest, majestic elven warrior standing in the heart of an enchanted primordial woodland, wearing ornate golden armor intricately engraved with ancient elven motifs and organic patterns, aged mystical metal reflecting warm sunlight, sculpted breastplate with elegant curves, elaborate shoulder armor with decorative horn-like shapes and ancient filigree, powerful yet graceful posture, head tilted back toward the divine sunlight breaking through the canopy, long flowing golden-brown hair moving naturally in the forest breeze, expression serene and transcendent as if absorbing the life energy of the forest.
Surrounded by a magical forest environment: towering ancient trees covered in moss and vines, glowing purple and blue forest flowers on the ground, floating magical particles and fairy dust shimmering in the air, colorful glowing butterflies flying around her, soft mist between the trees, volumetric sun rays piercing through the dense foliage, creating a sacred mystical atmosphere.
Dramatic **cinematic lighting**, powerful **god rays**, warm golden highlights contrasted with cool deep forest shadows, subtle depth of field, natural background bokeh, epic fantasy atmosphere, feeling of spiritual awakening and deep connection with nature.
**Hyper-realistic style**, **ultra-detailed 8K rendering**, extremely detailed textures (metal armor, leather, skin, moss, leaves), epic fantasy film composition, cinematic color grading (deep greens, warm gold tones, magical blue accents), photorealistic rendering, realistic global illumination, **cinematic fantasy masterpiece**, **Unreal Engine render**, **Octane render**, **sharp focus**, **high dynamic range**, **epic fantasy concept art**, **magical realism**.
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--v 6 --style raw --ar 3:2 --s 150 --chaos 5 --q 1 --seed 777
L’île Louët se trouve au nord-est de la commune de Carantec. Elle se trouve en baie de Morlaix, à la sortie de la rade de Morlaix et plus précisément entre la pointe de Penn-al-Lann et le château du Taureau.
Le château du Taureau
À la suite d'une attaque de Morlaix par la flotte anglaise en 1522, il est décidé de construire un fort en baie de Morlaix. Toutefois, pour construire ce type de bâtiment sur la côte, il faut une autorisation du roi accordée par François Ier sur intervention du duc d'Étampes en 1542. Mais aucun financement royal n'est prévu. Le fort doit être construit sur les deniers des Morlaisiens qui seront remboursés plus tard, lorsque les finances du royaume le permettront. À titre de compensation, le Roi leur octroie le privilège de nommer le gouverneur du fort ainsi que sa garnison tout en assurant son équipement et son traitement. Ce privilège se révèle fort couteux, ainsi, en 1620, le budget alloué à la gestion du fort est de 18 000 livres.
En 1660, le Roi Louis XIV reprend le fort aux Morlaisiens et l'intègre dans le système de défense du royaume.
Vauban, ingénieur-architecte visita le château en avril 1689 et le trouva en fort mauvais état. Dans un rapport daté du 6 avril 1689, Vauban fait une description du fort primitif avant de donner son projet pour la reconstruction ; c'est ce projet général et ces idées qui seront utilisés jusqu'à l'achèvement du château en 1745. « Faire tout de pierre de taille. Choisir ces pierres des meilleures de l'Isle Calot qui tiennent bien leur arête, les tailler très proprement sur les faces» ordonne Vauban en 1689. La tour Française, même si elle est en bon état au niveau de sa maçonnerie, fait l'objet des bons soins de l'ingénieur. La tour d'artillerie devant assurer la défense du fort pendant sa reconstruction. Vauban propose de changer les deux planchers et leurs corbeaux de pierres de taille pour les ancrer dans le vieux mur, de réparer toutes les embrasures de la tour et de les doter de sabords.
Du reste de l'édifice, il veut construire un nouveau fort de « bonne et solide maçonnerie à chaux et sable ». Son profil « doit être fort et robuste, tant à raison des coups de mer dont il sera terriblement battu que de la grande hauteur qu'il est nécessaire de lui donner tant pour le rendre inaccessible aux entreprises de basse mer, que pour lui donner fleuron supérieur à celle de tous les vaisseaux qui passeront près ». La tour Française dominera l'ensemble du nouveau fort. Les quatre casemates à canons de l'ancien fort seront « déménagées », une nouvelle batterie basse voûtée de « pierres ardoisines » remplacera l'ancienne. Les basses embrasures sont destinées, selon les propres termes de Vauban, « contre le dehors à tenir du mousquet ».
Les travaux du nouveau fort du Taureau approuvés par Vauban commencent au printemps 1689.
Ce sont les ingénieurs Siméon Garangeau et Frézier qui mènent la reconstruction à son terme.
Garangeau meurt en 1741 à l'âge de quatre-vingt-quatorze ans, avant d'avoir pu terminer le château du Taureau. La dernière phase des travaux commence en 1741 et s'achève en 1745. La réalisation des plans d'achèvement du fort est donc confiée à Amédée François Frézier, ingénieur architecte du Roi qui collabore déjà, depuis 1717, au chantier. Le château fut totalement achevé en 1745.
fr.wikipedia.org/wiki/Château_du_Taureau
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Louët island
Louët island lies northeast of the town of Carantec. It is located in the bay of Morlaix, at the exit of the bay of Morlaix and more precisely between the tip of Penn-al-Lann and castle of Taurus.
Le château du Taureau
Following a Morlaix attack by the English fleet in 1522, it was decided to build a fort in the bay of Morlaix. However, to build such buildings on the coast, you need a license granted by King François Ier. Licence was granted in 1542 after an intervention of the Duke of Etampes. But no royal funding is provided. The fort was to be built on the money of Morlaisiens that will be repaid later when the kingdom's finances allow. As compensation, the King granted them the privilege of naming the governor of the fort and its garrison while ensuring its equipment and its treatment. This privilege is proving very expensive and, in 1620, the budget allocated to the management of the fort was 18 000 pounds.
In 1660, King Louis XIV takes back the fort from the Morlaisiens and integrates it into the realm of defense.
Vauban, architect-engineer visited the castle in April 1689 and found him in very bad condition. In a report dated 6 April 1689, Vauban give a description of the original fort before giving his project for reconstruction; this is the general project and ideas that will be used until the completion of the castle in 1745. "Doing all of stone. Choose the best stones on Isle Calot, hold their edge well, cut very neatly on the faces "ordered Vauban in 1689. The artillery tower was to defend the fort during its reconstruction. Vauban proposed to change the two floors and cut stone corbels to anchor in the old wall, repair all the embrasures of the tower and equip them with ports.
On the other part of the building, he wants to build a new fort of "good, solid masonry lime and sand." Profile "to be strong and robust, both because of the heavy seas which will be terribly beaten as the great height it is necessary to give so much to make it inaccessible to low water businesses, and give her flagship greater than that of all the vessels that pass by. " The French round will dominate the entire new fort. The four casemates of the old fort guns will be "relocated", a new vaulted low battery "ardoisines stones" will replace the old. The low doorways are intended, in the words of Vauban, "against the outside to hold the musket."
Work on the new high Taurus approved by Vauban beginning in spring 1689.
These are Simeon Garangeau Frézier and engineers who lead the reconstruction to an end.
Garangeau died in 1741 at the age of eighty-four, before he could finish the castle of Taurus. The last phase of work begins in 1741 and ends in 1745. The realization of the completion of the fort plans is entrusted to François Amédée Frézier King's architect engineer who is already working since 1717 on site. The castle was fully completed in 1745.
Translated from:
Precise strides along imprecise paths
São Paulo, Brazil, 2025
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#fotografiacallejera #streetphotography #fotografiaderua #brstreet #fotoderuabr #saopaulo #saopaulocity
Les Dioscures, ce sont les jumeaux Castor et Pollux. Tous deux étaient enfants jumeaux de Léda, ou plus précisément faux-jumeaux. En effet, Castor était le fils de Tindare et frère de Clytemnestre. Pollux était le fils de Zeus et frère d’ Hélène. Oui, c’est un peu compliqué, Castor et Pollux étaient donc de faux-jumeaux, nés de pères différents.
Retenez surtout que les grecs autant que les romains vénéraient les Dioscures. Ils symbolisaient l’aide apportée par les jeunes gens en âge de porter les armes. Et comme ils avaient souvent aidé les romains dans leurs combats, ils étaient particulièrement vénérés des romains. À l'ouest de l'Olympiéion s'étend jusqu'à la Porte V un quartier de la ville, avec des vestiges de maisons d'habitation. Du nord de ce temple part une voie processionnelle qui longe les habitations pour rejoindre la Porte V et le « temple des Dioscures ». Ce nom lui a été attribué arbitrairement : des sources antiques nous disent, certes, que Castor et Pollux étaient honorés à Acragas, mais les dernières recherches tendent plutôt à rattacher les jumeaux à celui qu'on appelle traditionnellement « temple de la Concorde ».
Le « temple des Dioscures » est un temple dorique périptère du milieu du Ve siècle av. J.-C., de plan semblable à celui « de la Concorde ». Le coin sud-est a été remonté au en 1836 par le sculpteur Valerio Villa Reale et l'architecte Saverio Cavallari. Le couronnement pourrait provenir du temple L. Cette reconstruction est certes très pittoresque, et elle est même devenue un symbole et l'un des sujets les plus photographiés des vestiges d'Agrigente, mais elle est refusée du monde professionnel, qui y voit un mélange d'éléments de différents styles et de différentes époques. De nombreux restes de tambours des colonnes cannelées qui formaient autrefois le péristyle sont disséminés sur toute la surface du temple. On peut aussi distinguer des restes de l'autel, du côté est.
The Dioscuri are the twins Castor and Pollux. Both were Léda's twin children, or more precisely false twins. Indeed, Castor was the son of Tindare and brother of Clytemnestre. Pollux was the son of Zeus and brother of Helen. Yes, it's a bit complicated, so Castor and Pollux were twins, born to different fathers.
Above all, remember that the Greeks as much as the Romans revered the Dioscuri. They symbolized the help given by young people of military age. And as they had often helped the Romans in their battles, they were particularly revered by the Romans. West of the Olympieion, up to Porte V, is a district of the city, with the remains of residential houses. From the north of this temple leaves a processional path that runs along the dwellings to reach Porte V and the "temple of Dioscuri". This name was arbitrarily assigned to it: ancient sources tell us, of course, that Castor and Pollux were honored at Acragas, but the latest research tends rather to link the twins to the one traditionally called "temple of Concord".
The "temple of Dioscuri" is a Doric temple periphers from the middle of the 5th century BC. J. - C., of plan similar to that of "Concorde". The southeast corner was reassembled in 1836 by sculptor Valerio Villa Reale and architect Saverio Cavallari. The crowning could come from temple L. This reconstruction is certainly very picturesque, and it has even become a symbol and one of the most photographed subjects in the remains of Agrigento, but it is refused from the professional world, which sees it as a mixture elements of different styles and different eras. Many remains of drums from the fluted columns that once formed the peristyle are scattered over the entire surface of the temple. We can also make out the remains of the altar on the east side.
Voltar moved with absolute silence. Listening. Watching.
He slipped into a maintenance locker, pried the vent cover free with a precise twist, and tucked it behind a stack of coolant canisters. Then he vanished into the narrow duct, metal brushing his shoulders as he crawled forward through the bowels of the ship.
Voltar angled toward one of the main pulse weapon turrets, pausing whenever the shadows below erupted with motion. Security teams swept the corridors in tight formations, boots hammering, voices sharp with urgency. They were hunting him, but they were too loud, too slow, too late.
He needed a diversion—something catastrophic enough to drown his escape in chaos.
If he could force the pulse generator into a self-destruct cascade, the explosion would cripple Axiom10 and give him the window he needed to escape in a shuttle. Risky. Crew would be inside the turret. He didn’t know how many. He would have to eliminate or incapacitate all of them before they could raise an alarm.
He paused, calculating angles, timing, bloodshed.
Then voices drifted through the duct.
Voltar edged toward a louvred grille and peered down.
“Follow me. They have frozen tacos,” Kayla said, marching down the corridor with the confidence of someone blissfully unaware of danger.
“Frozen tacos sound disgusting… but I’m starving,” Adrienne replied. “Who freezes tacos?”
A security detail sprinted past them. One officer skidded to a halt.
“You humans need to get to your cabin.”
“Why? What’s happening?” Adrienne asked.
“Security breach,” he snapped, already running again.
Kayla tugged her friend’s sleeve. “Come on. The galley’s just ahead.”
Voltar watched them disappear around the corner.
A slow, predatory smile crept across his face.
There will be a slight change of plans, thought Voltar.
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You can view Quantum Fold episodes in order from the beginning in the album titled, "Quantum Fold":
www.flickr.com/photos/199076397@N02/albums/72177720326169...
You can view Quantum Fold II episodes in order from the beginning in the album titled, "Quantum Fold II":
www.flickr.com/photos/199076397@N02/albums/72177720331313...
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This is an A.I. image generated using my SL avi.
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Un projet ambitieux, confié aux bons soins de SozyOne, artiste qu'on ne doit plus présenter, il a notamment réalisé "L'Homme de la Meuse" à Liège. Mais ici, on parle de 1.637 m2 précisément, soit la plus grande fresque de Wallonie, rien que ça. Le bâtiment en lui-même, une partie de l'usine spadoise, fait précisément 144,80 m de long pour une hauteur de fresque de 20,50 m. Il a fallu compter avec les parties vitrées pour "découper" le (futur) Pierrot. "Pour faire ressortir une oeuvre il faut une couleur forte sur un fond clair, c'est pourquoi je garde le rouge d'origine de Jean D'Ylen, créateur du Pierrot en 1923, c'est un aspect très début 20ème siècle que j'apprécie", nous glisse Pablo Sozyone Gonzalez, à pied d'oeuvre depuis quelques semaines déjà, accompagné de plusieurs autres artistes qui se mettent au service de cette oeuvre monumentale qui marquera les esprits, et les yeux, d'ici le mois de décembre.
Nous avons lancé l'appel avec trois thèmes qui tiennent à coeur Spa Monopole, l'eau, l'environnement et le patrimoine spadois. Ici, Sozyone nous a séduit avec son idée de Pierrot qui s'étend sur toute la longueur, qui tend le bras", souligne Mathieu Van Overstraeten, responsable communication pour Spadel. En plus, comme il fallait nettoyer cette façade côté gare de Spa, autant la rhabiller complètement avec une oeuvre exceptionnelle au vu des premiers coups de pinceaux.
An ambitious project, entrusted to the capable hands of SozyOne, an artist who needs no introduction; he notably created "L'Homme de la Meuse" in Liège. But here, we're talking about a precise 1,637 m², making it the largest mural in Wallonia, no less. The building itself, part of the Spa factory, is exactly 144.80 m long, with a mural height of 20.50 m. The glass sections had to be taken into account when "cutting out" the (future) Pierrot. “To make a work stand out, you need a strong color against a light background, which is why I’m keeping the original red used by Jean D’Ylen, creator of Pierrot in 1923. It’s a very early 20th-century look that I appreciate,” explains Pablo Sozyone Gonzalez, who has been working on the project for several weeks now, along with several other artists contributing to this monumental artwork that will leave a lasting impression by December. “We launched the call for proposals with three themes that are close to Spa Monopole’s heart: water, the environment, and Spa’s heritage. Here, Sozyone captivated us with his idea of Pierrot stretching the entire length of the building, reaching out with his arm,” emphasizes Mathieu Van Overstraeten, Head of Communications for Spadel. Furthermore, since this façade facing the Spa train station needed cleaning, it made sense to completely transform it with an exceptional artwork, judging by the first brushstrokes.
Il a un immense pouvoir de passer inaperçu,
arrive en vol piqué sans aucun bruit,
se pose sur une branche bien précise,
afin de se fondre dans l'environnement choisi.
Derrière la fenêtre, je l'ai vu arrivé par hasard, j'ai ainsi vu où il s'était posé,
heureusement j'avais l' appareil photo pas loin, discrètement derrière le rideau,
j'ai cherché à le voir, j'ai mis bien 10 secondes à le trouver (il a légèrement bougé dans ce fouillis de branches et m'avait surement déjà vu) après un rapide réglage, me suis décalé afin de l'apercevoir, le focus a eu du mal lui aussi à faire une mise au point relative, (trop de teintes similaires l'entouraient), un 1° clique, un 2°, n'ai pas eu le temps d'en faire un 3° qu'il s'envolait, m'ayant déjà repéré dés que je me suis décalé...!
cette oiseau une vue perçante incroyable..
cela fait que la 2° fois que je vois cet oiseau sur mon terrain
mais qu'il est beau et majestueux
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He has immense power to go unnoticed,
arrives in dive flight without any noise,
arises on a specific branch,
in order to blend into the chosen environment.
Behind the window, I saw him arrive by chance, so I saw where he had landed,
Fortunately I had the camera not far away, discreetly behind the curtain,
I tried to see it, I took 10 seconds to find it (it moved slightly in this jumble of branches and had probably already seen me) after a quick adjustment, shifted to see it, the focus also had trouble making a relative focus, (too many similar shades surrounded it), A 1° click, a 2°, did not have time to make a 3° that it flew away, having already spotted me as soon as I shifted ...!
This bird an incredible piercing view.
This makes that the 2nd time I see this bird on my land
but that it is beautiful and majestic,
It's
the European sparrowhawk,
(Accipiter nisus - Eurasian Sparrowhawk)...
Height: 38 cm and +
Wingspan: 60 to 75 cm.
Weight: 185 to 350 g
Longevity: 16 years
Thank you for your visits, compliments and stars..!
Merci à vous pour vos visites, compliments et étoiles..
That is what photography is doing according to Henri Cartier-Bresson, fixing a precise moment in time. Of course, he said other things as well about photography, but let us take this quote. Reflecting upon this, and using the image above, one question pops up immediately: whose time are we talking about? Camera and sculpture are inanimate objects. Do the notions of 'life' and 'moment' apply? If they do, then it would matter that the camera is now 16 years old (the lens is almost 70 years) and the replica face of the Olympian Hermes would reflect about 2500 years. However, I cannot see that the quote makes sense in relation to these two objects. It would not matter to them whether the photo was taken yesterday, today, or a year ago. But it does make a lot of sense when I apply it to myself. This image fixes a moment in my time when dealing with these two objects. A moment in the life of the photographer when thinking, for example, about photography as an act of hunting, of getting my prey inside the box. Fuji X-E3, a 2x teleconverter and Helios 44M-7 at F8.
Good thing about 28mm is that you dont have to worry too much about precise framing. If you point it in the general area of your subject, you most likely have it. I took this while driving and the lightness & small size of the ricoh camera allowed me to extend my hand all the way out to the passenger side and easily take this shot of my sister.
São Paulo SP, 2025
Passos precisos, por caminhos imprecisos
Precise strides, along imprecise paths
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passosprecisos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #brstreet #fotoderuabr #saopaulo #saopaulocity #sampalovers #spstreets #supersaopaulo #saopaulo_originals #spstreets
Radiant by artist Nicky Assmann (1980, lives and works in Rotterdam), in TENT. Radiant is a dynamic ‘mobile’ sculpture in which optical patterns and colour effects appear, due to a precise balance between space, form, movement and light.
To be precise South of the River near the Thames Barrier. After an afternoon Karting by the river, I drove a few 100 yard along and back on to the Thames Path - amazing how the sky and lights looked during early evening, London at its best!
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
Lisboa, Portugal, 2023
[PT] Entre ruas, sombras e ficções
Contemplo ruas, pessoas e pedras, entre ficções e esquecimentos, inspirado no poeta, talvez, percebo as sombras dos gestos de outros, a poesia do crepúsculo, um desassossego.
“...todos somos igualmente derivados de não sei quê, sombras de gestos feitos por outrem, efeitos encarnados, consequências que sentem.” (Fernando Pessoa, Livro do Desassossego, v.164)
[ES] Entre calles, sombras y ficciones
Contemplo calles, personas y piedras, entre ficciones y olvidos, inspirado en el poeta, quizás, percibo las sombras de los gestos de otros, la poesía del crepúsculo, una inquietud.
“...todos somos igualmente derivados de no sé qué, sombras de gestos hechos por otra persona, efectos encarnados, consecuencias que sienten.” (Fernando Pessoa, Libro del desasosiego, v.164)
[ENG] Between streets, shadows and fictions
I contemplate streets, people and stones, between fictions and oblivion, inspired by the poet, perhaps, I perceive the shadows of the gestures of others, the poetry of twilight, a restlessness.
“...we are all equally derived from I don't know what, shadows of gestures made by someone else, embodied effects, consequences they feel.” (Fernando Pessoa, Book of Disquiet, v.164)
Salford Quays to be precise. Having a root around for some old images and decided to have a play at processing a few using software that I didn't have at the time. Turned out not bad even if I do say so myself :D
It takes skill and precise measurement to create this simple log bridge, the surface is slightly sloped to compensate for the centrifugal force of the curvature of the rail line.
These words are not my own but cover the story and location well..
John Lennon in Prague
This is no joke – John Lennon is in Prague – well, to be precise, his wall is in Prague although John Lennon himself never visited Prague in his short life. Are you confused? Let me explain it to you then.
In Mala Strana, near the French Embassy, you’ll see the John Lennon Wall. The wall that was formerly an ordinary wall in Prague has been called Lennon´s since the 1980s, when people have filled it with John Lennon-inspired graffiti and pieces of lyrics from Beatles songs. Why?
John Lennon and the Communist regime
Lennon was a hero to the pacifist youth of Central and Eastern Europe during the totalitarian era. Prior to 1989 when communism ruled, western pop songs were banned by Communist authorities, and especially John Lennon´s songs, because it was praising freedom that didn’t exist here. Some musicians were actually jailed for playing it!
When John Lennon was murdered in 1980 he became a sort of hero to some of the young and his picture was painted on this wall, for whatever reason right here, along with graffiti defying the authorities. Don’t forget that back then the Czech people had few opportunities to express their feelings with their lack of freedom. By doing this, those young activists risked prison for what authorities called “subversive activities against the state”.
But the threat of prison couldn’t keep people from slipping there at night to scrawl graffiti first in the form of Beatles lyrics and odes to Lennon, then they came to paint their own feelings and dreams on the wall.
The Communist police tried repeatedly to whitewash over the portrait and messages of peace but they could never manage to keep the wall clean. On the second day it was again full of poems and flowers with paintings of Lennon. Even the installation of surveillance cameras and the posting of an overnight guard couldn’t stop the opinions from being expressed.
John Lennon Peace Wall
The Lennon Wall represented not only a memorial to John Lennon and his ideas for peace, but also a monument to free speech and the non-violent rebellion of Czech youth against the regime. It was a small war of Czech people against the communist police who cleaned the wall.
At first glance the Lennon Wall is like any graffiti-covered wall you see around the world. But this wall is special thanks to its history. I’ve heard people saying that it is Pague’s equivalent of the Berlin Wall. They are not far from the truth. Some people also believe that the „John Lennon Peace Wall“ helped inspire the non-violent Velvet Revolution that led to the fall of Communism in the former Czechoslovakia in 1989.
In 1998 the wall had to go through reconstruction of its crumbling facade but the spirit of the wall lives on. It used to be covered in anti-Communist graffiti, now it is covered in messages of love and peace. The original portrait of Lennon is long lost under the layers of new paints but if you look hard enough you can still find tributes to Lennon and a yellow submarine!
The wall, located at Velkoprevorske Namesti, Mala Strana, is owned by the Knights of the Maltese Cross, who allowed graffiti to continue. It will be a symbol forever.
How to get there:
From metro station Malostranska (green line A) take trams no. 12, 20, 22, 23. The nearest tram stops to Velkoprevorske namesti are either Malostranske namesti or Hellichova.
We're back in Thailand, and to be precise, in Ayutthaya, the former (and sadly destroyed) capital of Siam (then still the Kingdom of Ayutthaya).
This temple was built in 1357 by the first king of the Ayutthaya Empire.
The impressive 80-meter-high chedi (the bell-shaped sacred building in the background) was commissioned by one of his successors, Naresuan the Great, in 1592.
It was intended to commemorate a duel between the ruler and the Crown Prince of the Kingdom of Burma (on war elephants), from which Naresuan emerged victorious.
The Crown Prince was killed in the this fight.
Wir sind zurück in Thailand und um genau zu sein in Ayutthaya, der ehemaligen (und leider zerstörten) Hauptstadt von Siam (damals noch das Königreich Ayutthaya).
Dieser Tempel wurde bereits 1357 vom ersten König des Ayutthaya Reiches erbaut.
Den beeindruckenden 80 Meter hohen Chedi (der glockenförmige Sakralbau im Hintergrund) liess jedoch einer seiner Nachfolger, Naresuan der Große, 1592 errichten.
Er sollte an ein Duell des Herrschers mit dem Kronprinzen des Königreiches Birma erinnern (auf Kriegselefanten) aus welchem Naresuan siegreich hervor ging.
Der Kronprinz kam dabei ums Leben.
Freundinnen ...
Affection ...
;-) ...
best friends ...
in German it is a more precise word because there the word and the meaning is described by body language with inclination, because when you like another person your shoulders and head move towards the other person because you want to show closeness and intimacy ...
Maybe you whisper something mysterious in the other person's ear, maybe you see who has taken the better photo and much more can happen that is only exchanged with good friends ...
typical for today's times, you explain the picture to your friend via the cell phone photo instead of the artwork itself ... that says so much about the importance of this device in our society ...
typisch für die heutige Zeit, man erklärt der Freundin das Bild über das Handyfoto anstatt am Kunstwerk selbst ... das sagt so viel über den Stellenwert dieses Gerätes in unserer Gesellschaft ...
_V0A4180_pa2
About a year ago (14 months to be precise) I decided to take a break from photography. I hadn't really planned on not picking up the gear for that long but I hadn't been really motivated and a break seemed like a good idea. This was the first shot, hopefully there will be a few more.
Precise strides, along imprecise paths / Passos precisos, por caminhos imprecisos
Montevideo, Uruguay
2025
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#fotografiacallejera #streetphotography #fotografiaderua
Ƈяєɗιт
Some spaces don’t need elaborate artifice to evoke emotion. All it takes is the precise moment of the day when nature decides to become the ultimate interior and exterior designer. That brief moment when the sun begins to set, shadows lengthen delicately, and every texture acquires a depth impossible to recreate artificially.
These two compositions perfectly embody that philosophy: allowing architecture, landscaping, and light to converse with one another.
In the first scene, a quiet corner transforms into an intimate retreat. Natural fibers, aged wood, fabrics in sand and olive tones, and tropical vegetation create a relaxed atmosphere where everything invites you to linger. The central fire provides a warm gathering point, while the soft light of the setting sun caresses the parasols and discreetly filters through the palm fronds, generating a delicate interplay of light and shadow that adds realism and depth without compromising the overall serenity.
Here, the lighting doesn’t compete with the decor; it complements it.
Each shadow cast seems to tell the story of an afternoon slowly turning into night.
The second image expands that experience into a true tropical oasis. Water becomes the main protagonist, reflecting the dramatic sky with golden and copper hues that constantly shift with the movement of the surface. A soft influx of light from the horizon subtly illuminates the pool, adding natural sparkles that bring the landscape to life without losing the tranquil atmosphere of sunset.
Abundant vegetation envelops every corner, blurring the boundaries between the garden and the natural surroundings. There is no abrupt transition; the architecture simply seems to have found its place within the landscape.
This type of design demonstrates that contemporary luxury depends not on the quantity of elements, but on how they coexist. Noble materials, carefully arranged vegetation, ambient lighting, and a color palette inspired by nature manage to convey a feeling difficult to describe, but very easy to feel: calm.
Beyond the furniture or decorative objects, the true protagonist is light. That golden light that filters softly through the palm fronds, casting reflections on the water, transforms a well-designed space into a vibrant scene.
Because, ultimately, the best projects aren’t those that are simply observed.
They are those that allow us to imagine the sound of the water, the rustling of leaves in the breeze, and the perfect silence of a tropical sunset that seems to stop time.
Avani Marketplace @equal10
Avani Detona Collection Classical Post Lantern Small, Brass
Avani Detona Collection Ceramic Garden Stool, Style 3
Avani Detona Collection Classical Post Lantern Large, Brass
Avani Detona Collection Coffe Table
Avani Detona Collection Limestone Rectangular Fountain
Avani Detona Collection Limestone Round Firepit
Avani Detona Collection Lounge Umbrella Standing
Avani Detona Collection Lounge Umbrella Tilted
Avani Detona Collection Rush Lounging Bench PG
Avani Detona Collection Rush Lounging Chair PG
Avani Detona Collection Rush Lounging Ottoman
Avani Detona Collection Side Table
Avani Marketplace
Avani Cuisine Collection Oversized Urli Bowl with Orchids
Avani Bolster Oversize Pillow
Avani Lumbar Medium Pillow
Avani Lumbar Oversize Pillow
Avani Lush Rectangular Rug
Avani Rouleau Collection Bowl of Mandarinos
Avani Rouleau Collection Bowl of Memories
Avani Rouleau Collection Brass Urn with Resting Hydrangeas
Avani Rouleau Collection Catchall Ring Tray
Avani Rouleau Collection Chapati Bowl and Water Pot
Avani Rouleau Collection Chic & Creative Act Notes
Avani Rouleau Collection Covered Finial Urn
Avani Rouleau Collection Found Bronze Gong on Stand
Avani Rouleau Collection Insect Book Stack
Avani Rouleau Collection Lidded Jar, Trinket Dishes and Vases
Avani Rouleau Collection Overflowing Bowl of Matches
Avani Rouleau Collection Palo Santo on Marble Rest
Avani Rouleau Collection Quince Branches Resting in Vessel
Avani Rouleau Collection Stack of Twilly Boxes
Avani Rouleau Collection Stick Candle on Holder, All
Avani Rouleau Collection Triple Big Book of References Editions
Avani Rouleau Collection Wilting Moondance Flowers in Vase
Avani Throw Chopped Pillow
Avani Throw Pillow
Nutmeg @equal10
Nutmeg. Poolside Towel Station
Nutmeg. Stacked Pool Floats Bonus
TWELVE – Velare Pool Adult
@equal10
{anc} Summer Blooms 1Li (allcolor)
www.youtube.com/watch?v=ifrN5dc4NUA
..............................
العشب أخضر .. و الثلج أبيض .. و السماء لا لون لها ...
لم يصبني عمى الألوان بعد ..
لم يختف عقلي .. و لم أهرم ..
لم يفترسني يأس الشعراء .. و لا إحباط المعدمين .. و لا بطر اللصوص ..
لم يتآكل قلبي .. و لم أقنع نفسي بضرورة المنتجات المعروضة خلال فيلم السهرة ..
لم أتخذ صنما وليا .. و لم أدفن رأسي تحت الرمل هربا من الواقع المكهرب ..
لم أقنع نفسي أن ياسمين الطفولة يشبه ياسمين الحاضر .. و لم تقنعني ألفاظ الشعر في الجرائد ..
لم أتخذ وضعية السجود و عقلي غائب في دكاني .. و لم أدفن نفسي في معاش الدنيا كأني مخدّر ..
لم أرسم لنفسي صورة الغرب و أنا مغلف بشمس الشرق ..
لم أخفِ شَعري .. و أظهر مؤخرتي ..
لم أغير مفاهيم البديهة بحكم خرافات الحرية .. و لم أبدل معايير الله بحكم ديمقراطية العرف الإنساني ..
لم أدع النبوة .. و لم أحلّق بجناح غيري ..
لم تصبح كلماتي حزينة .. و لم يسود شعري .. و لم تنطفئ جذوة الإصرار في نفسي ...
لم أترك الأرض ... و لم أترك حلم السماء ..
لم تحجب الأيام عقلي ..
و لم أحقن نفسي بمخدر الواجبات .. و لم أصبح قيدا محاسبيا في دفاتر اليومية ..
اليوم أرى الأشياء بألوانها ..
لا أقاضي لونا إن حل مكان لون .. لكني أعي تماما فن تبديل الأمكنة ...
فالعشب أخضر ..
و الثلج أبيض ...
و السماء ... لا لون لها ...
...................
Well, 4 breeches to be precise. To jolt you out of your enjoyment of the beauty and tranquillity of the North Norfolk countryside, you unexpectedly come across this AFV sitting in a field beside the road. It's a ZSU-23-4 "Shilka", a Soviet era self-propelled radar-guided anti-aircraft system, armed with four 23mm cannons. The vehicle is at the gate of the very impressive Muckleburgh Military Collection, sited on a former military camp at Weybourne, near Holt.
Noordpier IJmonond haven
Audacia is Allseas’ versatile pipelay vessel, optimised for the execution of small- to large-diameter pipeline projects of any length in all water depths, and for associated work such as the installation of risers and subsea protection frames. The concept for Audacia was developed entirely in-house and she has been operational since 2007.
A length of 225 m places her between Allseas’ dynamically positioned pipelay vessels Solitaire and Lorelay. Precise manoeuvring on full dynamic positioning with a stinger positioned on the bow allow Audacia to work safely in congested areas and lay pipes in very deep water. Pipeline start-ups and lay-downs are executed in very quick time ensuring any disruption to other activities near platforms is minimised. Due to her long length and ship-shape Audacia can accommodate multiple work stations and has a greater pipe hold capacity. Her independence from anchor handlers and large buffer capacity also ensure she is less dependent on pipe off-loading from supply vessels. A high transit speed, high lay speed and large carrying capacity ensure Audacia is highly competitive for pipelay projects anywhere in the world.
Vessel specifications
Length overall (incl. stinger)327 m (1073 ft)
Length overall (excl. stinger)225 m (738 ft)
Length between perpendiculars217 m (712 ft)
Breadth32 m (105 ft)
Depth to main deck19 m (62 ft)
Operating draught11 m (36 ft)
Maximum speed16 knots
Total installed power41,600 kW
Thrusters7 x 5000 kW retractable, fixed pitch azimuth thrusters
Dynamic positioning systemLR DP (AAA), fully redundant Kongsberg SDP-11 and SDP-22 system
HelideckMaximum take-off weight 12.8 t; suitable for Sikorsky S-92 and Bell 429 helicopters
Deck cranesSpecial purpose crane of 150 t (330 kips) at 16 m (53 ft) main hoist
Pipe transfer crane of 30 t (70 kips) at 33 m (108 ft) main hoist
Work stations7 (single joint) welding stations, 1 NDT station and 3 coating stations
Installed tension capacity3 x 175 t (3 x 390 kips)
Pipe cargo capacity on main deck14,000 t
ROV150 HP work-class ROV, rated to 4000 m depth (13,000 ft), for subsea surveys and intervention work
Pipe diametersFrom 2" to 60" OD
ClassificationsOU–100 A1–Multi-purpose support unit, pipelaying unit,
OIWS LA, LI, () LMC, DP (AAA), PCR (97, 93)
Dual A-frameFor PLEM installation and SCR handovers, capacity 550 t (1200 kips)
Buoy handling systemGantry crane above the stinger, capacity 35 t (80 kips), rail length 85 m (280 ft)
Port of registryValletta
2017010 50409
www.fluidr.com/photos/barrentrees
Copyright © Debbie Friley Photography - All Rights Reserved
It was such a blast watching this amazing Osprey dive down with incredible precision and catch his lunch! Have a great weekend!
Wonderful footage of an osprey catching fish. www.youtube.com/watch?v=nA3LtXnNIto
Hovering at moderate height, the osprey dramatically plunges down feet first to snatch fish from the water's surface. A shake of the head as it emerges from the water; the osprey carries its skilfully captured prey with its long talons.
This Osprey get's God's work Ethic:
*2 Thessalonians 3:10 "... If anyone is not willing to work, let him not eat."
*Colossians 3:23 Whatever you do, work heartily, as for the Lord and not for men,
*Proverbs 14:23 In all toil there is profit, but mere talk tends only to poverty.
A precise plane of shade, held by a quiet structure, turning open air into architecture. When the canopy moves, the character of the space changes with it. Black and white versions. Only 1 land impact!
Now available at mainstore and on marketplace.
📍 Mainstore: maps.secondlife.com/secondlife/Canarun/244/131/24
Marketplace: marketplace.secondlife.com/p/Modern-Ay-Umbrella-CANARUN-R...
🔗 Canarun Socials: www.canarunsl.com/social
Remember to follow our socials for our upcoming products and events!
Superbly flown by Captain Andrej Fiorelli of the Slovenian Armed Forces, Pilatus PC-9M '69' catches the light while in a vertical climb during RIAT 2025
For his outstanding flying skills he was awarded THE KING HUSSEIN MEMORIAL SWORD: Presented in memory of the late HM King Hussein of Jordan, former Patron of the International Air Tattoo, for the overall most polished and precise flying demonstration
276A1017
Photo from the Andreas Müller collection, scan kindly provided by Michael Bernhard for inclusion on this page.
München-Riem
ca. September 1982
C-GCPI "Empress of Honolulu" / fleet no. 907
McDonnell Douglas DC-10-30
48296 / 370
CP Air
C-GCPI shortly before touch-down on Riem’s runway 07. A CP Air DC-10 was noted at Riem on 28 September 1982 (no registration reported), possibly the precise date for this shot.
Information from flickr - thanks to Reinhard Zinabold:
Built in 1981 and operated by CP Air between 1982 and 1987; transferred to Canadian Airlines 1987 and operated until 2000; stored and broken up at MZJ in 2004.
Registration details for this airframe:
C-GCPI with Canadian Pacific / Canadien Pacifique at YYZ in July 1987 (CP Air colours, Canadien Pacifique titles):
imgproc.airliners.net/photos/airliners/4/4/1/0288144.jpg
C-GCPI with Canadian Airlines at HKG in May 1988 (CP Air colours, Canadian titles):
www.airhistory.net/photo/240619/C-GCPI
C-GCPI with Canadian at DUS ca. 1990s (full colours):
www.flickr.com/photos/steelhead2010/23454616855
The remains of C-GCPI at MZJ in October 2004:
www.flickr.com/photos/l8rmt/11568254575
Scan from Kodachrome slide.
Standing at the water’s edge beneath the shadowed stone walls of the Fairmont Château Laurier, you are looking at the precise birthplace of Canada's capital.
Long before Parliament Hill took shape on the cliff above, this ravine was nothing more than a rugged, heavily forested gorge known as Sleigh Bay. In September 1826, the memory of the victory in the War of 1812 were still fresh in British military memory, but a strategic problem still remained. Vulnerable to an American blockade along the St. Lawrence River, the Canadas needed a secret, impenetrable back-door supply route connecting Montreal to Kingston and the Great Lakes.
Enter Lieutenant-Colonel John By of the Royal Engineers.
Surveying the dramatic 83-foot drop from the upper tablelands down to the churning Ottawa River, Colonel By saw the ultimate engineering challenge—and its solution. On September 29, 1826, the Earl of Dalhousie struck a spade into the earth right near Lock #1 to mark the start of construction. To house the army of Scottish stonemasons, carpenters, and the Irish and French-Canadian laborers who arrived to carve the canal out of the wilderness, a sprawling, rough-and-tumble settlement sprang up around the ravine: Bytown.
Decades later, that canal town would be chosen by Queen Victoria as the nation's capital and renamed Ottawa.
A Living Monument of Iron and Stone
What makes Lock #1 truly remarkable today isn't just its origin—it's that it still works exactly as it did in 1832.
Look closely at the heavy iron machinery in the foreground of your photograph. Those raw, cast-iron gears and spools are historic hand-cranked crab winches. There are no electric motors or hydraulic rams hidden beneath the concrete. When a vessel enters Lock #1 today, Parks Canada lockmasters step up to those exact iron cranks, using pure human leverage to wind the heavy chains that swing the massive timber miter gates open and shut.
By pulling hand levers, small iron valve flaps at the base of the gates are raised, letting gravity alone flood or drain the chamber. Step by step, water lifts boats up the flight of eight locks, bridging the gorge in an elegant dance of 19th-century physics.
The Legacy
When the full 202-kilometer Rideau Canal officially opened in the spring of 1832, it stood as a triumph of military engineering. Though it mercifully never saw the armed conflict it was built to withstand, Lock #1 remained the critical gateway where riverboats, steam barges, and timber rafts met the inland waterway.
Today, as the northern threshold of a UNESCO World Heritage Site, Lock #1 remains North America's oldest continuously operating canal lock—a place where the original iron machinery still turns, bridging the quiet waters of history with the modern city rising above it.
It was at this precise location on June 7, 1983 that I initially determined just how quickly one could get from the top of an embankment covered in taconite pellets, to the bottom. It was an interesting ride. The three Chicago & North Western C628's have just brought a train of empty jennies up from Escanaba, MI and spotted them for loading at Empire Mine. That task completed they are now passing Palmer Line Junction, near Negaunne, cab lite and enroute to Ishpeming, where they will take legal rest before returning with a train of loads.
Rotterdam is such a pleasant place in summer. It is not too hot or cold, and for architecture lovers it provides constantly new surprises. Here is the Maastoren, which is the second tallest building in the Netherlands. It looks nothing special itself, but together with the beautiful shapes and shadows of a nearby drawbridge, it comes to life.
Basic Assault Weapon.
Simple. Precise.
The design is originally of R4mos' creation. Credit also goes to Keeb for the mag sling,
and the SPW Team (namely Wezzy and Amy) for the essential logo and colors.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
Sevilla, ES, 2023
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2023 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando #tripyurieclelma2023 #yb_walkers #josetorowalkers #tv_strideby #stridebypoetry #sevilla #seville #sevilha #sevillagram #callesdesevilla #sevillasecreta #sevillatieneuncolorespecial #espana #callesdeespaña
When to Harvest Grapes
The precise time for picking grapes is dependent on the location, length of growing season, variety of grape, crop load and the intended use of the grape. Heavy crop loads take longer to mature. The optimum time for harvesting grapes will vary year to year as do environmental conditions — sometime after the berries turn color (veraison).
Color – Harvesting grapes for use in jellies or wine making must occur at just the right stage of maturity for maximum sweetness. Grapes change color from green to blue, red or white, depending upon the variety. Color is one of the indicators of ripeness. However, it is not the most reliable indicator, as many varieties of grapes change color well prior to ripening. Still, when completely ripe, the whitish coating on the grapes becomes more evident and the seeds turn from green to brown.
Size – Size is another gauge of the ripening of grapes. When mature, the grapes are full size and a bit less firm to the touch.
Taste – Hands down, the best way to ascertain if your grapes are ripe enough to harvest is to taste them. Sample the grapes three to four weeks prior to the approximate harvest date and continue to taste the grapes as they mature. Try to take samples at the same time of day from a variety of areas on the vine.
“At the sight of the crowds, his heart was moved with pity for them because they were troubled and abandoned,* like sheep without a shepherd. Then he said to his disciples, “The harvest is abundant but the laborers are few; so ask the master of the harvest to send out laborers for his harvest.”
- Matthew 9:36-38
They're all around us, textures, those lines and patterns, seemingly purposeful, sometimes random.
Look closely in nature and you'll find them everywhere, they draw you in, sometimes they are impossibly perpendicular. Here is an example of textures that at a cursory glance make no sense, how could this monolith possibly form naturally with lines that are virtually opposite those a mere few feet below them. Bry will give you the precise explanation, it'll blow your mind, time scales and natural evolution of the landscape which one can barely comprehend. Nature is awesome.
10 exposures went into this image, 4 for the sky and 6 for the foreground, shot with an h-alpha modified Nikon Z6 and Tamron 35mm f1.4 on a Sky Watcher Star Adventurer tracking mount. Foreground exposures are 2 minutes at f2 and ISO 1600, sky exposures are 2 minutes at f2 and ISO 800.
Two, to be precise, assuming the original is considered 1 of the 2, in Corel Paintshop Pro, a soft-focus adjustment layer in lighten blend mode on top of the original, bringing out more vibrancy in the leaf veins. From my break-in photoshoot in 2017 with my D7500, a self-indulgence purchase after reluctantly admitting that my well-used D90 was no longer going to get my images where I wanted them to be. Neff's Canyon, near Salt Lake City, Utah.
Yet another flower bokeh.
Taken with Tokyo Kogaku Topcor-S 5cm f2 lens. It was a standard lens on Leotax Leica clones, range finder cameras from the fifties.
It is beautiful precise engineered.
It is very sharp and gentle wide open. It will create gentle, painterly smooth swirly bokeh in right conditions. Separation of subject and micro contrast are second to none.