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Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
MK-Skyhook towers over the site, scanning from above with steady focus. Its telescopic arm stretches far and ends in a precise, claw-like grip. It moves with efficiency, lifting and placing girders with a sense of purpose. Skyhook doesn’t waste words - or movements.
Before the sparks fly and the skyline begins to grow, the MK-Series arrives. These Builders don’t just follow instructions - they create the cities of the future. Each unit brings a different rhythm to the worksite, from the steady churn of mixers to the precise lifts of cranes. They build with patience, coordination, and precision - because a strong city needs solid foundations.
"To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy."
Henri Cartier-Bresson
SMC Takumar 50mm f1.4
Haven't used Photoshop much and had to relearn how to crop images in 1x1 format
file - precise square flycatcher_9630
I took advantage of the precise moment the fish counter's high-pressure misters started working to take the photo.
These devices project microparticles of water (dry mist) that evaporate before reaching the product, maintaining the necessary humidity for preservation and reducing the ambient temperature.
Benefits: They reduce shrinkage (weight loss due to evaporation) and improve the appearance, making the product look freshly caught. (Source: Wikipedia)
NEBULIZADORES DE ALTA PRESIÓN, 2026
Aproveché justo el momento en que los nebulizadores de alta presión de la pescadería comenzaron a actuar para hacer la foto.
Estos equipos proyectan micropartículas de agua (niebla seca) que se evaporan antes de mojar el producto, manteniendo la humedad necesaria para conservarlo y reducen la temperatura ambiental.
Beneficios: Reducen las mermas (pérdida de peso por evaporación) y mejoran la estética, haciendo que el producto parezca recién traído del mar. (Fuente: Wikipedia)
photographer's note: Based on "The Calendar Buildings of Iran" [Persian:
Nezame Gahshomari dar Chartaghihaye Iran -نظام گاهشماري در چارطاقيهاي ايران ] by Author, Moradiye Ghias Abadi, Reza [Persian: رضا مرادي غياثآبادي], buildings such as the one above are the most precise and advanced buildings which were used to make calendars using the Sun by the ancient Persians.
Ka'ba-ye Zartosht; From Wikipedia, the free encyclopedia:
The Ka'ba-ye Zartosht (alt: Kaba-ye Zardusht, Kaba-ye Zardosht , Persian: کعبه زرتشت), meaning the "Cube of Zoroaster", is a 5th century B.C.E. Achaemenid-era tower-like construction at Naqsh-e Rustam, an archaeological site just northwest of Persepolis, Iran. This enigmatic structure is one of many surviving examples of the achaemenid architectural design.
The name Ka'ba-ye Zartosht probably dates to the 14th century, when many pre-Islamic sites were identified with figures and events of the Qur'ān or the Shāhnāme. The structure is not actually a Zoroastrian shrine, nor are there reports of it ever having been a pilgrimage site.
The structure, which is a copy of a sister building at Pasargadae, was built either by Darius I (r. 521–486 BCE) when he moved to Persepolis, by Artaxerxes II (r. 404–358 BCE) or Artaxerxes III (r. 358–338 BCE). The building at Pasargadae is a few decades older. The wall surrounding the tower dates to Sassanid times.
بنايي با معماري خاصي در «نقش رستم» وجود دارد كه از زمان حمله اعراب به ايران به اشتباه، نام «كعبه زرتشت» را به آن دادند، چون كاربرد واقعي آن را نميدانستند. آن زمان فكر ميكردند كه هر ديني بايد براي خود بُتكده يا عبادتگاهي داشته باشد، براي همين فكر كردند اين بنا هم مركزيت يا كعبه زرتشتيان است.
در ديوار داخل اين ساختمان لغت «کعبه» حکاکي شده است. در کتابهاي زرتشتي آمده است که حضرت زرتشت «زاراتشترا» در اين محل، نيايش ميکرده است. اعراب، لغت کعبه را از پارسي پهلوي گرفتند. همانطور که در زمان داريوش کبير به كشور «عمان» امروزي «مکه» ميگفتند؛ بنابراين كلمه مكه نيز فارسي است.
در محاسبه روز نوروز در کتب زرتشتي نوشته شده است که زرتشت در اين رصدخانه، محل شروع نوروز را محاسبه کرد. نوروز در روز اول فروردين از محلي شروع ميشود که اولين اشعه آفتاب در آنجا بتابد. بر اساس برآورد گاهنامه زرتشت، هر 700 سال يکبار نوروز از ايران شروع ميشود. آخرينباري که نوروز از ايران شروع شد، 300 سال پيش بود. در سال 1387، نوروز از پاريس و بروکسل و در سال 1388 ار تورنتو و نيويورک شروع شد. سال آينده هم نوروز از محلي بين آلاسکا و هاوايي شروع خواهد شد.
از زمان حمله اعراب به ايران تا به امروز، يعني قرن بيست و يكم ميلادي، كاربرد و تعريف اين بنا كشف نشده بود. خوشبختانه پژوهشگر ايراني «رضا مرادي غياثآبادي» كه تحقيقات فراواني در زمينه ايران باستان داشته است، نتيجه كشف خود را در كتابي به نام «نظام گاهشماري در چارطاقيهاي ايران» توسط انتشارات «نويد شيراز» به چاپ رسانده و راز اين بنا را منتشر كرده است.
تا امروز حدث ميزدند كاربرد اين بنا، محل نگهداري كتاب اوستا و اسناد حكومتي يا محل گنجينه دربار و يا آتشكده معبد بوده است. اما غياثآبادي با تحقيقات خود ثابت كرد اين بنا با مقايسه با تمامي بناهاي گاهشماري (تقويم) آفتابي در سرتاسر جهان، پيشرفتهترين، دقيقترين، و بهترين بناي گاهشماري آفتابي جهان است. اين در حالي است كه تا قبل از اين بنا هم «چارطاقيها» در نقاط مختلف ايران احداث شده بودند و همين وظيفه را با شيوهاي بسيار ساده اما دقيق و حرفهاي بر عهده داشتند.
تمامي بناهاي گاهشماري آفتابي در جهان فقط ميتوانند روزهاي خاصي از سال (مانند روزهاي سرفصل) را مشخص كنند و حتي با سال خورشيدي هم تنظيم نيستند. اما اين بنا با دقت و علمي كه در ساخت آن اجرا شده، قادر است بسياري از جزئيات روزهاي مختلف سال و ماهها را مشخص كند. زرتشتيان با استفاده از اين بنا ميتوانستند بسياري از مناسبتها و جشنهاي سال را روز به روز دنبال كنند و از زمان دقيق آنها آگاه شوند.
بسياري از بناهاي چارطاقي در سطح كشور (به تصور آتشكده) يا به طور كامل تخريب شده و يا تغيير كاربري داده شده است. ولي خوشبختانه تعدادي هم مانند چارطاقي «نياسر» و چارطاقي «تفرش»، سالم مانده و براي ما و نسلهاي بعدي باقي ماندهاند.
متأسفانه بناي «كعبه زرتشت» با آن كه تقريباً سالم باقي مانده است به ثبت ميراث جهاني سازمان ملل نرسيده است. حتي سازمان ميراث فرهنگي هم اين بنا را همراه بناهاي عجايب هفتگانه جديد (كه برج ايفل هم يكي از كانديداها بود) پيشنهاد نداد. حتي با كشف راز اين بنا هم هيچگونه انعكاس و جنجالي به پا نشد.
اين بنا، يك گاهشمار تمام سنگي ثابت در جهان است كه بايد سازندگان آن از بسياري از نكات علميِ جغرافيايي، نجومي، سال كبيسه، انحراف كره زمين نسبت به مدار خورشيد، تفاوت قطب مغناطيسي با قطب جغرافيايي، مسير گردش زمين به دور خورشيد و... را در 2500 تا 3000 سال پيش، در دوران حكومت هخامنشيان آگاهي ميبودند. حال آنكه خيلي از آنها را مانند كروي بودن كره زمين و گردش زمين به دور خورشيد را در چهارصد سال اخير در اروپا كشف كردند و به نام خودشان ثبت كردند.
رجوع شود به : نظام گاهشماری در چارتاقی های ايران تاليف : مرادی غياث آبادی، رضا
Generated By Midjourney V6
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**Prompt :**
Gros plan cinématographique ultra détaillé d’un visage féminin au réalisme saisissant, éclairage doux et diffus de type studio, peau porcelaine parsemée de légères taches de rousseur naturelles, texture de peau visible avec micro-détails (pores, reflets subtils, imperfections authentiques). Regard intense et hypnotique, yeux iridescents aux teintes turquoise et violet, avec reflets lumineux complexes simulant une profondeur presque surnaturelle, pupilles nettes, humidité oculaire réaliste.
Chevelure longue et volumineuse séparée en deux teintes distinctes : côté gauche rose pastel dégradé vers un rose plus saturé, côté droit bleu cyan évoluant vers un bleu profond, fibres capillaires finement détaillées, mèches légèrement en mouvement comme animées par une brise imperceptible. Éclairage colorimétrique contrasté renforçant la dualité chromatique, avec rim light subtil sur les contours des cheveux.
Maquillage artistique mais crédible : fard à paupières vibrant assorti aux cheveux, dégradés complexes, eyeliner précis, mascara détaillant chaque cil, lèvres légèrement brillantes avec texture humide réaliste. Expression neutre mais captivante, entre douceur et mystère.
Accessoire : collier métallique avec chaîne épaisse et plaque type militaire, rendu métallique réaliste avec micro-rayures, réflexion HDR environnementale.
Arrière-plan flou (bokeh) gris neutre, profondeur de champ très faible (objectif 85mm f/1.4), mise au point chirurgicale sur les yeux. Color grading cinématographique, style photographie éditoriale haut de gamme, rendu 8K, ultra net, global illumination, subsurface scattering sur la peau, rendu photoréaliste proche d’un portrait capturé avec une caméra plein format.
Ambiance visuelle : mélange de mode contemporaine et d’esthétique néo-fantastique, équilibre entre réalisme brut et aura presque irréelle.
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**Prompt:**
Ultra-detailed cinematic close-up of a female face with striking hyperrealism, soft diffused studio lighting, porcelain skin with subtle natural freckles, visible skin texture including pores, fine highlights, and authentic imperfections. Intense, mesmerizing gaze, iridescent eyes blending turquoise and violet tones, with complex light reflections creating an almost supernatural depth, sharp pupils, realistic eye moisture.
Long, voluminous hair split into two distinct tones: left side in pastel pink transitioning into a richer pink, right side in cyan evolving into deep blue. Individual hair strands finely rendered, slight natural movement as if touched by a gentle breeze. Color-contrasting lighting enhancing the dual-tone effect, subtle rim light outlining the hair.
Artistic yet believable makeup: vibrant eyeshadow matching the hair tones with smooth gradients, precise eyeliner, defined lashes with high-detail mascara, slightly glossy lips with realistic moisture texture. Neutral yet captivating expression, balancing softness and mystery.
Accessory: metallic chain necklace with a military-style dog tag, highly realistic material rendering with micro-scratches and HDR environmental reflections.
Background softly blurred with neutral gray bokeh, very shallow depth of field (85mm lens, f/1.4), razor-sharp focus on the eyes. Cinematic color grading, high-end editorial photography style, 8K resolution, ultra-sharp, global illumination, subsurface scattering on skin, photorealistic rendering comparable to a full-frame camera capture.
Visual mood: fusion of contemporary fashion and neo-fantasy aesthetic, balancing raw realism with an almost otherworldly aura.
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--ar 2:3 --v 6 --style raw --q 2 --s 150 --chaos 5 --uplight
The Mercedes-Benz 300SL was introduced in 1954 as a two-seat, closed sports car with distinctive gull-wing doors. Later it was offered as an open roadster. It was the fastest production car of its day.
Built by Daimler-Benz AG and internally numbered W198, the fuel-injected road version was based (somewhat loosely) on the company's highly successful competition-only sports car of 1952, the somewhat less powerful carbureted Mercedes-Benz 300SL (W194).
The road model was suggested by Max Hoffman. Being intended for customers in the booming post-war American market it was introduced at the 1954 New York Auto Show, unlike previous models introduced at either the Frankfurt or Geneva shows. In Mercedes-Benz fashion, the "300" referred to the engine's three litre cylinder displacement. The "SL" stood for "Sport Leicht" (Sport Light).
The 300SL was best known for both its distinctive gull wing doors and being the first-ever four-stroke car equipped with a Gasoline direct injection. The gull wing version was available from March 1955 to 1957. Production of the roadster ended in 1963 with the introduction of the 230SL.
New York Mercedes distributor Max Hoffman, Daimler-Benz's official importer in the USA, suggested to DBAG management in Stuttgart that a street version of the 300SL would be a commercial success, especially in America.
The racing W194 300SL was built around a tubular chassis to offset its relatively underpowered carbureted engine. Designed by DBAG's chief developing engineer, Rudolf Uhlenhaut, the metal skeleton saved weight while still providing a high level of strength. Its unique architecture gave birth to the model's distinctive gull wing doors, as part of the chassis passed through what would be the lower half of a standard door. Even with the upward opening doors, the 300SL had an unusually high sill, making entry and exit from the car's cockpit problematic. A steering wheel with a tilt-away column was added to improve driver access.
The 300SL's body was mainly steel, except for the aluminum hood, doors and trunk lid. It could also be ordered with an all-aluminium outer skin at tremendous added cost, saving 80 kg (176 lb).
More than 80% of the vehicle's total production of approximately 1400 units were sold in the US, making the Gull wing the first Mercedes-Benz which sold in bulk outside its home market and confirming the validity of Hoffman's suggestion. The 300SL is credited for changing the company's image in America from a manufacturer of solid, but staid, automobiles to that of a producer of sporty cars.
The 300SL's engine, canted at a fifty-degree angle to the left to allow for a lower hoodline, was the same 3.0 litre straight-6 as the regular four-door 300. Fitted with a Bosch mechanical Gasoline direct injection system it had almost double the power of the original 86 kW (115 hp) carbureted version.
While not the first fuel-injected car - Mercedes engineers who had developed the principle for the DB 601 fighter aircraft engine had used fuel injection in the tiny 2-stroke Gutbrod they had designed after the War - it was the first to inject fuel directly into the cylinders. This innovation allowed a top speed of up to 260 km/h (161 mph) depending on gear ratio and drag, making the 300SL the fastest production car of its time.
The engine's maintenance requirements were high. Unlike the current electrically-powered fuel injection systems, the mechanical fuel pump would continue to inject gasoline into the engine during the interval between shutting off the ignition and the engine's coming to a stop; this gasoline was of course not burned, and washed the oil from the cylinder walls and ended up diluting the engine's lubricating oil, particularly if the engine was not driven hard enough nor long enough to reach a temperature high enough to evaporate it out of the oil.
Exacerbating the problem were the large oil cooler as well as the large volume of oil (10 liters), both oriented more to racing than to street driving, which virtually guaranteed that the oil would not reach a high enough temperature. In practice, many street drivers would block off airflow through the oil cooler, and the recommended oil change interval was 1,000 miles (1,600 km). Operation of the clutch was initially very heavy, later roadsters having an improved clutch arm helper spring which reduced the pedal force. From March 1963 to the end of production, a light alloy crankcase was used on a total of 209 vehicles.[2]
Aerodynamics played an important role in the car's speed, Mercedes-Benz engineers even placing horizontal "eyebrows" over the wheel openings to reduce drag. Unlike many cars of the 1950s, the steering was relatively precise and the four-wheel independent suspension allowed for a reasonably comfortable ride and markedly better overall handling. However, the rear swing axle, jointed only at the differential, not at the wheels themselves, could be treacherous at high speeds or on imperfect roads due to extreme changes in camber.
In 1952, the original 300SL (model Mercedes-Benz W194) [3] scored overall wins at the 24 Hours of Le Mans, in Bern-Bremgarten, in the sportscar race of the Eifelrennen at the Nürburgring, and in Mexico's Carrera Panamericana. It also managed second and fourth places at its first outing, the Mille Miglia in 1952.
These successes, especially those on the high speed open road races, were rather surprising as the engine then was fitted only with carburetors, producing 175 hp (130 kW), which was not only less than the competing cars by Ferrari and Jaguar, but also less than the road car of 1954. Low weight and low aerodynamic drag made the 300SL fast enough to be competitive in endurance races.
Madrid, 2023
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/
Madrid, España, 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)
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
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_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
now, at this precise moment, ARTE is showing a documentary on Isadora Duncan;
with feet we march, with feet we walk, with feet we run, with feet we dance, some dance truly and in that they live and make others live
detail from the statue to Isadora Duncan, at gate A72 in Brussels airport
photographer's note: Based on "The Calendar Buildings of Iran" [Persian:
Nezame Gahshomari dar Chartaghihaye Iran -نظام گاهشماري در چارطاقيهاي ايران ] by Author, Moradiye Ghias Abadi, Reza [Persian: رضا مرادي غياثآبادي], buildings such as the one above are the most precise and advanced buildings which were used to make calendars using the Sun by the ancient Persians.
بنايي با معماري خاصي در «نقش رستم» وجود دارد كه از زمان حمله اعراب به ايران به اشتباه، نام «كعبه زرتشت» را به آن دادند، چون كاربرد واقعي آن را نميدانستند. آن زمان فكر ميكردند كه هر ديني بايد براي خود بُتكده يا عبادتگاهي داشته باشد، براي همين فكر كردند اين بنا هم مركزيت يا كعبه زرتشتيان است.
در ديوار داخل اين ساختمان لغت «کعبه» حکاکي شده است. در کتابهاي زرتشتي آمده است که حضرت زرتشت «زاراتشترا» در اين محل، نيايش ميکرده است. اعراب، لغت کعبه را از پارسي پهلوي گرفتند. همانطور که در زمان داريوش کبير به كشور «عمان» امروزي «مکه» ميگفتند؛ بنابراين كلمه مكه نيز فارسي است.
در محاسبه روز نوروز در کتب زرتشتي نوشته شده است که زرتشت در اين رصدخانه، محل شروع نوروز را محاسبه کرد. نوروز در روز اول فروردين از محلي شروع ميشود که اولين اشعه آفتاب در آنجا بتابد. بر اساس برآورد گاهنامه زرتشت، هر 700 سال يکبار نوروز از ايران شروع ميشود. آخرينباري که نوروز از ايران شروع شد، 300 سال پيش بود. در سال 1387، نوروز از پاريس و بروکسل و در سال 1388 ار تورنتو و نيويورک شروع شد. سال آينده هم نوروز از محلي بين آلاسکا و هاوايي شروع خواهد شد.
از زمان حمله اعراب به ايران تا به امروز، يعني قرن بيست و يكم ميلادي، كاربرد و تعريف اين بنا كشف نشده بود. خوشبختانه پژوهشگر ايراني «رضا مرادي غياثآبادي» كه تحقيقات فراواني در زمينه ايران باستان داشته است، نتيجه كشف خود را در كتابي به نام «نظام گاهشماري در چارطاقيهاي ايران» توسط انتشارات «نويد شيراز» به چاپ رسانده و راز اين بنا را منتشر كرده است.
تا امروز حدث ميزدند كاربرد اين بنا، محل نگهداري كتاب اوستا و اسناد حكومتي يا محل گنجينه دربار و يا آتشكده معبد بوده است. اما غياثآبادي با تحقيقات خود ثابت كرد اين بنا با مقايسه با تمامي بناهاي گاهشماري (تقويم) آفتابي در سرتاسر جهان، پيشرفتهترين، دقيقترين، و بهترين بناي گاهشماري آفتابي جهان است. اين در حالي است كه تا قبل از اين بنا هم «چارطاقيها» در نقاط مختلف ايران احداث شده بودند و همين وظيفه را با شيوهاي بسيار ساده اما دقيق و حرفهاي بر عهده داشتند.
تمامي بناهاي گاهشماري آفتابي در جهان فقط ميتوانند روزهاي خاصي از سال (مانند روزهاي سرفصل) را مشخص كنند و حتي با سال خورشيدي هم تنظيم نيستند. اما اين بنا با دقت و علمي كه در ساخت آن اجرا شده، قادر است بسياري از جزئيات روزهاي مختلف سال و ماهها را مشخص كند. زرتشتيان با استفاده از اين بنا ميتوانستند بسياري از مناسبتها و جشنهاي سال را روز به روز دنبال كنند و از زمان دقيق آنها آگاه شوند.
بسياري از بناهاي چارطاقي در سطح كشور (به تصور آتشكده) يا به طور كامل تخريب شده و يا تغيير كاربري داده شده است. ولي خوشبختانه تعدادي هم مانند چارطاقي «نياسر» و چارطاقي «تفرش»، سالم مانده و براي ما و نسلهاي بعدي باقي ماندهاند.
اين بنا، يك گاهشمار تمام سنگي ثابت در جهان است كه بايد سازندگان آن از بسياري از نكات علميِ جغرافيايي، نجومي، سال كبيسه، انحراف كره زمين نسبت به مدار خورشيد، تفاوت قطب مغناطيسي با قطب جغرافيايي، مسير گردش زمين به دور خورشيد و... را در 2500 تا 3000 سال پيش، در دوران حكومت هخامنشيان آگاهي ميبودند. حال آنكه خيلي از آنها را مانند كروي بودن كره زمين و گردش زمين به دور خورشيد را در چهارصد سال اخير در اروپا كشف كردند و به نام خودشان ثبت كردند!
رجوع شود به : نظام گاهشماری در چارتاقی های ايران تاليف : مرادی غياث آبادی، رضا
Ka'ba-ye Zartosht; From Wikipedia, the free encyclopedia
Ka'ba-ye ZartoshtThe Ka'ba-ye Zartosht (alt: Kaba-ye Zardusht, Kaba-ye Zardosht , Persian: کعبه زرتشت), meaning the "Cube of Zoroaster", is a 5th century B.C.E. Achaemenid-era tower-like construction at Naqsh-e Rustam, an archaeological site just northwest of Persepolis, Iran. This enigmatic structure is one of many surviving examples of the achaemenid architectural design.
The name Ka'ba-ye Zartosht probably dates to the 14th century, when many pre-Islamic sites were identified with figures and events of the Qur'ān or the Shāhnāme. The structure is not actually a Zoroastrian shrine, nor are there reports of it ever having been a pilgrimage site.
The structure, which is a copy of a sister building at Pasargadae, was built either by Darius I (r. 521–486 BCE) when he moved to Persepolis, by Artaxerxes II (r. 404–358 BCE) or Artaxerxes III (r. 358–338 BCE). The building at Pasargadae is a few decades older. The wall surrounding the tower dates to Sassanid times.
Double crater to be precise. the module is 32x32, but it's surrounded by 10 "blank" 8x16 modules to show how it would look in a larger terrain.
I need a bit more empty space around my moonbase, and a crater does create that space atmosphere.
The crater inside is new dark grey while the rest of the terrain is old dark grey.
Not sure of the precise species (and it could be a hybrid) but I think this is probably the stream water-crowfoot (R. penicillatus)
on the river today - such an attractive sight to see I think.
There are 2 patches of this in the river at the edge of my ground. They are looking particularly good this year as the river has been very undisturbed with nobody wading/fishing.
Velvet Underground & Nico - Sunday Morning
Nimble and precise, Vastt uses his gravity defying powers to create mind-bending battlefields. His four wing daggers are perfect for up close combat, or can be guided from a distance to fall to their targets. Vastt's Mask of Durability protects him from even the heaviest of impacts and allows him to slice through the toughest materials.
Build Notes:
Just a quick guy for the upcoming Bionilug convention display. Also hey first MOC I've posted this year!
Precise location of the trees please.
Originally uploaded for the Guess Where Group www.flickr.com/groups/guesswhereuk/
A sharp, simple yet precise business card for our client: Marc Adrian Foto. Silk lamintated on 16pt card stock with a foil stamped logo on the front and a spot uv treatment for the logo on the back all reflected off a rich black background. Effective and Professional!
Designed by www.tdhstudio.com
Photo by www.tdhstudio.com @ allrights
Bac Ha (Vietnam) - Pas la peine de préciser que nous sommes toujours sur le marché aux buffles. Ce qui a attiré mon attention, c’est l’harmonie des couleurs entre le pelage des bovins et les vêtement de l’homme. La scène me semblait amusante. Il s’agit d’un boucher qui cherche un animal a exposer façon puzzle sur l’étal de son échoppe. Cela dit, il faudrait être naïf pour s’étonner du sort réservé à la quasi-totalité des buffles présents sur ce marché.
The buffalo terminus 2
Bac Ha (Vietnam) - Needless to say, we are still on the buffalo market. What caught my attention was the harmony of colors between the cattle's coats and the human's clothing. The scene seemed amusing to me. It's a butcher looking for an animal to display like a puzzle on his stall. That said, you'd have to be naive to be surprised by the fate of almost all the buffaloes present in this market.
A supermoon is a full moon or a new moon that nearly coincides with perigee—the closest that the Moon comes to the Earth in its elliptic orbit—resulting in a slightly larger-than-usual apparent size of the Moon as viewed from Earth.[1] The technical name is a perigee syzygy (of the Earth–Moon–Sun system) or a full (or new) Moon around perigee.[a] Because the term supermoon is astrological in origin, it has no precise astronomical definition.[2]
The real association of the Moon with both oceanic and crustal tides has led to claims that the supermoon phenomenon may be associated with increased risk of events like earthquakes and volcanic eruptions, but no such link has been found.[3]
The opposite phenomenon, an apogee syzygy or a full (or new) Moon around apogee, has been called a micromoon.
A blue moon is an additional full moon that appears in a subdivision of a year: the third of four full moons in a season.
The phrase in modern usage has nothing to do with the actual color of the Moon, although a visually blue Moon (the Moon appearing with a bluish tinge) may occur under certain atmospheric conditions—for instance, if volcanic eruptions or fires release particles in the atmosphere of just the right size to preferentially scatter red light.
Wikipedia
A SWEET disorder in the dress
Kindles in clothes a wantonness :
A lawn about the shoulders thrown
Into a fine distraction :
An erring lace which here and there
Enthrals the crimson stomacher :
A cuff neglectful, and thereby
Ribbons to flow confusedly :
A winning wave (deserving note)
In the tempestuous petticoat :
A careless shoe-string, in whose tie
I see a wild civility :
Do more bewitch me than when art
Is too precise in every part
DELIGHT IN DISORDER.
by Robert Herrick
Since Precision Scheduled Railroading was inflicted on CSX, it has proven to be neither precise, nor scheduled...with one exception.
I caught up with Q437 a couple times last week. Combining that with other observations, I concluded that Q437 seems to follow the last MBTA outbound out of Framingham pretty consistently. The westbound road job passed this spot in Westborough about ten minutes behind Keolis 537.
This is not blight. To be more precise this is the future and, if the folks in this cooperative are any indication, the future for the city is bright. I spoke with Jerry about his project, the area around the Michigan Central Station, and mostly about why Detroit. I came away very encouraged. You can learn more about Jerry and his group of creative pioneers at facethestation.com/people/.
That all said, the Roosevelt Park area tells an interesting tale of economics, will and responsible behavior. On the one hand you have the Imagination Station people, the owners of Slow’s BBQ (http://slowsbarbq.com/) and community groups like the Corktown Development Corporation (http://www.corktowndetroit.org/) pooling limited resources to restore and reshape a vital and historic neighborhood, while the slumlord/ billionaire sits on his cash and watches nature reclaim his derelict buildings. It almost makes you think money and character are mutually exclusive in some folks.
Ektar ist a film that requires precise metering. Apparently, the old selenium meter on the Agfa Reflex is off by at least one stop.
Because of the resulting underexposure there is a colour shift and some loss of definition, which comes on top of the somewhat reduced sharpness of the triplet lens (the lens can do better than this). I'll have to keep that in mind for the next roll.
I didn't notice that on the previous roll because that was B&W and the film latitude absorbed the underexposure.
Agfa Optima Reflex 35mm TLR
Kodak Ektar 100 professional grade color negative film
Developed and scanned by www.meinfilmlab.de
Stephan Frontenac sitting at his table, he sees Beth come up to his dock in a small motor boat driven by someone else. He sees her wave the boat away and start walking towards his home. He watches her dancers grace, those composed precise and trained movements that made him fall in love with her. He smiles and nods in her direction, waiting for her to come closer before he speaks.
beth Latynina steps carefully onto the dock as dismissing the driver would just take an moment to look around. Slight wrinkle of nose to the smell of the swamp reminding her of years past tredging around in the sewers with Stephan. Still looking as young and beautiful as ever. Would walk over to where she sees her husbamd sitting. Lips drawn into an smile as speaks," so this is where you have been hiding lately?.."
Stephan Frontenac stands up and walks over to beth, taking her hands in his and saying “I thought it was time for me to leave the beaches for a back bayou somewhere.” He looks around finding the smell of decay in the swamp rather pleasant and says with a content smile “With Libby in Midian, this seemed like a logical choice.”
beth Latynina: slender hands curl within your own as just laughs," yes and am surprised you did not do it long ago.." stepping in closer to you bringing with her the coying scent of perfume you love so much. Body shifts as lips part pressing to your in an lingering kiss," Whispering then," well i thought it wise to come and check up on you both..."
[stephan Frontenac looks around and notices his complet lack of a sofa. He shrugs a little to himself and says "I'm happy to see you love, you always make my whole body tingle in happiness when I see you, especially when it's been too long."
[ beth Latynina shifts curling along your side one hand resting to your chest." so tell me what our daughter has been up too? She has yet to return my phone calls.."
[ Stephan Frontenac had been debating which bad news to tell Beth first, about Libby or Ashagi, but thankfully she directed the conversation. He frowns a little at her question and just blurts it out "It's been hard on her, she's had to grow up fast. She was raped a few weeks ago and she's made enemies with the Noble family somehow. I'm not unconvinced the two are unrelated. Cute little Phoebe Noble, Cait's daughter if you remember her, turned into more of a monster then her father."
beth latynina blinks as had been so afraid of that," I was so hoping she would not have to go though that. Physically she is alright? There was no permanate damage?.." frowning when you speak of Cait's daughter." is such an shame. As emember she was always so sweet and shy everytime I met her." sighs," well Libby is smart and strong. You have someone watching her?"
Well Lake Jasna near Kranjska Gora to be more precise.
My summer holiday this year was spent in a quiet town in Slovenia, something very different from our usual city break holidays. Surrounded by lakes, mountain, blue sky and the occasional rain cloud, this setting is perfect for any landscape photographer/hill walker. The only difficult I found was that everything is that little bit more exaggerated than living in Wales; the mountains are higher, the terrain is steeper and the rain comes down harder!
Thanks for the comments over my last few shots. I will be replying to them all soon!
The Sun shone golden on the tree and the two together made a picture. In the shadow at some distance Arniston House stood watching the light changing on the resplendent tree. Here the house stood in to bring another subject into the frame creating another inspiration for the viewer to have towards other and further inspection possibly generating some introspection? Also not if the tree in parkland does not give rise to pondering about the managed landscape and to how many trees were once grown on the estate with the plan to provide the timber for all new projects including repairing and renovating the house. So the tree is looking at the place where it will be a part of the structure of the house even as it is might be a part of planned planting now. I have not had enough coffee to say this better than I have done. Today’s coffee is helping to upload these pictures in such a way that from this vantage the pictures at the time of taking seem dependant on the stream of inspiration fuelled in part by coffee that will be haphazardly made and in no precise scheme give rise to me sharing these pictures. I would have taken a picture of this tree in this light without any other significant feature. This picture with the house included gives rise to thoughts that it is possible this tree is only still here due to the house being a focus of the estate that maintains the parkland.
Still not enough coffee, sorry for the ramble.
© PHH Sykes 2023
phhsykes@gmail.com
Welcome to Arniston House
Cuckmere Valley Sunrise, from just north of High and Over. To be precise this was about 10 mins before the sun popped it's head over Friston Forest and the South Downs hills.
The sky was an awesome colour, but I needed to stack a couple of ND grads to hold any of the foreground detail.
On Camera stuff:
- Lee 0.6 ND hard grad
- stacked Lee 0.6 ND soft grad
Post Processing:
- Adjusted WB in ACR
- Levels adjustments in CS4
- Some selective dodging and burning in CS4
- Un-sharp mask in CS4
This is best viewed in Lightroom on Black --- Press "L"
Canon 5D Mk II with EF 17-40mm L lens @19mm, ISO 100, 1.6 secs at f/14, tripod, Lee 0.6 hard and soft grads.
ENQUIRIES
Please contact me via dave_moyes@hotmail,com with any enquiries or print requests, further details can be found in my Flikr profile.
The painting is a precise rendering of a German class 78 steam locomotive as it roams the rails which were just a few meters left of the house. Today the former right-of-way has lost its tracks and serves as a much used trail for hikers and cyclists.
This is an oldie from '08, so the precise location is lost in the mists of time and my memory. It's probably off of the Scenic Drive, or further south off of the South Pleasant Creek Road. The precise location is perhaps of little significance, as similar views can be had in many spots in this wonderful park and, indeed, in so many other parts of southern Utah that they could be called a commonplace. However, I have found it almost impossible to walk by such views without gazing in mesmerized awe. It may be useful to note that this is not one of my frequent details; what we see here is probably about 70 feet in height, though the actual wall might be two to ten times the width shown here.
Normally Lee and I would be shaking hands with Lloyd on arrival, but at that precise moment, all three of us were balancing precariously on dinosaur eggs. Well not really dinosaur eggs, but enormous oval granite boulders, some of which have a habit of wobbling furiously if you're not paying attention. The beach here consists almost entirely of them - apart from the deep band of seaweed that has spread itself evenly across its width towards the cliffs since I was last here. As for the cliffs - standing anywhere near them really isn’t recommended, neither on top nor below. After you've struggled onto the beach, gaze up and you’ll see for yourself how even the smallest straw on the camel’s back of erosion would bring a deadly volume crashing down on top of your head. It’s never been an easy beach to navigate, and it’s gradually getting more challenging.
Lloyd was already here by the time we arrived, sitting behind his tripod in front of a composition he’d been lining up with his phone the previous afternoon. Our visiting friend was staying within walking distance of the celebrated cobbles, and although he told us it was a holiday with his wife rather than one of his regular autumn pilgrimages to Cornwall, he’d brought the camera along to keep himself entertained. He’d arrived in a pair of wellies that were sending me a radioactive shade of green with envy - Vibram soles on wellies for goodness sake! “What else would you ever need?” I hear you ask. Needless to say, by the time we stopped at the pub on the way home I was comparing the options on your favourite shopping app. Ever since that story of the cracked polariser from Vestrahorn, Mr Bezos is always on the phone asking me to promote stuff. Probably.
Porth Nanven is one of those places that I think I go to all the time, but when I looked through my archives, the last visit was eighteen months ago, almost exactly to the day. Just after my granddaughter Sennen was born. That afternoon, I drove off down to Sennen Cove in tribute, bought a rum and raisin flavour ice cream, sat on a rock feeling all misty eyed about becoming a grandad, decided there was nothing doing on the photography front and headed here instead. So my last visit was an afterthought - and guess what? Not one of the forty-five raw files has been anywhere near the editing suite. Forty-four if you discount the one with two of my fingers blighting the frame. Either I was reminding myself I’d just done a twin shot focus stack or I was commenting on what I thought of my own photography that day. Prior to that, I’d been here in the middle of the summer, just a couple of weeks before Lee and I set the compass for Iceland. Only two of those had been dragged through the software, and they were hardly inspiring.
So what is it with Porth Nanven? As locations go, even for Cornwall it’s pretty well unique with its blanket of dinosaur eggs, shaped and smoothed to perfection by countless Atlantic seasons. But perhaps the first paragraph tells the truth in part. Add the fact that the boulders at the water's edge are generally covered in messy tangles of seaweed, the beach is often full of footprints, both human and canine, the movement of the tide changes your carefully thought out compositions every five minutes, and maybe that’s why I don’t come here so often these days. Break an ankle on those cobbles and there’s no phone signal to help you out either. What I have concluded (and I’m not alone in this) is that it’s best to go at low tide, when the shoreline stays roughly in one place for a slightly longer period of time, and if you’re lucky, you might get some untouched sand in front of you. Although you'll probably be picking stray lumps of seaweed out of the way once you’ve set up your shot, whilst trying to keep off the sand. You can always spot the photographers here. We hop from boulder to boulder like oversized penguins, trying desperately to avoid leaving footprints.
And then it’s just a question of trying to maintain balance. Not only on the cobbles in your Vibram soled wellies, but also in your ever changing compositions. In two and a half hours I raced through a number of them, some that I liked, while others looked as if they might topple in either direction when I examined them on the big screen at home.
I came away with some more shots that almost worked - new ideas to return to next time. And it won’t be eighteen months away either.
A shot for Ruth
It is a Magpie , or to be more precise - H.M.S. Magpie as it makes it's way along the Camel Estuary from Padstow to open water , and here passing Hawker's Cove !!
HMS Magpie is a survey ship of the Royal Navy, intended for use on inshore and coastal survey work. Magpie replaced HMS Gleaner. She was accepted by the RN in May 2018 and commissioned on 28 June 2018.
History
HMS Magpie undergoing sea trials
In August 2017, the replacement for HMS Gleaner, the Royal Navy's existing inshore survey launch, was announced to be one of a total of 38 multi-role workboats of various sizes being constructed to undertake various duties. The main structure of the vessel was constructed by Safehaven Marine, a boatbuilding company based in Cork. In February 2018, it was announced that the ship would be named HMS Magpie. The type selected for the inshore survey vessel was based on Safehaven's Wildcat 60 catamaran design, the largest available at 18m in length, and with a displacement of 37 tonnes. Magpie was built to accommodate a crew of 12 for up to seven days, with the capability of operating in all weathers. Following completion and initials trials by Safehaven Marine, Magpie was subsequently delivered to Atlas Elektronik UK (AEUK) for installation of its mission equipment. In April 2018, Magpie underwent further trials with its mission equipment installed, before final delivery of the launch to the Royal Navy in May 2018 for commissioning in early summer.
As Magpie is considerably larger than the vessel she replaces, the title of smallest commissioned vessel in the Royal Navy, which had belonged to Gleaner, passed to the two Scimitar-class patrol vessels. Magpie will be a significant improvement over her predecessor, both in terms of equipment – not only will she feature better on-board equipment from Gleaner, but will also have the capability of launching and recovering UUVs – and endurance.
One of Magpie's first major taskings was a continuation of work done by her predecessor Gleaner in surveying Portsmouth Harbour to ensure the stability of the seabed in anticipation of Portsmouth's use by the aircraft carriers Queen Elizabeth and Prince of Wales.
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.
The precise origins of the temple are unclear but its importance as a holy site almost certainly dates from prehistoric times. The stone bases of Pura Penataran Agung and several other temples resemble megalithic stepped pyramids, which date back at least 2,000 years. It was certainly used as a Hindu place of worship from 1284 when the first Javanese conquerors settled in Bali. By the 15th century, Besakih had become a state temple of the powerful Gelgel dynasty.
The temple is on the southern slopes of Mount Agung, the principal volcano of Bali.
The complex is made up of twenty-three temples that sit on parallel ridges. It has stepped terraces and flights of stairs which ascend to a number of courtyards and brick gateways that in turn lead up to the main spire or Meru structure, which is called Pura Penataran Agung. All this is aligned along a single axis and designed to lead the spiritual person upward and closer to the mountain which is considered sacred.
Passos precisos, por caminhos imprecisos
Precise strides, along imprecise paths
#yb_passosprecisos
São Paulo SP, 2024
#yb_street_2024
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2019-12-20 6702-CR2-L1E2T2
Look how carefully this eagle places the branch so that the "Y" in the branch is placed on the tree limb. This stuff just amazes me.
My goal was to take a precise photo that showed the scales found on the wings of butterflies and moths. This moth, sleeping during the day on my porch, was not injured in this exercise. Not even awakened.
The scales come in a variety of forms--some look like hairs, some vaguely like ping pong paddles, some like flat scales.
Pigments provide the colors in black, tan and grey scales. Brilliant yellows, blues are reds are produced by structural modifications that refract light.
I attached a Canon 2X extender to my 180 mm macro lens--effectively a 360 mm macro. That sounds good, but it reduces the amount of light coming in, so you need to increase the ISO or provide light. But in addition to increasing light, an extender decreases the depth of field, so although this moth was close to flat, I could not get all of it in focus. So I took 3 photos, each with a different focal plane, and stacked the three frames in photoshop.
If you go to the downward pointing arrow, click on it and select "View all sizes" and choose one of the higher resolutions to view. A click will change to a different resolution. Return by clicking "photo" to the left of the sizes.
This may be a moth in the family Geometridae. It is remarkably cryptic on cement. The yellow dots on the cement are pollen grains. I swept the porch the previous day...I thought I got it clean.
More than one, to be precise. The leaves are from the neighbour's maple trees and every autumn many of them end up in my garden. I don't mind as the cats love to play with them and for me they offer some nice photo opportunities. There is another capture in the comments.
Linus has an appointment at the vet tomorrow morning for being neutered. His exact age is unknown but he is more than a year old now. I had planned to do thIs earlier but at first the vet and I decided to postpone it because of his extreme panic around people he didn't know. He had just begun to trust me and we didn't want to ruin everything. We then planned the OP for summer but after what had happened to Ramses I just couldn't do it. The fact that Linus is a whole male hasn't caused any problems so far but recently Fynn and Linus have started to fight more. It's usually Fynn who starts the fights and I think that in a way he may feel threatened by Linus. Nobody needs additional stress, especially not Fynn who usually reacts to stress by a flare-up of his chronic cat flu.