Microsoft Sculpt Ergonomic Mouse - precise, wirelles and curvy

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

A Little World Tree

Precise strides along imprecise paths

São Paulo, Brazil, 2026

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

i was wandering near the parking garage on la rambla when i noticed the stairs, clean and precise, rising toward a quiet sky. she appeared, her boots clicking softly against the stone, a leather jacket slung over her frame, moving with purpose. the reflection caught her stride, splitting the scene into parallel worldsâone real, one imagined. behind her, the tree stood tall, a delicate rebellion against the cityâs sharp edges. it was a fleeting moment, where movement and stillness coexisted, where reflections turned reality into poetry.

the sun is a sharp chisel, carving light into the tiled floor.

the shopping cart casts a shadow of industrial purpose, a precise grid.

nearby, the soft curve of another shadow, drawn by an unseen lamp.

it shapes the space, an artificial sun in an artificial world.

between form and function, a silent geometry of commerce unfolds.

In this series States Coast to Coast. This Fine Art is #30 in the series of a Scenic area from each state. The state today is #30 on the list and is Minnesota.

Split Rock Lighthouse State Park

Two Harbors, Minnesota

Split Rock Lighthouse State Park, located on the North Shore of Lake Superior, is known for its historic, picturesque lighthouse and scenic trails along the shoreline. The park was established in 1945 and is a popular destination for camping, hiking, and stunning views of the lake. The lighthouse beacon is lit annually on November 10 to commemorate the sinking of the freighter Edmund Fitzgerald in 1975. This is the only night of the year when visitors can climb the tower after dark to see the lit beacon.

Prompt: Create an Ultra-realistic digital fine art of Split Rock Lighthouse in Two Harbors, Minnesota, depicted in accurate detail from the reference photo. The iconic lighthouse with its tan brick tower and black lantern stands atop a dramatic cliff overlooking Lake Superior. Beside the tower, the red-roofed keeper’s house and adjoining structures are rendered with precise architectural details. The rugged cliff face drops steeply to the blue expanse of the lake, which stretches calmly into the horizon under a clear sky tinged with soft hues of early evening light. Dense green forests extend inland, creating a natural contrast against the rock and water. Style: Ultra-realistic, digital fine art Mood: Majestic, serene, historic, timeless Lighting: natural daylight Aspect Ratio: Horizontal Quality: Museum-quality fine detail, no noise, no grain

This digital fine art was created using OpenAI Sora AI and Photoshop

Hummingbird Clearwing Moth, to be precise, or in Latin, Hemaris thysbe. Here's a link for more info: cwf-fcf.org/en/discover-wildlife/flora-fauna/fauna/insect...

And to answer your recent question, David C., the easiest way for me to tell the difference between a butterfly and a moth is to look at the antennae. A butterfly has a knob on the end of each antenna, a moth doesn't.

🇫🇷 IL y a plusieurs écoles primaires et maternelles à Mto Wa Mbu ......certaines sont précisées anglophones, privées ou non .

Aucun chiffre précis de population, seulement qu'il y a environ 120 groupes ethniques différents (tribus) ....

En Tanzanie , il y a env 70,5 millions d'habitants

Économie collaborative à Mto Wa Mbu : Les agriculteurs de bananes, de riz et de maïs travaillent ensemble, partageant les profits et les ressources. Cette coopération économique renforce les liens inter‑tribaux et soutient la subsistance de l’ensemble de la communauté .

La plupart des habitants parlent trois langues ou plus (leur langue tribale, le swahili, parfois l’anglais), ce qui facilite les échanges interculturels et la transmission des savoirs .

🇬🇧 There are several primary and nursery schools in Mto Wa Mbu ......some of which are specified as English-speaking, private or state-run.

No precise figures are available, only that there are around 120 different ethnic groups (tribes) ....

Tanzania has a population of around 70.5 million

Sharing economy in Mto Wa Mbu: Banana, rice and maize farmers work together, sharing profits and resources. This economic cooperation strengthens inter-tribal ties and supports the livelihood of the whole community.

Most residents speak three or more languages (their tribal language, Swahili, and sometimes English), which facilitates intercultural exchange and the transfer of knowledge.

🇩🇪 In Mto Wa Mbu gibt es mehrere Grund- und Kindergärten ...... einige davon sind als englischsprachig, privat oder öffentlich ausgewiesen.

Es gibt keine genauen Zahlen, nur dass es etwa 120 verschiedene ethnische Gruppen (Stämme) gibt ....

In Tansania leben etwa 70,5 Millionen Einwohner

Kollaborative Wirtschaft in Mto Wa Mbu: Die Bananen-, Reis- und Maisbauern arbeiten zusammen und teilen Gewinne und Ressourcen. Diese wirtschaftliche Zusammenarbeit stärkt die Verbindungen zwischen den Stämmen und sichert den Lebensunterhalt der gesamten Gemeinschaft.

Die meisten Einwohner sprechen drei oder mehr Sprachen (ihre Stammessprache, Swahili, manchmal Englisch), was den interkulturellen Austausch und die Weitergabe von Wissen erleichtert.

🇪🇸 Hay varias escuelas primarias y de educación infantil en Mto Wa Mbu... algunas se especifican como anglófonas, privadas o públicas.

No hay cifras concretas, solo se sabe que hay alrededor de 120 grupos étnicos diferentes (tribus)...

En Tanzania hay unos 70,5 millones de habitantes

Economía colaborativa en Mto Wa Mbu: los agricultores de plátanos, arroz y maíz trabajan juntos, compartiendo beneficios y recursos. Esta cooperación económica refuerza los lazos intertribales y sustenta la subsistencia de toda la comunidad.

La mayoría de los habitantes hablan tres o más idiomas (su lengua tribal, el swahili y, a veces, el inglés), lo que facilita los intercambios interculturales y la transmisión de conocimientos.

🇮🇹 A Mto Wa Mbu ci sono diverse scuole elementari e materne... alcune sono specificatamente anglofone, private o meno.

Non ci sono dati precisi, si sa solo che ci sono circa 120 diversi gruppi etnici (tribù)....

In Tanzania ci sono circa 70,5 milioni di abitanti

Economia collaborativa a Mto Wa Mbu: gli agricoltori che coltivano banane, riso e mais lavorano insieme, condividendo profitti e risorse. Questa cooperazione economica rafforza i legami intertribali e sostiene il sostentamento dell'intera comunità.

La maggior parte degli abitanti parla tre o più lingue (la propria lingua tribale, lo swahili, a volte l'inglese), il che facilita gli scambi interculturali e la trasmissione delle conoscenze.

Photo taken by Stephan Barth, slide kindly provided by him for inclusion on this page.

München-Riem

March 1982

(precise date probably 10 February 1982)

5V-TAD

Boeing 720-047B

19523 / 624

Republique Togolaise

Togo Government aircraft seen at Riem during the late 1970s/1980s also include Gulfstream II 5V-TAC and Fokker F-28 5V-MAB in September 1977, DC-8 5V-TAF in 1985 and B707 5V-TAG in October 1988.

This was the last Boeing 720 built.

Delivered new to Western Airlines as N3167 in September 1967. Broken up at GYR in July 1991 as N3833L. Cockpit section seen at AMARC in October 1994. (Source: rzjets.net)

Registration details for this airframe:

www.planelogger.com/Aircraft/Registration/5V-TAD/492258

This airframe as N3167 with Western Airlines at YVR in March 1973 (earlier colours):

www.flickr.com/photos/31a/6994029838

N3167 with Western Airlines at DEN in March 1978 (later colours):

www.flickr.com/photos/48705545@N03/44194258780

N3833L cockpit section at AMARC in October 1994:

www.flickr.com/photos/l8rmt/25521263658

Scan from Kodachrome slide.

Isn't it a wee bit dangerous, being so close to the Midgard Serpent?

The what? Oh wait, you're still clinging to your old religion.

That's not mine, it's every sane one's! And we really shouldn't be this close.

That's a dead tree and a trick of the light, Mister Odin-is-great.

So why don't you just walk over the water and pet it, if it's that harmless, Mister Jesus-loves-you?

Ach, bugger off. That's just the same nonsense as the Æsir. Folklore with sprinkles.

Oh, it's one of those days. And which god do you believe in today?

None. Or to be more precise: in every god that evidently exists. None.

Could we still get away from the Midgard Serpent? Just in case?

Whatever.

Toy Project Day Four-Thousand.

(Continuation of the When The Levee Breaks series. You could see the previous image and the story if you feel like that).

What I’ve got to you as a verbal inseparable part of my visual-verbal today act of art, is my newest poem. In Russian. Untranslatable, I suppose, otherwise I’d translate it to you with all my heart. I’ve checked google translate, and it’s helpless. Though it’s 1 not that bad and rather precise line: “Sometimes I'm just fucked.” I couldn’t even finish said translation. So, here’s the original for you, my dear friends:

Так и не выучил беспомощность

Я в беспомощность не умею

И не выучусь никогда.

Иногда я просто немею,

Иногда мне просто пизда.

Но не это вот ваше всё.

Почитаю-ка лучше Басё.

Кто лучше, чем чёрный кот

Шрёдингера-Малевича в чёрном как ночь квадрате,

Или, возможно, в Кубе

(Она же ещё незалежней -

Даже и от Америки)?

Это высшая физматематика

С парой-другой психологий.

Давай избежим тавтологий

И как огня - эзотерики

С помощью психосоматики,

Выучившись в Ютубе,

Здесь, посредине ночи,

Как в огне и в центре циклона,

Мы вне себя, вне закона.

Вне физики, вне всего

И этим похожи на ночь,

Что в наших глазах смотрящих,

Звёздных и настоящих.

And this very moment Ana Popovic started to play “Need All The Help I Can Get” in my wonderful hi-fi ancient 4-speaker system. But that’s so every day since the beginning of this shameful from my poor country side and glorious from the Ukrainian side war.

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Precise strides, along imprecise paths

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

en.wikipedia.org/wiki/Flagellation_Standard

Luca Signorelli (pseudonym of Luca d'Egidio di Ventura

- Cortona, c. 1441-1445 - Cortona, October 16, 1523) Flagellation (1482-1485) tempera on panel 84 x 60 cm. - Pinacoteca di Brera, Milan

Si tratta di una delle due facce dello stendardo processionale eseguito per la Confraternita dei Raccomandati di Santa Maria del Mercato a Fabriano, che giunsero a Brera, già separate, a seguito delle soppressioni napoleoniche nel 1811. Le scelte iconografiche riflettono precise indicazioni dei committenti, che si dedicavano ad attività assistenziali nei confronti dell’infanzia abbandonata – da qui la raffigurazione della Madonna del latte – e che praticavano forme di penitenza quali l’autofustigazione pubblica.

Allievo di Piero della Francesca, Signorelli ambienta la Flagellazione entro uno spazio costruito secondo i canoni della prospettiva e organizzato attorno al fulcro di simmetria della colonna, chiuso sullo sfondo da uno splendido brano di architettura all’antica; tuttavia, perfettamente aggiornato sulle novità della pittura fiorentina del secondo Quattrocento e sulle soluzioni di Pollaiolo e Botticelli, egli dà forma a figure e dettagli decorativi grazie a una linea vibrante e nervosa, che imprime alla composizione un senso di animato dinamismo del tutto estraneo al linguaggio di Piero. L’opera viene datata a un’epoca anteriore al viaggio a Roma dell’artista, avvenuto nel 1482, probabilmente attorno al 1475.

This is one of the two sides of the processional banner made for the Confraternita dei Raccomandati di Santa Maria del Mercato in Fabriano, which came to Brera, already separated, following the Napoleonic suppressions in 1811. The iconographic choices reflect precise indications from the patrons, who were dedicated to welfare activities toward abandoned childhoods - hence the depiction of the Madonna of Milk - and who practiced forms of penance such as public self-fustigation.

A pupil of Piero della Francesca, Signorelli sets the Flagellation within a space built according to the canons of perspective and organized around the fulcrum of symmetry of the column, closed in the background by a splendid piece of old-fashioned architecture; nevertheless, perfectly up-to-date with the innovations of Florentine painting in the second half of the 15th century and with the solutions of Pollaiolo and Botticelli, he gives shape to figures and decorative details thanks to a vibrant and nervous line, which gives the composition a sense of animated dynamism that is completely foreign to Piero's language. The work is dated to a time before the artist's trip to Rome in 1482, probably around 1475.

The Squirrel Children's Fireworks Display at Poppelsdorf Schloss

I suppose the fog would make "observing" a challenge.

The Dominion Observatory was an astronomical observatory in Ottawa, Ontario that operated from 1902 to 1970. The Observatory was also an institution within the Canadian Federal Government. The observatory grew out of the Department of the Interior's need for the precise coordinates and timekeeping that at that time could only come from an observatory. For several years they had used a small observatory on the Ottawa River for this purpose. In 1902, it was decided that Canada needed a larger national observatory similar to the Royal Greenwich Observatory in Britain.

Source Wikipedia

Excerpt from Wikipedia:

The Church of Our Lady is a historical building in Kalundborg, northwestern Zealand, Denmark. The precise date of construction is not known with any certainty, though its architecture indicates the early part of the 13th century. With its five distinctive towers, it stands on a hill above the harbour, making it the town's most imposing landmark.

The church is built of red brick, indicating that it was constructed no earlier than 1170 when brick was first used in Denmark.

At the time when the church was built, a small medieval town stood on the hill. It was originally fortified by Snare's castle but this was replaced in the 14th century by Kalundborg Castle, now in ruins, with its ring walls and ditches. Much of this has now disappeared but the old churchyard walls are still intact. Two brick houses from 1500 form part of the boundary walls and a few brick houses near the church are evidence of the prosperity the town enjoyed in the 15th century.

The central tower of the church collapsed in 1827 due to structural flaws and incautious repairs inside the church. Collapse did not cause any injuries but many medieval furnishings were destroyed .

As the church had fallen into a state of disrepair by the beginning of the 19th century, restoration work was carried out first from 1867 to 1871 under the leadership of Vilhelm Tvedes when the central tower was rebuilt, and later from 1917 to 1921 when the three entrances and the windows were reconstructed under architects Andreas and Mogens Clemmensen. From the square nave, four arms of equal length stretch out to a polygon terminal. These proportions have been compared to the description of the New Jerusalem in the Book of Revelation. While the original barrel vaults of the transepts are still in place, the columns in the nave and the vaults have been reconstructed.

The medieval sacristy (1400) along the north wall of the chancel is well preserved. In about 1500 it was given an upper storey.

The plan is in the form of a Greek cross with four arms of equal length. The window arches as well as the pilasters and sunken columns inside the church suggest the involvement of Lombard builders from northern Italy. It is said to be Denmark's most important contribution to architecture during the Middle Ages.

The church's central tower, known as Mary's tower (after the Virgin Mary), is 44 m tall and square-shaped while the four lateral towers, each 34 m tall, are octagonal. The other towers are also named after saints: St. Anne's to the east, St. Gertrude's to the west, St. Mary Magdalene's to the south and St. Catherine's to the north. The four columns supporting the central tower are made of granite, providing additional strength. With five towers in all, the church is unique.

The architecture reveals similarities with the Church of the Holy Sepulchre, as well as with grouped towers in the great churches of France and the Rhineland. In particular, both the church's age and its architectural style have much in common with Tournai Cathedral in the south of Belgium. The masonry, on the other hand, is comparable to that of other early brick buildings in the area such as St. Bendt's Church in Ringsted.

I sought to capture that precise moment when modern architecture aspires to invisibility—those blank storefronts, empty, awaiting a brand that doesn't yet exist. By framing the solitary figure against this impeccable geometry, I wanted to question the nature of contemporary urban space: one that erases as much as it welcomes. What struck me was the contrast between the pedestrian's mobility and the frozen immobility of the storefront, between the everyday gesture and suspended commercial anticipation. Black and white seemed the only honest response: an absence of color to reflect an absence of meaning, a raw texture of concrete and glass that screams its silence.

Precise location no longer known. Advice welcome.

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All images are the property of the photographer and may not be reproduced, copied, downloaded, transmitted or used in any way without the written permission of the photographer, who can be contacted by registering with flickr and using flickrmail.

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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.

Once Upon a time in the West … there was a road from the Midwest to the West. To be more precise, from Chicago to Los Angeles. The road was called Route 66. The road was replaced by a modern interstate highway system and the old Route 66 which connected all the little towns between Chicago and Los Angeles lost its funding. Route 66 went into decay and many of the little towns too.

Some old parts of Route 66 are still there and in the meantime Route 66 transcends into a myth and glorified in a Pixar movie - Cars 1 & 2.

Present image was done somewhere along a preserved portion of it. The little town of Amboy is lost in the Mojave Desert.

Nikon D800E

Nikon 24-70mm f/2.8

1/160s at f/13

RAW ISO 100

04/20/2015

Interested in a photo tour through the American Southwest, Brazil, Bolivia, Namibia or Tuscany? I can help you with it and make you come back with unique shots.

_______________________________

Image is under Copyright by Peter Boehringer.

Contact me by email if you want to buy or use my photographs.

_______________________________

I cannot be precise as to exactly where this is - all I can say is we were driving west on 61 from Frackville and came across it - a quick U-turn took us to this grade crossing. Somewhere near Mount Carmel, from memory? Perhaps someone will be able to pinpoint it. Looks like a Reading & Blue Mountain local - a pair of Geeps doing the honours. Around 9-30 am, 31 October 2022.

There was a really magical feeling in this beautiful place at this precise hour... Shortly after this moment, heavy projectors were turned on and spoiled the equilibrium between natural and artificial lightings.

I took several shots at different exposures, and this image combines only two of them - one for the sky and one for the rest - schematically. I did the blending manually using PS layers.

Lens: Sigma 10-20 f/4-5.6 (click to see all my photos with this lens)

1/6s f/8.0 14mm ISO 100 tripod

Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.

Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?

Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.

For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of ​​infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?

Spider webs are precise lightweight structures made of spider silk, a family of proteins (spidroins) produced by different glands for different purposes: dry, load-bearing frame and radial threads, and elastic capture spirals coated with sticky glycoprotein droplets.

The silk is both strong and tough, stretches substantially, and “supercontracts” when wet (the fibers shorten, pre-tensioning the web and improving vibration transmission). Many species recycle material by eating their old webs. The web also functions as a sensory organ: vibrations reveal the direction and nature of a disturbance, and some spiders actively pluck the threads to communicate. Besides glue-based webs, there is cribellate silk: a woolly nanofibril fluff without adhesive.

A spectacular behavior is “ballooning,” in which fine silk threads carry spiders on updrafts and electrostatic forces. Stabilimenta can reflect UV light, potentially luring prey or warning larger animals to avoid collisions. For humans, webs are useful (catching mosquitoes) and inspire tough, biocompatible materials.

Zinced steel nuts to be precise 😁

The Lone Ranger and Tonto were hot on the trail of a band of desperados. Riding in the desert for many days, the need for rest overcame them. They decided to set up camp and were soon asleep in their tent.

Some hours into the night, the Lone Ranger says, “Tonto, look up and tell me what you see.”

Tonto stirs and replies, “I see a million stars.”

“What does that tell you?”

Tonto ponders for a moment, then says, “Astronomically speaking, it tells me there are many stars spread out from our own galaxy, amid those of countless other galaxies, and potentially billions of planets. Astrologically, it tells me that Saturn is in Leo. Chronologically, it appears to be approximately a quarter past three in the morning. Theologically, it tells that we are small and insignificant, but the Lord is all-powerful, and it is in Him that we find significance. Meteorologically, it seems we will have a beautiful day tomorrow. What does it tell you, Ke-mo Sah-bee?”

The Lone Ranger replies, “It tells me that someone stole our tent!”

A good rule of thumb for landscape photography is to find a strong foreground element to work with. A waxing quarter-moon setting low in the west lit up Bodie Island Lighthouse pretty solid against the backdrop of a decent portion of the Universe… I believe it fits the bill for a strong foreground.

It’s too early in the year for a good shot of the hub of the Milky Way, but this starfield is quite beautiful without it. This is one of the darkest places in North Carolina… Tonto may not have appreciated having his tent stolen here either, though he likely would have been quite happy with these stars. Since 1872, the light from this first-order Fresnel lens has been no less a star than those that surround it here. At 156-feet in height, it is a fixed navigational point reaching some nineteen miles out to sea, beyond the unseen shoals... and, historically, it has saved many a ship and crew from facing the fate of the Graveyard of the Atlantic off the shores of North Carolina’s Outer Banks.

Before the inception of this nation, young Alexander Hamilton was traveling aboard the Thunderbolt from his birthplace in the British Leeward Islands to New York for an education. Along the way, the ship encountered a storm off the coast of North Carolina in an area known as the Graveyard of the Atlantic. Without navigational aids, the ship was driven into the Diamond Shoals, sand dunes just below the ocean’s surface stretching 12 miles off Cape Hatteras. The Thunderbolt caught fire from the cook’s stove, yet through the storm, the crew was able to contain it. Many ships had been pulverized by relentless surf at the shoals, drowning hapless crew and passengers often within sight of land. The Thunderbolt managed to break loose, however, and continued its journey… but not before a thoroughly terrorized Alexander Hamilton vowed to one day do something about making these waters safer for travel.

Navigation in the days of wind-driven ships involved more than just shooting the sun and stars to determine location… knowledge of weather and ocean current was necessary to move those ships from one place to another in a timely manner. What wasn’t military was commercial… the faster the ships moved, the more profit they made. Ships coming to the colonies north of here from Europe would navigate further south off our Outer Banks to catch the Gulf Stream… they would pick up about 35 mph headed north in the Gulf Stream just off the coast, far faster than going directly port-to-port, but without precise navigation, many a ship found itself squarely in the path of the Diamond Shoals. Thankfully, Hamilton made good on his vow. He became the first Secretary of the Treasury under President George Washington. In that position, he established the Revenue Cutter Service, which would eventually become the U.S. Coast Guard… the Revenue Cutter Service was tasked with building lighthouses to safeguard the traffic at sea along the American coast. These navigational aids were identified by their blink rate at night and by their paint scheme by day. Any lost seafarer would recognize each lighthouse and the dangers it stood over.

In light of the world today, this is also quite symbolic to me. I’m reminded of an interview I saw of the late Chuck Colson (www.colsoncenter.org/) by Ted Koppel on Nightline some years ago. "Believing in absolutes doesn't make one an absolutist," wrote Colson about that TV interview where the Koppel accused him of being an absolutist.

Colson said, "When Ted asked me why Christians always try to cram our views down people's throats, I was getting nowhere. After all, he was the one who admonished the graduating class at Duke University in his commencement speech that the Ten Commandments were not the Ten Suggestions. Then I remembered he loved to sail.

'Have you ever sailed at night, navigating by the stars?' I asked. 'Yes,' he replied.

'Could you use those stars to navigate if they appeared in different, random positions every night?'

'Of course not,' he said slowly.

I think he got it. Christians are not intolerant absolutists. We just don't want our culture to be lost at sea, unaware of the stars above that could so quickly right our course."

I believe Tonto got his "Theologically" pertinent point just right.

Colloquially (with more precise definitions being available), the second full moon in a calendar month is known as a blue moon; it coinciding with Hallowe'en only happens once every 19 years.

There are multiple mini-headlands either side from which to view the castle. Having walked the cliff-top path to the Memorial and back and sheltered in the car, I checked an app to see the moon just below the horizon, so set forth to brave the elements once again. Starting with the cliffs to the right, there wasn't much moon to be seen behind the clouds and compositions were suboptimal, so I returned to the bridge over the end of the gorge and waited. Over the course of half an hour or so, the clouds skittered past in interesting patterns and the moon rose clear of the castle, bathing the landscape in silvery light.

Technicalities: this is an extreme HDR image; retaining detail in the full moon and shadowy rocks simultaneously is a dynamic range of nearly 23EV. I shot two HDR sequences, both 5 * ±3EV centred on ISO3200, f/3.5, 1/8s.

Processing is similarly extreme: I averaged all the images together using imagemagick, ran multiple tonemapping algorithms in LuminanceHDR, blended the results in Affinity, where I also finalized the tonality and added some dodging and burning.

Despite visiting the castle many times over the years, I've never really been happy with a composition made along the gorge, so I'm particularly gratified that this worked out well - even including rim-lighting as the moonlight shimmers through the grass.

Precise strides, along imprecise paths

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

[REPOST in BW]

Precise strides, along imprecise paths

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/

Birch Fell Plantation, near Gummer's How, to be precise...

Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024

mamoiada-sfilata de Sos Mamuthones-Sos Issohadores

Probably actors who performed pagan rituals in ancient times but whose precise origins and meaning have been lost in the centuries, Sos Mamuthones and Issohadores have manteined intact their fascination and mystery.

"Without the Mamuthones there is no Carnival, say the people of Mamoiada. Theu are its most important feature, its symbol, almost. Their appearance is taken as a sign of festivity, happiness and times of grace.

The preparation of the masquerade creates an industrious ardour, a frantic, thrilled atmosphere that spreads to the whole community.

That of the Mamuthones is a solemn ceremonial, an orderly procession and dance at the same time.

The Mamuthones, in two parallel rows and flanked by the Issohadores, move very slowly, bent under the weight of the cowbells and, at regular intervals, lift their shoulder shaking the bell harness all at the same time. The Issohadores move with more agile steps and jumps, then, suddenly, they run, swiftly throw their lasso ("Sa Soha") to catch and pull towards them as prisoner the male friend or the woman they have singled out in the crowd."

Nati in tempi remotissimi, come attori attivi nei riti pagani, di loro si è persa l'origine e il significato.

"Sos Mamuthones" e "Sos Issohadores" , sono sopravvissuti con tutto il loro fascino e mistero.

"Senza Mamuthones non c'è carnevale", affermano i mamoiadini: il che vuol dire che è questa la più importante manifestazione e quasi simbolo del carnevale stesso e che l'apparizione dei Mamuthones è segno di festosità, di allegria e di tempi propizi.

La preparazione della mascherata, crea un fervore operoso, un'atmosfera agitata e fremente che si propaga in tutta la comunità.

Quella dei Mamuthones, è una cerimonia solenne, ordinata come una processione, che è allo stesso tempo una danza.

I Mamuthones si muovono su due file parallele, fiancheggiati dagli Issohadores, molto lentamente, curvi sotto il peso dei campanacci e ad intervalli uguali dando tutti un colpo di spalla per scuotere e far suonare tutta la sonagliera.

Gli Issohadores si muovono con passi e balzi più agili, poi all'improvviso si slanciano, gettano il laccio ("Sa Soba") fulmineamente e colgono e tirano a sè come un prigioniero l'amico o la donna che hanno scelto nella folla".

The Common Sailor butterfly has a stiff gliding characteristic when flying and uses the thermals to aid their flight, they are very precise when weaving around using short and shallow wing flaps to propel them around. The eggs are globular and are covered in a network of hexagonal ridges which have raised tiny spikes which sometimes look like sea urchins. When the caterpillar emerges it spends its early days hiding in curled up dead leaves and only comes out to feed. The chrysalis resembles a withered leaf and is suspended from a leaf or stem.

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)

Now at the main store and marketplace.

@

Thalia Heckroth

@

Marketplace

A sculpted midi dress with precise seam detailing, the Brienne contours the body with clean lines and quiet strength. Featuring a structured square neckline and wide straps for a confident, refined silhouette.

Compatible with LaraX, PetiteX, Legacy, Legacy Perky, Legacy Pinup X Bombshell, Reborn, Waifu and Pushup mesh bodies.

Both Standard and PBR textures are built into the same dress. Viewer-aware display.

Two edges that can work together to make a perfectly straight cut.

Le pic épeiche est d'observation courante dans la plupart des sites boisés où l'on peut l'entendre « tambouriner » sur les bois creux au printemps. Ses doigts (une paire en avant, une paire en arrière) lui permettent de grimper avec aisance le long des troncs d'arbre. Il tambourine beaucoup plus souvent que les autres pics, surtout au début du printemps, pour délimiter son territoire.

Au printemps les pics se poursuivent autour des troncs d'arbre en poussant de puissants et rauques « rrèrèrè ». Ils délimitent leur territoire dès le mois de février par de fréquents et très rapides tambourinage, dont la durée ne dépasse pas une demi-seconde ; comme caisse de résonance, ils utilisent généralement des troncs d'arbre ou des branches creuses, mais aussi des poteaux, des antennes et même des gouttières.

Comme tous les pics, le pic épeiche est spécialisé dans le martèlement des troncs et des branches d'arbre, car sa nourriture principale consiste en larves d'insectes xylophages. Il détache d'abord l'écorce à coups de bec latéraux, creuse ensuite des cavités dans le bois, jusqu'à 10 cm de profondeur, afin de dénicher les larves. En hiver, le pic épeiche consomme régulièrement les graines de pommes de pin. Il détache alors une pomme de pin puis la transporte dans son bec afin de la caler dans une fourche d'arbre ou dans une fissure du tronc. Lorsque la fissure n'est pas assez grande pour accueillir le cône, il l'élargit à coup de bec précis de manière à adapter le réceptacle à la taille du cône. L'oiseau cale le cône entre son ventre et le bois de sorte que son bec est libre pour nettoyer la cavité réceptacle. Le pic épeiche procède de la même manière avec les noix et les noisettes qu'il trouve.

Le pic épeiche offre un bien joli spectacle dans les jardins... mais il est capable de piller les nichoirs pour manger les oisillons.

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The Great Spotted Woodpecker is common sight in most woodland sites where it can be heard "drumming" on hollow woods in the spring. His fingers (a pair in front, a pair back) allow him to climb with ease along the tree trunks. It drummed much more often than other peaks, especially in early spring, to delineate its territory.

In the spring the peaks continue around the tree trunks pushing powerful and raucous "rreere". They delimit their territory as early as February by frequent and very rapid drumming, the duration of which does not exceed half a second; as a sounding board, they generally use tree trunks or hollow branches, but also poles, antennas and even gutters.

Like all woodpeckers, the Great Spotted Woodpecker specializes in the pounding of trunks and tree branches, as its main food consists of larvae of xylophagous insects. He first detaches the bark with lateral beaks, then digs cavities in the wood, up to 10 cm deep, to find the larvae. In winter, the Great Spotted Woodpecker regularly consumes pine cone seeds. He then detaches a pine cone and carries it in its beak to wedge it in a tree fork or in a crack of the trunk. When the crack is not large enough to accommodate the cone, he widens it with a precise peck to adapt the receptacle to the size of the cone. The bird holds the cone between its belly and the wood so that its beak is free to clean the receptacle cavity. The Spotted Woodpecker proceeds in the same way with the nuts and hazelnuts it finds.

The Great Spotted Woodpecker offers a nice show in the gardens ... but it is able to loot the nesting boxes to eat the chicks.

FMX action from the Precise compound at Mackay,

Rainbow Bridge and Tokyo Tower in lit with the cityscape of Tokyo Bay area at dark night.

Taken in Daiba Park, Minato-Ward, Tokyo, Japan.

お台場海浜公園にて捉えた、七色にライトアップされたレインボーブリッジと、東京タワーを含む湾岸夜景。

水面が穏やかで揺らぐ光も幻想的でした。

Pentax K-3,PENTAX-DA 18-55mm F3.5-5.6 AL WR.

On January 3, 2020, 17:44.

Focal 21mm / Aperture f11 / ISO100 / Exposure 45s.

RAW development (16bit TIFF) in Adobe Photoshop Lightroom Classic CC, digital blending with Raya Pro 4.0 (luminosity mask), and adding precise contrast with Nik Collection Color Efex Pro 4.

©45tmr 2020, All Rights Reserved.

DO NOT use this "watermarked" photo in any way (copying, downloading or reproducing) without permission.

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

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