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The Icelandic flag flies over one of the locations believed to be Lögberg,”the law rock” in Þingvellir, National Park, Iceland. The Icelandic Commonwealth period ran from 930 till 1262. At that time, Lögberg, was the hub of the Alþing (the parliament) meeting. The Law Speaker, who proclaimed the laws of the Commonwealth out loud, had a special place there. He memorized the laws and had to, after 3 years, recite them all. Each summer he recited the procedural rules for the Legislative assembly, which was called the Lögrétta.
Chosen by the Lögrétta for a three-year term, he was the Commonwealth’s only paid employee. At the Alþing, the Law Speaker was the most powerful person in the country, but in-between, he was officially powerless, although he enjoyed the esteem of his contemporaries because of his important role.
At Lögberg anyone could step forward; speeches were given about important matters, and news was reported of significant events. Inauguration and dissolution of the assembly took place at Lögberg, where rulings by the Law Council were announced, the calendar was confirmed, legal actions were brought and other announcements made which concerned the entire nation. Anyone attending the assembly was entitled to present his case on important issues from the Law Rock. The events at Lögberg were later brought alive through descriptions in many of the Icelandic sagas.
The role of Lögberg disappeared early when Icelanders took allegiance to the Norwegian king in 1262 with a special covenant, Gamli sáttmáli. Because of this, the precise location of the Lögberg has been a matter of some debate, but two locations have been pointed out as the most reasonable ones. One candidate is the spot pictured on the flat basalt ledge at the top of the slope Hallurinn where the flagpole is now. On the other hand, Lögberg might have been in the Almannagjá fault itself, up against the higher rock wall.
Reference:
……Or to be be more precise ‘Golden Orange’ Roasted Carrots actually! Diabetics & those diagnosed as being Pre-Diabetic will be interested in ANY alternative to Potatoes which are high GI. AND when you slice & roast carrots they make a great Macro Monday shot!!! The theme this week being "Slices” Bon Appétit. (Par boil then roast in a little oil, easy peasy) Have a great & low GI week! Stay cosy & locked down to stay safe and to keep EVERYONE else safe too! A VERY BIG THANK YOU to ALL the key workers who are carrying on to benefit the rest of us - we applaud you all. Alan;-)👏👏👏👏👏
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 66 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
Somewhere between a golf course and the surface of the moon, this dimpled sphere sits suspended in its own eclipse — one hemisphere catching every fleck of light, the other dissolving into pure black. No studio softbox here, just a flash gun, three books as improvised snoot, and the stubborn physics of light showing a gradient from bright to dark. But stil not, the precise sharp line between bright to dark as shown in many textbooks.
Maybe need to make the light harder by moving the light farther away and use a proper snoot with grid.
It was at this precise location on June 7, 1983 that I initially determined just how quickly one could get from the top of an embankment covered in taconite pellets, to the bottom. It was an interesting ride. The three Chicago & North Western C628's have just brought a train of empty jennies up from Escanaba, MI and spotted them for loading at Empire Mine. That task completed they are now passing Palmer Line Junction, near Negaunne, cab lite and enroute to Ishpeming, where they will take legal rest before returning with a train of loads.
A large door with intricate design in historic Rome. The doors in Rome are big, bold and strong and they symbolize the strong desire Rome has to be one of the most innovative, economically and politically sound cities in the world. There were numerous terms for the door in Roman times. Ostium included both the doorway and the door. It was also applied to either of these, but fores and janua are more precise words for the door itself. Doors opened inward; outer doors were provided with bolts and bars. Locks and keys were heavy and clumsy.
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.
Morning view to the eastern side of Crast' Agüzza. We made the traverse along Bellavista to Piz Palü.
I did some research with my precise swiss maps and Google earth and was relatively sure that the huge massif at the horizon should be Gran Paradiso although I thought about Monte Rosa first given its shape and altitude. Anyhow, Marco who should know this region best told me (see below) that indeed it is Monte Rosa with its huge eastern wall.
Superbly flown by Captain Andrej Fiorelli of the Slovenian Armed Forces, Pilatus PC-9M '69' catches the light while in a vertical climb during RIAT 2025
For his outstanding flying skills he was awarded THE KING HUSSEIN MEMORIAL SWORD: Presented in memory of the late HM King Hussein of Jordan, former Patron of the International Air Tattoo, for the overall most polished and precise flying demonstration
276A1017
Sunday afternoon at the Kunstmuseum. “It’s a madhouse,” sighs the lady at the ticket check. Compared to the cheerful crowd she has to check in, her grey-blue uniform looks tired. Young and old have dressed up fashionably for the exhibition about Dior.
Uniforms should express authority, but how neutral do they have to be? “High time to put a good, preferably younger fashion designer in charge,” says an inner voice. A museum that - after many shows of famous designers - has developed into an epicenter of haute couture should surely have more courage. How else do you express the bond with ‘fashion’? A word that unites such a myriad of meanings – from cut to shape, from mannerism to creation – that everyone can identify with it.
LEFT OR RIGHT
In any case, at the top of the central stairs, a choice has to be made. Right to the ‘New Look’ by Dior – left to the ‘Night Animals’ by Spilliaert and Braeckman. We go left because that's why we came. In the dim silence that falls on us like a downy blanket, we focus our eyes on the introductory text. And on the image of a man descending a staircase in the semi-darkness. To be precise, we only see half a man. His face is barely visible, and his clothing reveals nothing special. Could that be a harbinger of what awaits us? Certainly.
Stairs are powerful metaphors. Up, down: life has its peaks and valleys. Platinum-blonde Hollywood stars made a great show of descending a staircase. A practice that Marcel Duchamp slyly commented on with 'Nu descendant un escalier'. In this sensational painting from 1912, a character strides down like an avalanche of cubist fragments. Naked? Down the stairs? The audience was stunned, moved by laughter and anger.
Admittedly, there was movement in the image. Or rather, that was suggested very nicely. Or was it a pile of firewood that came crashing down? The cartoons in the newspaper did not mince their words. The term ‘anti-art’ was used. Isn’t Braeckman’s intensification of the unfathomable also just a provocation? Yes, there is something in that… some photos are so black that you can only guess what you see.
(part of my review in Den Haag Centraal, October 31, 2024)
🇫🇷 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.
Well, to be precise, Skinners Bottom is almost a mile from here and the location is perhaps closer to Scorrier - but why let geography spoil a crass title?
A shot taken almost three years ago from the Sawmills Lane overbridge, which also happens to span the A30 - the main trunk road between Exeter and deepest Cornwall.
It's cold, windy and raining directly into the lens of the pocket camera which I'm doing my best to shelter from the elements under an open cagoule - which of course means I'm getting wet. However, it's an opportunity that can't go to waste and this is the first of two shots I took at this spot, albeit the one which didn't make the cut at the time. Arguably better than the original offering though with the truck just sneaking into the frame and kicking up a decent amount of spray from the wet road.
The train is an unidentified class 150 working what I believe is First Great Western's late running 1.45pm Penzance - Plymouth (2P87) service. In an attempt to identify the unit I did try a search on Flickr, but it seems no-one else was daft enough to be out and about snapping trains down this neck of the woods on this day.
The truck belongs to Maen Karne, who identify themselves as the "south west’s leading fully independent supplier of bagged and loose aggregate". Good to see them delivering the goods in the inclement weather - even though a depression sweeping in from the Atlantic hardly makes the news in these parts!
14th January 2016
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
Basic Assault Weapon.
Simple. Precise.
The design is originally of R4mos' creation. Credit also goes to Keeb for the mag sling,
and the SPW Team (namely Wezzy and Amy) for the essential logo and colors.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
Sevilla, ES, 2023
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2023 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando #tripyurieclelma2023 #yb_walkers #josetorowalkers #tv_strideby #stridebypoetry #sevilla #seville #sevilha #sevillagram #callesdesevilla #sevillasecreta #sevillatieneuncolorespecial #espana #callesdeespaña
From the foot of the Spanish Steps, I raised my iPhone toward Trinità dei Monti, wanting to catch that precise moment when the marble walls glowed warm and the sky framed the towers in vivid blue. In shooting this, I was chasing two things: the sense of elevation (you feel you’re climbing, even from below) and a quiet contrast — the aged stone against the pure, deep summer sky.
I angled low to emphasize scale, to let the viewer feel the weight of those centuries in stone. And yes — a little irony: standing there in my modern clothes, snapping pictures with a phone, trying to immortalize what generations before me painted or sketched.
Dal basso della scalinata ho sollevato l’iPhone verso Trinità dei Monti, con l’intento di cogliere quel preciso momento in cui le superfici in marmo si infiammavano di luce calda e il cielo faceva da cornice di un blu intenso. In questo scatto cercavo due cose: la sensazione di ascesa (che si provi a salire anche solo guardando da sotto) e un contrasto sottile — la pietra consumata che dialoga con l’azzurro estivo puro.
Ho inquadrato dal basso per enfatizzare la scala, per permettere che chi guarda percepisca il peso di secoli racchiusi in pietra. E sì — un po’ di ironia: io lì, in abbigliamento moderno, con uno smartphone in mano, a tentare di rendere immortale ciò che generazioni prima hanno dipinto o disegnato.
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.
Happy New Year, 2017! I got out there tonight with Ryan L. to shoot the San Francisco fireworks show from Strawberry, near Tiburon, CA. The conditions were good for a long telephoto shot up until just before midnight when the wind began whipping around our position along the waterfront. At one point my camera was getting slapped by flailing tree branches. Regardless, a good time was had.
The Ferry Building is just visible in the center of the left half of the waterfront, which is 8 miles away. I wasn't sure how the weather might dictate our location, so I left the 645 at home and shot with my APS-C body. The extra telephoto compression was favorable in this case.
Lens is the D FA150-450mm on the K3II. The camera's integral GPS has embedded the precise location into the EXIF.
Thanks for looking.
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
This is a boundary marker on the border of northern Montana and southern Saskatchewan. I'm not saying where. Here's a friend - I won't say who - straddling our two countries, perhaps illegally, perhaps not. I won't hazard a guess.
Whether the marker is on the precise borderline or not, I do not know. On the other side of the fence, 50 feet to the left, that's definitely Montana grass. No one need worry. We could easily slip under the wire, but there's nowhere to go and nowhere to hide, and anyway we aren't interested, because we like living on our own side.
But on the lighter side... I just found this in an external drive; a friend sent it to me. I guess it was making the rounds a few years ago. Titled "You Know You've Lived in Saskatchewan Too Long When" - and here are a few excerpts:
- Your idea of a traffic jam is ten cars waiting to pass a tractor and combine crew on the highway.
- You know who has to pay for the damage to your truck and the dead cow when you hit one.
- You've had to switch from "heat" to "A/C" in the same day.
- You realize all the festivals across the province are named after fruits, vegetables, grain or testicles.
- You install security lights on your house and barn and leave both unlocked.
- You design your kid's Halloween costume to fit over a snowsuit.
- Driving is better in winter because the potholes are filled with snow.
- Driving in winter is often simply a matter of staying between the fence posts.
- You have never owned a vehicle that did not have cracks in the windshield.
- You find -20* "a little chilly".
- You know someone who has shot themselves accidentally.
- You know someone who's lost their license due to an impaired charge and have seen their tractor or snowmobile parked at the local bar.
To be honest, these are not far from the truth. Actually they ARE true. I became very upset one day when I had to wait for TWO cars to pass while backing out of my driveway.
Photographed in the middle of nowhere, in at least one country but possibly two. Don't use this image on websites, blogs, or other media without explicit permission © 2025 James R. Page - all rights reserved.
Two, to be precise, assuming the original is considered 1 of the 2, in Corel Paintshop Pro, a soft-focus adjustment layer in lighten blend mode on top of the original, bringing out more vibrancy in the leaf veins. From my break-in photoshoot in 2017 with my D7500, a self-indulgence purchase after reluctantly admitting that my well-used D90 was no longer going to get my images where I wanted them to be. Neff's Canyon, near Salt Lake City, Utah.
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
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.
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.
Forgive my translation
My words
"My words are stones
precise, sharp ready to throw
on vulnerable and defenseless faces
are clouds suspended
swollen of overtones
that light in your eyes infinite expectations
are precious drops, unforgetted
a long courted and then sip
are flaming arrows that the wind or the luck know how to direct
They are flashes inside a pit, dark and abandoned
a deaf and dumb face that love has lit
They are fallen leaves
promises due
time forgive you for having spoken
are wrong notes
happened on the sheet by mistake
traced and then forgotten
the words that I said, or I thought I had to say
I admit
Tight between teeth
past, recurring
unexpected, felt or dreamed ...
My words are somersaults
snowballs in the sun
incandescent rockets before bursting
are toys and mosquitoes, sand to pile up
small prohibitions that disobeying
They went to sleep surprised by a deep pain
I m not able to explain
They do as they please
they are lost in the dark and then back
Are boundless night, bursts of laughter
overexposed faces by too much sun
This are the words
sweet or rancorous
full of respect or indecorous
are my father and my mother
a kiss from each one before sleeping, another before leaving
the words I said and who knows how many yet to come ...
Tight between the teeth
save the audiences
imagined, felt or dreamed
slashing swords
sigh in the dark, forgiven
blown from a palm"
After darkness, light.
I'd forgotten how much fun microscale is! Not even sure where I got the aurora borealis idea, but it was a fun one to run with. Also coincidentally used a bunch of swords--5 to be precise (sadly, the little knives at the end of the drawbridge aren't categorized as swords by BrickLink), so though I had no intention of entering Iron Forge this year... well, I can't pass this up!
Check out my insta for a peek behind the scenes!
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Here comes a superwide panorama from the series of the earlier shots of an evening near Toblinger Knoten, dolomites. There was still some light of the evening sun at the foreground covered with thousands of stones. View goes from left to right from Schusterplatte over Toblinger Knoten and Sextener Stein further to Paternkofel and Drei Zinnen.
I merged 8 single shots taken from the tripod after careful adjustments of the raw files in Lightroom using cylindrical projection and added an individually created gradation curve via a layer in pho-toshop to get the colours of the midtones shining a bit brighter. I was working with the 50 mm lens at the Hasselblad H6D-100 which is corresponding to 32 mm for 24x36. Ratio of the panorama is about 4,6:1, still a bit more than the classical 24x6 panorama format that can be realized with roll film. There was a time when I thought about taking a Linhof 6x17 for panoramas. The advantage should be that you can see the entire frame on the ground glass during composition. In my experi-ence I can imagine the frame well enough in my head when I’m looking through a normal viewfinder and move it through the scene. Using a panorama plate makes it even more precise and the huge advantage is that you can always change the ratio of the panorama as you prefer it for a given subject.
the meeting room was cold. he stood, the argument unfolding. the gesture repeated itself, a rhythm of concentration. skin touched glass, searching for the precise word. the point of contact was the point of decision.
Precise location no longer known. Advice welcome.
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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.
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)
Soundscape // Paysage sonore: SOL INVICTUS ("Trees In Winter"): www.youtube.com/watch?v=Ez0CugvCOiE
"We stand like TREES IN WINTER... We hurt each other with words of splinters... All our dreams will fall and melt like the snow... Unknown, unfelt by the swine below..."
Y a-t-il plus de vent au "Parc du Vent" que dans les autres parcs du dunkerquois ? Certainement, si l'on précise qu'il est situé en bordure de mer, à proximité de la base de voile et du camping de Malo; mais l'affirmation ne tient plus lorsqu'on constate que, protégé par ses hautes dunes, il sert occasionnellement de refuge aux plagistes quand Eole souffle trop fort lors des beaux jours.
Dans ces 28 hectares d'écosystème dunaire, l'oyat côtoie l'argousier mais aussi des zones beaucoup plus boisés.
//
Is the "Parc du Vent" (Wind Park) windier than other parks ? It seems so, because of its location along the Malo-les-Bains beach. But the white sand dunes also offers a refuge for the summer holiday-makers when the wind blows too hard.
On the other side of the park, the ecosystem changes: the marram grass or sea buckthorns leave place for the green wooded dunes you can see here.
"Striking treatment, Regisa !" (MARY / www.flickr.com/photos/47538947@N03/)
"Very beautiful tones..... Excellent...!!" (Andreas ECONOMOU / www.flickr.com/photos/econandre/)
"Une remarquable création picturale." (VINCENT / www.flickr.com/photos/58769600@N07/)
Along with the Snowdrops, the appearance of the first Hellebore flowers signify that we are rounding the corner between winter and spring. This variety is rather shy and keeps its head bowed so you have to get down and gently lift it’s chin to see the beautifully delicate speckled pattern. Hence this photo is taken with my best make-up mirror on the ground and explains why you see ghosting on the margins as it’s not a front surface mirror.
I’m sure you’re aware but just in case you’re not familiar with front surface mirrors then here’s the nerdy bit......
Feel free to leave here and watch some paint dry or clean the budgie cage or some other more interesting pastime.
Most mirrors for everyday use have the silvering reflective surface covered with a protective layer of glass so the light must pass through this to reach the reflective surface. This causes distortion by refraction and loss of energy and generates a fainter ‘ghost’ image in addition to the true reflected image.
Mirrors for high precision uses such as astronomy, telescopes or 3D printing have the reflective surface on the front of the glass to provide a clear reflection without ghosting. I use these type of mirrors every working day for intricate procedures that you’d probably prefer not to read about.
Has everyone left yet? It’s gone rather quiet.
Oh well.
The front surface coating is generally aluminium, but other metals such as titanium, molybdenum, gold or silver may be used depending on the use. The James Webb Space Telescope is the most powerful space telescope ever made and has a golden mirror made up from 18 smaller hexagonal units and is 6.5m in diameter. Each segment is constructed from beryllium and coated in gold and has 6 motors which allow precise focusing of the telescope. In order to capture the infrared light, the mirror must be maintained at minus 220 degrees Celsius, that's pretty cold!
The telescope is so powerful that it would be able to detect even the slight heat of a bumblebee at the distance of the moon.
So, we’ve gone from a what is basically a buttercup to a Big Time telescope in just a small leap. Who would have thought.
It's commonly known as the Kibel - the longest produced trainset in the world. Its nickname comes from a slang term, denoting a toilet - the word itself however, is a polonised version of the German word for a bucket - Kübel. I assume a bucket could have been synonomous with a toilet in the 19th century :). Hence the name Kibel might sound familiar to our Western neighbours.
EN57-1184 - one of the last two Kibel units in the white and black livery was photographed on the 30.11 while running as the train 55409 from Laskowice Pomorskie to Gdynia Gł., as it was accelerating after leaving the passenger stop Majewo.
Photo by Piotrek/Toprus
Comment added by Jarek: to be more precise, the word "kibel" came to colloquial Polish speech directly from prison slang, as ordinary buckets (so here the German word "Kübel" appears) used to serve as toilet in prison cells.
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?
I hadn't even unpacked from my recent trip when a neighbour knocked on my back door. Did I know about the nearby fox den? I did, but not the precise location. She filled me in on the details, and there they were. Even with a telephoto, however, i was too close for comfort when I finally found a clear shooting lane through a gap in the tall grass. Not possible to do this from the car. The parent fox gave an indignant warning bark to her young and trotted away across a field. I managed one good shot before the kits disappeared underground.
She has probably moved them to a new location. I will check again in a day or two. It's amazing how elusive they can be, considering they live so close to the village and produce litters year after year, generation after generation.
Photographed in Val Marie, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2018 James R. Page - all rights reserved.
Orphan infant elephants are a challenge to raise because they remain fully dependent on their mother's milk for the first two years of life and partially so until the age of four. In the decades the Sheldricks spent together in Tsavo, they never succeeded in raising an orphan younger than one because they couldn't find a formula that matched the nutritional qualities of a mother's milk. Aware that elephant milk is high in fat, they tried adding cream and butter to the mix, but found the babies had trouble digesting it and soon died. They then used a nonfat milk that the elephants could digest better, but eventually, after growing thinner and thinner on that formula, these orphans succumbed as well. Shortly before David's death, the couple finally arrived at a precise mixture of human baby formula and coconut. This kept alive a three-week-old orphan named Aisha, helping her grow stronger every day.
December 6, 2025
Lunar halo: 22° ring formed when moonlight passes through tiny hexagonal ice crystals suspended in high-altitude clouds. Each ray is deflected at a precise angle, and the different wavelengths separate slightly, giving the inner edge a reddish tint and the outer edge a cooler hue. It is one of the most common optical phenomena in the atmosphere, but it requires very specific conditions to appear so clearly.
Canon 60 Da
Samyang 14 mm
Authors: Antonio Ferretti & Attilio Bruzzone from Lanciano (Italy)
This shot is from 2014, many cameras, turntables and homes ago. This was my first Nikon camera and man was I in love. Even though I mostly use Pentax now Nikon is still the best maker of 35mm slr’s in my opinion. The F2 is pure mechanical bliss. The prisms with meters are a bit large but they fit the body well and the 100% coverage is a helpful tool for precise framing. I have an F2 with the AS prism now but I hope to pick up a de-1 soon. That combo makes the most beautiful 35mm slr ever (again imo).
The lens is the non ai 50mm f1.4 which I never fully loved, it’s a great lens but I later picked up an FE which had the series e 50mm f1.8 and that lens is killer even with the less robust plasticy housing. All of the 50mm f1.8 Nikons are great lenses and I will always recommend those over the f1.4s specifically the pancake version without the rabbit ears. I was still using drug store film exclusively and this was shot on Kodak Gold 200, a perfectly useable film which I prefer to ultramax. Anyway, the record on the table is a first pressing of the amazing Velvet Underground’s 2nd album White Light White Heat. This description is word salad and I don’t like most salads.
Yes he was and our guide did an excellent job of finding him. Marie was her name and she earned the respect of her fellow male guides. Every morning she greeted us with colorful precise eye make up on, but it was obvious that she could drive her Land Rover with skill and her tracking abilities were great.
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.
The NASA/ESA/CSA James Webb Space Telescope's mid-infrared view of the Pillars of Creation strikes a chilling tone. Thousands of stars that exist in this region disappear from view — and seemingly endless layers of gas and dust become the centrepiece.
The detection of dust by Webb’s Mid-Infrared Instrument (MIRI) is extremely important — dust is a major ingredient for star formation. Many stars are actively forming in these dense blue-grey pillars. When knots of gas and dust with sufficient mass form in these regions, they begin to collapse under their own gravitational attraction, slowly heat up, and eventually form new stars.
Although the stars appear to be missing, they aren’t. Stars typically do not emit much mid-infrared light. Instead, they are easiest to detect in ultraviolet, visible, and near-infrared light. In this MIRI view, two types of stars can be identified. The stars at the end of the thick, dusty pillars have recently eroded most of the more distant material surrounding them but they can be seen in mid-infrared light because they are still surrounded by cloaks of dust. In contrast, blue tones indicate stars that are older and have shed most of their gas and dust.
Mid-infrared light also details dense regions of gas and dust. The red region toward the top, which forms a delicate V shape, is where the dust is both diffuse and cooler. And although it may seem like the scene clears toward the bottom left of this view, the darkest grey areas are where densest and coolest regions of dust lie. Notice that there are many fewer stars and no background galaxies popping into view.
Webb’s mid-infrared data will help researchers determine exactly how much dust is in this region — and what it’s made of. These details will make models of the Pillars of Creation far more precise. Over time, we will begin to understand more clearly how stars form and burst out of these dusty clouds over millions of years.
Contrast this view with Webb’s near-infrared light image.
MIRI was contributed by ESA and NASA, with the instrument designed and built by a consortium of nationally funded European Institutes (The MIRI European Consortium) in partnership with JPL and the University of Arizona.
Image Description: Semi-opaque layers of blue and grey gas and dust start at the bottom left and rise toward the top right. There are three prominent pillars. The left pillar is the largest and widest. The peaks of the second and third pillars are set off in darker shades of blue outlines. Few red stars appear within the pillars. Some blue and white stars dot the overall scene.
Download more versions of this image.
Credit:
NASA, ESA, CSA, STScI, J. DePasquale (STScI), A. Pagan (STScI); CC BY 4.0
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