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Ostara V2
Created with Midjourney engine.
PP work in Adobe PS Elements 2024 Raw filters.
Jakob Grimm, in his Teutonic Mythology, maintained that "Ostara, Eástre, was goddess of the growing light of spring." Holy water in the form of the dew, or water collected from brooks, was gathered at this time; washing with it was said to restore youth. Beautiful maidens in sheer white were said to seen frolicking in the country side. Also according to Grimm, the white maiden of Osterrode was said to appear with a large batch of keys at her belt, and stride to the brook to collect water on Easter morning. Ostara is usually experienced as a young maiden wreathed in flowers or new greenery, and often dances. She is often joyous, but can just as easily turn suddenly solemn, like the spring weather that can quickly turn to rain. Like Spring itself, she is capricious, innocent and knowing by turns. Hail to the Maiden of Spring, the dawning of the year! Bring freshness into all our lives. The Wheel of the Year is an annual cycle of seasonal festivals, observed by many modern Pagans, consisting of the year's chief solar events (solstices and equinoxes) and the midpoints between them. While names for each festival vary among diverse pagan traditions, syncretic treatments often refer to the four solar events as "quarter days" and the four midpoint events as "cross-quarter days", particularly in Wicca. Differing sects of modern Paganism also vary regarding the precise timing of each celebration, based on distinctions such as lunar phase and geographic hemisphere. Observing the cycle of the seasons has been important to many people, both ancient and modern. Contemporary Pagan festivals that rely on the Wheel are based to varying degrees on folk traditions, regardless of actual historical pagan practices. Among Wiccans, each festival is also referred to as a sabbat, based on the term was passed down from the Middle Ages, when the terminology for Jewish Shabbat was commingled with that of other heretical celebrations. Contemporary conceptions of the Wheel of the Year calendar were largely influenced by mid-20th century British Paganism.
Thank you all for the visit, kind remarks and invites, they are very much appreciated! 💝 I may reply to only a few comments due to my restricted time spent at the computer.
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Thanks for 5,915,702 views 🙏
Photo taken by Theo Kastner and kindly provided by him for inclusion on this page.
München-Riem
September 1978
71503
Yakovlev Yak-40
9222020
Government of Yugoslavia
71503 is lined up for take-off on Riem’s runway 25. The aircraft was noted here on 3 September 1978 (probably the precise date for this shot).
Information from airhistory.net - thanks to Kerry Taylor:
First noted with the Yugoslav Air Force as 71503 at SXF on 06 Jun 1972. To the Serbian Government as YU-AKT on 27 Jul 1992 but still also carrying 71503. Noted as 71503 with the Serbian & Montenegro Air Force at BEG on 02 Jul 2003. Last noted at BJY on 20Oct17 with the Serbian Air Force.
Seen April 2023 dumped on the far side of the airfield (source: scramble.nl): Google Maps
Registration details for this airframe:
www.scramble.nl/database/soviet/details/205_79223
7150s with Government of Yugoslavia at RAF Northolt in September 1974 (earlier colours):
www.flickr.com/photos/130782777@N06/17462740089
71503 with Serbian Air Force at Belgrade-Batajnica (BJY) in September 2012:
www.flickr.com/photos/namcys11/8017197952
Scan from Kodachrome slide.
Innocenzo da Imola (Innocenzo di Pietro Francucci - Imola, 1490 - Bologna, 1550) - Madonna and Child in glory and Saints Michael the Archangel, Peter and Benedict (1517-22) - oil on panel 397 x 258.5 cm - Bologna National Gallery
La pala, che fa parte delle serie di lavori eseguiti dall'artista nella chiesa e nel convento di San Michele in Bosco, fu dipinta intorno al 1522 per l'altare maggiore, secondo un programma iconografico ben preciso, che appare nel contratto tra l'artista e il priore olivetano.
La composizione, costruita da figure monumentali, ruota tutta intorno alla figura dell'Arcangelo, che riprende con deboli varianti l'invenzione raffaellesca del San Michele, oggi al Louvre, diffusasi rapidamente in Emilia grazie al cartone del dipinto, donato dallo stesso Raffaello al duca Alfonso I d'Este.
The altarpiece, which is part of the series of works carried out by the artist in the church and convent of San Michele in Bosco, was painted around 1522 for the main altar, according to a very precise iconographic program, which appears in the contract between the artist and the Olivetan prior.
The composition, built from monumental figures, revolves entirely around the figure of the Archangel, who takes up with slight variations the Raphaelesque invention of Saints Michael, now in the Louvre, which spread rapidly in Emilia thanks to the cartoon of the painting, donated by Raphael himself to the duke Alfonso I d'Este.
That precise moment is just not repetitive effort of making an expert, but a culmination of erratic flight of insect, and coordination between eyes, muscles and dynamic aerial acrobatic manoeuvre to keep food in the mouth.
Insect ID not known.
Plumbeous Redstart Male.
17 December, 2022
Chakki Modh, Kasauli, Himachal Pradesh
OM1-300f4-MC14
1/3200, f5.6, ISO3200, 840mm ff equivalent.
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
They were very precise, however the flags were kind of attacking second from our right's head! He was good natured about it, and our far left, cracked a smile at one point. I have that shot too, but I thought this was the more distinguished post for the occasion. =o) Hugs and thanks for viewing!
***All rights to my images are STRICTLY reserved. Please contact me if you are interested in purchasing my images or if you are an educator or non-profit interested in use. copyright KathleenJacksonPhotography 2009***
A two in one trip to Lidl combined with a local shot taken down the road sees super cans 86638+632 with pans to the sky passing through Toft on the old line with the daily 4m87 Felixstowe-Trafford Park liner.
Thanks goes to Jason Rodhouse for the precise name of the location. (pole)
It's been a while since I uploaded a selfie, 6 months to be precise (the last one was WNGD in May) so here I am with clothes on and a new haircut, my hairdresser went a bit mad with the scissors when I asked her to get rid of my split ends 😄 Happy Selfie Sunday and Happy Sliders Sunday! I used the inbuilt Flickr filter called "Keen" which seemed appropriate.
The main reason I'm uploading this photo is because myself and thousands of other people all over Ireland are taking part in a 300,000 steps in November challenge, raising much needed funds for Barnardos Ireland. This long established charity provides a vital service helping vulnerable children & their families - this is the charity's website www.barnardos.ie/
If you feel able to donate even a small amount to support this very worthwhile cause I'd be eternally grateful but if charity donation is not your thing, or you prefer to support local charities in your own country I quite understand. You can donate anonymously if you wish and/or keep the amount private if you choose. Rest assured all monies raised go directly to the charity each week, the participants are not responsible for sending it on.
I use a Fitbit watch to track my daily steps and I will be posting weekly progress updates on my Just Giving page. I'm up to just over 72,000 steps in the 6 days since the challenge started.
Below is the link to my Just Giving page, if you can't click on it then please copy & paste :
www.justgiving.com/fundraising/Julie-C1967?utm_source=Sha....
I made this shot moments after the one posted yesterday, of the little church on the prairie - three frames later on the data card, to be precise. The light, therefore, was the same... but the angle of the light was different, so the look and feel of it, notwithstanding the obviously different subject matter, in no way resembles the previous shot.
In the church shot my lens was pointing north as the sun set in the west, creating strong side lighting that accentuated the shadows and revealed the land's contours. Here, I have the same setting sun, but I'm shooting toward the southwest, which means three quarters or more of my subject is in shadow. A very different look!
Here's how I got the shot: I was driving slowly when I saw the deer. Luckily there was a pullout nearby; luckily there was no traffic on the road. None. Everyone was at home watching TV or at the bar drinking or trying to find a campsite or their B & B. When I cut the engine, and got out, the deer noticed but didn't react. When I began to approach, suddenly he was all ears. After I shot a couple of frames, he lifted a front leg and I shot again.
I use manual settings, btw; it has probably been two or three years since I shot a frame on auto-exposure. I know how much adjustment is necessary between full sunlight and shadow, but this was difficult. I didn't want to blow the highlights but did need to open up a little for the shadow detail so I gave it two stops, which turned out to be about right. Some tweaking in Photoshop was required!
The result is a lot more subtle than my shot of the little church, but I like the way it portrays the deer and the hillside grasses.
Photographed near Cadillac, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2019 James R. Page - all rights reserved.
Mark Your Darkness: The Goth Tattoo by +ARANA+
In the dim glow of flickering candles, where shadows dance and secrets linger, your skin becomes the canvas for your story—a tale of mystery, rebellion, and dark allure. Enter the Goth Tattoo by +ARANA+, a spellbinding design that etches your essence into the fabric of night.
This isn’t just ink; it’s a ritual, a binding contract between you and the darkness that stirs within. Each intricate line weaves a tale of forbidden dreams, lost loves, and whispered curses. Whether adorning your arms, back, or chest, the Goth Tattoo transforms you into a walking masterpiece, a living work of art that turns heads and ignites curiosity.
+ARANA+ brings its signature edge to this creation, with details so precise they feel almost alive. The delicate scrollwork and haunting symbols seem to writhe with an unearthly energy, as if the tattoo itself is breathing in rhythm with your heartbeat. It’s a bold declaration that you are not bound by the mundane—that you are a creature of the night, fierce and untamed.
Perfect for vampires, witches, or those who walk the shadowed path, the Goth Tattoo complements any dark aesthetic with its timeless appeal. Pair it with your most sinister attire, or let it stand alone as the ultimate statement of gothic elegance.
Ready to wear your darkness with pride? The Goth Tattoo by +ARANA+ is available now at the Progeny Mall for the November round. Claim your mark—your story awaits to be told in ink and shadow.
the next time this is up, it will be in ink, iron gall to be precise. i am going to test nibs to find the best one for it :)
mamoiada-sfilata de Sos Mamuthones
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".
or to be more precise...
in my face, again... [see my previous 'dirt eating' ~ here]
rider: matti lehikoinen
place: downhill line, fort william, scotland
downhill world championship '09
canon 5d mark ii + canon 15mm [fish eye]
view it in large size on black ~ click
ps. this shot almost got onto the paper, but no luck this time,,,
this photo was POD on pinkbike.com on 2009-08-23
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Nimble and precise, Vastt uses his gravity defying powers to create mind-bending battlefields. His four wing daggers are perfect for up close combat, or can be guided from a distance to fall to their targets. Vastt's Mask of Durability protects him from even the heaviest of impacts and allows him to slice through the toughest materials.
Build Notes:
Just a quick guy for the upcoming Bionilug convention display. Also hey first MOC I've posted this year!
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or…. press L to enlarge;
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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All the photos I present were taken in the town of Taormina (Sicily);
I made photos related to "street photography";
I photographed people who, for the most part, I had never met before, I thank them for their sympathy and availability;
I tried to capture the essence of minimal photographic stories, collected walking down the street ... in search of fleeting moments ...
I met a lady no longer young, who told me that, when she was seven years old, she met the bandit Giuliano (!) on Mount Ziretto (a mountain that is located above Taormina, in the territory of Castelmola), in telling she looked up and pointed at him, it seemed she was seeing him at that precise moment ....! (ah! if only I had had a special camera to capture the images that at that moment were resurfacing in the mind of that very nice lady ....!), she described it and ... she saw it (!): if she remembers it tall, handsome man, boots that reached mid-leg, rifle over his shoulder ....! and then the lady added: of course, I didn't know who that man was, they told me this afterwards ....! I photographed what I believe was a small advertising shoot, thanks to the availability of the photographer and the models (thank you for giving me some of their precious time ..!).
For some photographs I used a particular photographic technique at the time of shooting, which in addition to capturing the surrounding space, also "inserted" a temporal dimension, with photos characterized by being moved because the exposure times were deliberately lengthened, they are confused -focused-imprecise-undecided ... the Anglo-Saxon term that encloses this photographic genre with a single word is "blur", these images were thus created during the shooting phase, and not as an effect created subsequently, in retrospect, in the post-production.
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Tutte le foto che presento sono state realizzate nella cittadina di Taormina (Sicilia);
ho realizzato foto riconducibili alla “street photography”;
ho fotografato persone che, per la maggior parte, non avevo mai incontrato prima, le ringrazio per la loro simpatia e disponibilità;
ho cercato di cogliere al volo l’essenza di storie fotografiche minime, raccolte camminando per la strada ... alla ricerca di attimi fugaci s-fuggenti ... ho incontrato una signora non più giovane, che mi ha raccontato che, quando aveva l'età di sette anni, incontrò il bandito Giuliano (!) sul monte Ziretto (un monte che si trova sopra Taormina, nel territorio di Castelmola), nel raccontare lei guardava in alto e lo indicava, sembrava lo stesse vedendo in quel preciso momento....! (ah! se solo io avessi avuto una macchina fotografare speciale per catturare le immagini che in quel momento andavano riaffiorando nella mente di quella simpaticissima signora....!), lo descriveva e...lo vedeva (!): se lo ricorda alto, un bell'uomo, gli stivali che arrivavano a metà gamba, il fucile in spalla....! e poi la signora aggiunse: certo, io non sapevo chi fosse quell'uomo, questo me lo hanno detto dopo....! Ho fotografato quello che credo fosse un piccolo shooting pubblicitario, grazie alla disponibilità della fotografa e delle modelle (le ringrazio per avermi concesso un pò del loro prezioso tempo..!).
Ho utilizzato per alcune fotografie una tecnica fotografica particolare al momento dello scatto, che oltre a catturare lo spazio circostante, ha "inserito" anche una dimensione temporale, con foto caratterizzate dall’essere mosse poiché volutamente sono stati allungati i tempi di esposizione, sono confuse-sfocate-imprecise-indecise...il termine anglosassone che racchiude con una sola parola questo genere fotografico è "blur", queste immagini sono state così realizzate in fase di scatto, e non come un effetto creato successivamente, a posteriori, in fase di post-produzione.
Photo from the Andreas Rink collection, slide kindly provided for scanning by Florian Weiß.
München-Riem
ca. July 1974
N8642
McDonnell Douglas DC-8-63CF
46109 / 493
Seaboard World Airlines
N8642 is coming in to land on Riem’s runway 25. Noted here on 13 July 1974, possibly the precise date for this shot. The registration is clearly visible on the high-resolution original scan.
Information from flickr - thanks to Kerry Taylor:
Delivered new to Seaboard World as N8642 on 23Oct69. Leased to Loftleidir Icelandic 04May75 to 04Jan77. Leased to ONA 25Mar77 to 12May77. Leased to Air India 31Dec77 to 01Apr79. Leased to Loftleidir Icelandic 01Apr79 and later that year merged into Icelandair. To Flying Tigers as N772FT on 30Nov80. Leased to Air India 01Dec80. Back to Flying Tigers 08Aug81 and converted to a 73CF in Jan84. To UPS on 22Jan84 and re-registered to N809UP in Jun84.
Stored at Roswell 15Nov07 and cancelled 18Oct10. Scrapped.
Registration details for this airframe:
rzjets.net/aircraft/?reg=32939
Beautiful shot of N8642 with Seaboard World at PIK in August 1970:
www.flickr.com/photos/105925977@N03/5097559473
N8642 leased to Loftleidir Icelandic at ARN in June 1975 (basic Seaboard World colours):
www.flickr.com/photos/162303104@N07/54145336152
N8642 with Seaboard World at PIK in 1976 (later colours, small titles):
www.flickr.com/photos/markp51/25063902761
N8642 with Seaboard World at AMS in September 1976 (later colours, large titles):
www.airhistory.net/photo/258426/N8642
N8642 with Overseas National at DTW in 1977 (basic Seaboard World colours, ONA titles):
www.flickr.com/photos/154191970@N03/36197868883
N8642 with Air India Cargo at LHR in September 1978 (remains of Seaboard World cheatline visible):
www.flickr.com/photos/132337785@N03/30322568476
N8642 leased to Air India Cargo at ZRH ca. 1979 (all white, Air India Cargo titles):
www.flickr.com/photos/154191970@N03/48619984868
This airframe as N772FT with Flying Tigers at SNN in February 1982 (all white, Flying Tigers titles):
www.flickr.com/photos/shanair/23990407981
N772FT with Flying Tigers at ATL ca. 1984 (converted to -73CF, full colours):
www.flickr.com/photos/154191970@N03/44604354740
This airframe as N809UP with UPS at ONT ca. 1990s:
www.flickr.com/photos/154191970@N03/48624158673
N809UP with UPS at BWI in April 2006 (later colours):
cdn.jetphotos.com/full/1/96191_1146302948.jpg
Scan from slide (unknown brand).
Acqua alta is the term used in Veneto, Italy for the exceptional tide peaks that occur periodically in the northern Adriatic Sea. The peaks reach their maximum in the Venetian Lagoon, where they cause partial flooding of Venice and Chioggia; flooding also occurs elsewhere around the northern Adriatic, for instance at Grado and Trieste, but much less often and to a lesser degree.
The phenomenon occurs mainly between autumn and spring, when the astronomical tides are reinforced by the prevailing seasonal winds that hamper the usual reflux. The main winds involved are the sirocco, which blows northbound along the Adriatic Sea, and the bora, which has a specific local effect due to the shape and location of the Venetian Lagoon.
Precise scientific parameters define the phenomenon called acqua alta, the most significant of which (i.e., the deviation in amplitude from a base measurement of "standard" tides) is measured by the hydrographic station located nearby the Basilica di Santa Maria della Salute. Supernormal tidal events can be categorized as:
intense when the measured sea level is between 80 cm and 109 cm above the standard sea level (which was defined by averaging the measurements of sea level during the year 1897);
very intense when the measured sea level is between 110 cm and 139 cm above the standard;
exceptional high waters when the measured sea level reaches or exceeds 140 cm above the standard.
Generally speaking, tide levels largely depend on three contributing factors:
An astronomical component, which results from the movement and alignment of celestial bodies, principally the Moon, secondarily the Sun, and marginally other planets (with effects decreasing in relation to their distance from the Earth); this component is dependent upon the laws of the astronomical mechanics and can be computed and accurately predicted for the long run (even years or decades)
A geophysical component, primarily dependent upon the geometric shape of the basin, which amplifies or reduces the astronomical component and, because it is dependent upon the laws of the physical mechanics, can be also computed and accurately predicted for the long run (even years or decades);
A meteorological component, linked to a large set of variables, such as the direction and strength of winds, the location of barometric pressure fields and their gradients, precipitation, etc. Because of their complex interrelations and quasi-stochastic behavior, these variables cannot be accurately modeled in statistical terms. Consequently, this component can only be forecast for the very short run and is the principal determinant of acqua alta emergencies that catch Venetians unprepared.
Two further contributing natural factors are the subsidence, i.e. the natural sinking of the soil level, to which the lagoon is subject, and eustasy, i.e. the progressive rise of sea levels. While these phenomena would occur independently of human activity, their effects have increased because of inhabitation: the use of lagoonal water by the industries in Porto Marghera (now ceased) sped up subsidence, while global warming has been linked to increased eustasy. Venice's "Tide Monitoring and Forecast Center" evaluates that the city has lost 23 cm in its elevation since 1897, the year of reference, 12 of which are attributable to natural causes (9 because of eustasy, 3 because of subsidence), 13 are due to the additional subsidence caused by human activity, while the "elastic recovery" of the soil has allowed the city to "gain back" 2 cm.
Geophysical determinants linked to the Adriatic Sea
The long and narrow rectangular shape of the Adriatic Sea is the source of an oscillating water motion (called seiche) along the basin's minor axis.
The principal oscillation, which has a period of 21 hours and 30 minutes and an amplitude around 0.5 meters at the axis' extremities, supplements the natural tidal cycle, so that the Adriatic Sea has much more extreme tidal events than the rest of the Mediterranean. A secondary oscillation is also present, with an average period of 12 hours and 11 minutes.
Because the timeframe of both oscillations is comparable to naturally occurring (yet independent) astronomical tides, the two effects overlap and reinforce each other. The combined effects are more significant at the perigees, which correspond to new moons, full moons and equinoxes.
Should meteorological conditions (such as a strong scirocco wind blowing north along the major axis of the Adriatic basin) hamper the natural outflow of excess tidal water, high waters of greater magnitude can be expected in Venice.
The particular shape of the Venetian lagoon, the subsidence which has been affecting the soil in the coastal area, and the peculiar urban configuration all magnify the impact of the high waters on city dwellers and on the buildings.
Furthermore, the northbound winds called bora and sirocco often blow directly towards the harbors that connect the lagoon to the Adriatic Sea, significantly slowing down (and, at times, completing blocking) the outflow of water from the lagoon toward the sea. When this occurs, the ebb is prevented inside the lagoon, so that the following high tide overlaps with the previous one, in a perverse self-supporting cycle.
The creation of the industrial area of Porto Marghera, which lies immediately behind Venice, amplified the effects of high waters for two reasons: first, the land upon which the area is built was created by filling large parts of the lagoon where smaller islands just above sea level previously lay. These islands, called barene, acted as natural sponges (or "expansion tanks") when high tides occurred, absorbing a significant portion of the excess water.
Second, a navigable channel was carved through the lagoon to allow oil tankers to reach the piers. This "Oil Channel" physically linked the sea to the coastal line, running through the harbor in Malamocco and crossing the lagoon for its entire width. This direct connection to the sea, which was obviously non-existent at the time of Venice's foundation, has subjected the city to more severe high tides.
Porto Marghera and its facilities are not the only human-made contributors to higher tides. Rather, the municipality of Venice has published a study that suggests the following initiatives may have had an irreversible and catastrophic impact on the city's capacity to withstand acque alte in the future:
the building of the Railroad Bridge (1841/1846) connecting Venice to the land, because its supporting pillars modify the natural motion of lagoonal water;
the diversion of the river Brenta outside the Chioggia basin, which drained the 2,63 hectares of the river's delta that functioned as expansion tanks, absorbing extra lagoonal water during high tides;
the building of offshore dammed piers (Porto di Malamocco, 1820/72; Porto di S. Nicolò, 884/97; Porto di Chioggia, 1911/33), which obviously restrict the natural movement of water;
the building of the Ponte della Libertà (1931/33), which connects Venice to the land;
the building of the Riva dei Sette Martiri (1936/41), an extension to the Riva degli Schiavoni;
the building of the artificial island Tronchetto used as a car and bus terminal (17 hectares, 1957/61):
the doubling of the Railroad Bridge (1977).
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Nimble and precise, Vastt uses his gravity defying powers to create mind-bending battlefields. His four wing daggers are perfect for up close combat, or can be guided from a distance to fall to their targets. Vastt's Mask of Durability protects him from even the heaviest of impacts and allows him to slice through the toughest materials.
Build Notes:
Just a quick guy for the upcoming Bionilug convention display. Also hey first MOC I've posted this year!
Photo taken by Herwart Schneider and kindly provided by him for inclusion on this page.
München-Riem
ca. June 1980
HA-MOE
Ilyushin Il-18V
182005505
Malév Hungarian Airlines
HA-MOE is taxiing in to Riem’s ramp. This airframe was noted at Riem on 3 August 1968, 12 September 1972, 27 March 1976 (in Malév’s then new colours), 22 September 1978, 14 June 1980 (possible the precise date for this shot) and 3 December 1980 (certainly there were more visits).
Information from airhistory.net - thanks to Alastair T. Gardiner:
This Il-18 was built in December 1962 as an Il-18V but converted to a freighter in 1979. It was retired and made its last flight to Szolnok (LHSN) in April 1987 for display at the Szolnok museum (still there in February 2024 in poor condition).
Detailed information on this airframe:
www.scramble.nl/database/soviet/details/82_57835
HA-MOE with Malév at BSL in December 1976 (later colours):
www.flickr.com/photos/echomike/52535473047
HA-MOE with Malév Air Cargo at BUD in May 1986:
www.flickr.com/photos/baettig/14074811153
HA-MOE preserved at Szolnok in June 1990:
www.flickr.com/photos/23199966@N02/15210352371
Overview of Szolnok museum in March 2015:
imgproc.airliners.net/photos/airliners/9/5/6/4032659.jpg
HA-MOE still at Szolnok in May 2022:
www.flickr.com/photos/158583312@N02/52158054923
Scan from Kodachrome slide.
The beautiful views were so plentiful, sometimes we had to remind each other to "look" and "see".
Mapping is not precise, as we were in the middle of nowhere.
Early reports of this year's Monarch migration are promising. We'll see what the winter counts are in Mexico for a more precise measure of populations. From a historical standpoint, it's difficult for me to get excited over incremental increases. In the scheme of things Monarchs have a very specific need for milkweed to persist and agriculture and human development have destroyed all but remnants of this resource. I'll keep planting milkweed, even though I know my efforts don't amount to much. Our beautiful world, pass it on.
The precise extent of the once wooded area from which Southwood in the town of Ramsgate takes its name is uncertain. Today, Southwood has much clearer definition in the local inhabitant's mental map as a predominantly residential area and as the home ground of Ramsgate football. It equates with the area of the former Southwood Farm and of Southwood House. Southwood's large, Victorian water tower is also one of Ramsgate's distinctive and prominent landmarks. The Southwood neighbourhood occupies an area of about half a square kilometre, and consists of predominantly late nineteenth and early twentieth century houses. It sits on elevated ground one kilometre to the west of Ramsgate town centre and behind the more prestigious houses, cliff-top promenades, and greens of the West Cliff area.
The Tower was built in 1887 and was made a grade II listed building in 1988, now converted into flats. I can see the back of this building from anywhere in the front of the house.,
Apparently my house was lot 3 when the farm was sold and was used as a brickfield until the row of houses were built in 1902. A brickfield is a common location name in southeast England. Its name derives from a field where the topsoil was removed and the clay beneath was stripped, and mixed with chalk and ash to create bricks, we now have topsoil and chalk so I suppose all the clay was used up!
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
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?
Astronomers using NASA’s Hubble Space Telescope have for the first time precisely measured the distance to one of the oldest objects in the universe, a collection of stars born shortly after the big bang.
This new, refined distance yardstick provides an independent estimate for the age of the universe. The new measurement also will help astronomers improve models of stellar evolution. Star clusters are the key ingredient in stellar models because the stars in each grouping are at the same distance, have the same age, and have the same chemical composition. They therefore constitute a single stellar population to study.
Image Credit: NASA, ESA, and T. Brown and S. Casertano (STScI) ; Acknowledgement: NASA, ESA, and J. Anderson (STScI)
Or to be precise, a Black Legged Kittiwake, captured from Mumbles Pier today. Really thrilled to see these ( and their chicks ) today because last year the Pier was closed for its ongoing refurbishment and this year, i wasn't sure if I'd get here due to Lockdown, let alone the fact that The Pier was open . One of my favourite seabirds with their raucous call which gives them their name, a call you can hear all the way from Knab Rock, Mumbles and further away depending on the wind direction.
Have you ever noticed precise, conical divots in soft earth beneath large trees or at the base of cliffs? The conical pits are ant traps, dug and maintained by antlion larva, which may occupy the trap for two or three years before transforming to an adult (see first comment).
The larva lies patiently, just barely beneath the surface at the bottom of the pit, waiting for the sound and vibration of sliding sand, meaning that a beetle or spider or ant has fallen into the trap and is trying to climb out. The larva grabs it with its large jaws, injects venom to immobilize the prey and enzymes that turn the prey's tissues to mush. The antlion then siphons the digested material through the mandibles and tosses the hollow carcass out of the trap.
This is a live larva (promptly returned to its trap after this shot) caught beneath pines in a ponderosa pine forest in Boulder, Colorado.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
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Or to be more precise, there's snow on popcorn tree. The clusters of seedpods resemble popcorn in the fall before the birds and squirrels gobble them up.
But during a recent, rare winter snowstorm event this past weekend, we had some accumulating snow on the trees, shrubs, grassy areas and a few other things, for a couple of hours when it was coming down hard and wet. When it stopped snowing, however, it started to melt away.
But for those few hours it was a lot of fun to see as we rarely ever have snow down here in the southeast, where we live.
I’ve returned from Hertfordshire, Royston to be precise. We said our goodbye’s just before 8am and made it back home by 11:45. The keynote there is I didn’t have to stop for a pee, credit for that has to be down to the medication I’m on for my prostate, although as usual the cramp in my legs was giving me gyp. I filled the tank in Royston’s Tesco’s, it was 199.9p a litre, last time I filled up here in mid May it was 174p, but the kicker was that petrol was 186p, why the 13p differential. Jesse put on a brave face but was a little twisty, he doesn’t like to say goodbye to has Nonna and Nonno, but he had a treat lined up for this morning, a visit to the cinema (for the first time) to see Lightyear. We’ve been watching the trailers all week, I wish I could have been with him to see his little face. My visit was just timed right to catch the field next to my daughters full of Poppies and other meadow flora. This was the same field that was covered in Phacelia on our last visit. Although I took many a photo of this field of blooms this photo I’m posting is probably my favourite (so far) of the week, which includes my summer solstice jaunt up in Northumberland. I took this photo with a long lens on Saturday morning on the dog walk, it had the minimal feel I was looking for. I have a crazy lot of photo’s to sift through at the moment so I won’t be hard pushed to post a few this week. I hope you all have had a good weekend.
Nikon FM. Carl Zeiss Distagon ZF.2 35mm F2. Ilford FP4 @
ISO 200.Cinestill. Dumped the last of that Cinestill stuff. Fun, quick and dirty, but not nearly flexible nor precise enough for my purposes. I dread mixing up D76...really I do.
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.