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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".
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!
Thousands of people meet and clash in the stations. If you stop to observe them for a moment, they are physically present, but a moment later they vanish to be replaced by other people passing by.
Stations are timeless places, where everything exists only in the precise moment we are looking at it.
Stazione dei bus
Nelle stazioni si incontrano e si scontrano migliaia di persone. Se ti fermi per un momento ad osservarle, sono fisicamente presenti, ma un attimo dopo svaniscono per essere sostituite da altre persone di passaggio,
Le stazioni sono luoghi senza tempo, dove tutto esiste solo nell’istante preciso in cui lo stiamo guardando.
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!
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?
The long anticipated, much beloved and much complained about MIAD is finally here!
I am sooo sorry this took so damn long. 5 months 19 days and 8 hours to be precise.
Ok, so this grip needs some explanation. Recolourability is hard, that's why there are several colours at your availability. It does include white shapes, there is no other way to make this. They are however, in good positions, so they won't bother you.
PASTIES
- Magpul MIAD All, smooth: dl.dropbox.com/u/45011900/PASTIES/GRIP_Magpul%20Ind%20MIA...
- Magpul MIAD Black, textured: dl.dropbox.com/u/45011900/PASTIES/GRIP_Magpul%20Ind%20MIA...
- Magpul MIAD D. Earth, textured: dl.dropbox.com/u/45011900/PASTIES/GRIP_Magpul%20Ind%20MIA...
- Magpul MIAD OD, textured: dl.dropbox.com/u/45011900/PASTIES/GRIP_Magpul%20Ind%20MIA...
- Magpul MIAD Tan, textured: dl.dropbox.com/u/45011900/PASTIES/GRIP_Magpul%20Ind%20MIA...
Huge thank you to Shockwave, for helping me on some parts and doing the recolouring.
Please credit me, VRW and Shock for this!
Oh, and from now on, I don't want to see a single preset MIAD anymore... JK
Thank you all for the patience, and I hope you enjoy this as much as I do!
Fave = Comment (and vise versa)
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.
Not being familiar with gastropods, I can't be sure of the precise species but I think this may be a variety of apple snail. I'd say it was around 4 inches long and I watched it move slowly and deliberately across the ground before tumbling into the lake. It floated for a few seconds before expelling air bubbles and sinking out of sight. I'd be grateful if anyone can identify the precise species. Photographed in Krabi Province, Thailand.
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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A single snowdrop standing quietly in mid-February light — captured through patience, precision, and respect for winter’s subtle beauty. - A close-up study taken in mid-February after extensive technical experimentation. Working with a single frame or a few shots required precise focusing, careful light control, and patience in cold conditions; this reflects the quiet resilience of the season's first flowers.
Winter study – Snowdrop (Galanthus nivalis)
Delicate in structure and long associated with snow, the snowdrop is often chosen as a subject for artistic study. Though fragile in appearance, it carries a quiet resilience. When photographing them, I always feel a sense of urgency — to capture their grace before they bow to the earth.
In close-up work, there is a particular excitement in catching the natural droplets formed after a freezing night, shimmering under the first light of morning. For those who love photography, this moment feels like a quiet reward.
For nearly three weeks, Leicestershire lay beneath grey skies and persistent rain. Checking the 14-day forecast on BBC did little to lift my spirits. The delicate white petals, especially when shaken by strong winds, begin to show signs of wear after about two weeks.
Yesterday morning, I checked the conditions once more. The car windows were frozen. With my Nikon Z 8 fitted with a 105mm lens, tripod and reflector packed, I headed toward Abbey Park. The temperature display showed below zero.
We all know the effect of soft early sunlight on snowdrop photography. For nearly two and a half hours, kneeling on the cold ground, I focused solely on the Z8 monitor.
Last night I chose rest.
This morning, clarity.
Among nine frames, a few stood apart — not because they were louder, but because they felt different.
A subtle shift in framing, a gentler control of focus, and a deeper awareness of light.
Growth, I believe, hides in these quiet refinements.
Snowdrop (Galanthus nivalis) is one of the earliest flowering plants across United Kingdom, often emerging from January to early March despite frost and low light. It is widely associated with resilience and the quiet transition from winter to early spring. Snowdrops thrive in woodland edges, gardens, and damp meadows, frequently appearing before most insects become active. Because of their delicate white petals and drooping bell shape, they are a favourite subject for close-up and macro photographers during the late winter season.
I've captured some unforgettable moments with my camera, and I hope you feel the same joy viewing these images as I did while creating them.
Thank you for visiting my gallery whether you leave a comment, add a favorite, or simply take a quiet moment to look around. Your presence and support truly mean a lot to me. I wish you good luck and beautiful light in all your endeavors.
© All rights belong to R. Ertuğ. Please refrain from using these images without my express written permission. If you are interested in purchasing or licensing any photograph, feel free to contact me via Flickr mail.
Tech Notes
Camera: Nikon Z 8 with Really Right Stuff Base Plate
Lens: Nikon AF-S Micro Nikkor 105mm f/2.8G IF-ED VR
Support: Gitzo GIGT0545T Traveler Series Carbon Fiber Tripod
Tripod Setup: Really Right Stuff BH-25 Ball Head with Compact Lever-Release Clamp
Stabilization: VR enabled when applicable
Aperture: Mostly f/5.6 – f/8
Format: Converted from RAW to JPEG
Your comments and constructive criticism are always welcome.
Thank you for stopping by and taking the time to explore. 😊
I was up early to capture this scene, 4:30 to be precise. I was wandering solo in the forest, and I had a thought. "Wouldn't it be awesome if a moose walked right here into this scene?" And right on queue, literally, this big guy showed up for some posing. I watched, admiring him for about 30 minutes with the only sounds of birds chirping, water running in the creek, his footsteps, and an occasional mosquito. A beautiful morning in isolated Denali National Park.
Join me May 17-21, 2019, for the Spring in Denali workshop. Visit www.wildernessphotoworkshops.com for more details.
+ Prints available at www.chaddutson.com
+ Workshops available at www.wildernessphotoworkshops.com
File info: 180775907
Image info: Nikon D850, 70-200mm f/2.8, f/2.8, 200mm, 1/1600, ISO-400
Lightning – Le Graillon – Cap d’Antibes – France
The sky splits open, cleaved by the sword-blow of a raw, furious lightning strike. For a few milliseconds, time halts — the scene suspended, outside of reality. The rock listens. Between abyss and light, the fleeting flash unveils the fragile villa, waiting for its fate.
Immense and compact, a cumulonimbus glides over the sea. It coils in on itself, as if to multiply the force of its belly, ready to devour everything — like a beast stalking its next prey. Its dark flank swallows the horizon, unsettling the air, growling without end.
This haunting beauty of chaos is a stark reminder of nature’s sovereignty.
I tracked this thunderstorm cell on radar from the night before. Born over the Balearic Islands, it surged toward the Côte d’Azur at dawn on August 15, 2025. I positioned myself at Le Graillon – Cap d’Antibes – at the precise moment the cell raced along the coast, releasing its electric deluge.
Image created from two superimposed shots of 10 seconds.
Nikon D800E, f/20, 10 s, ISO 100, 17 mm focal length
How often have we, as photographers, viewed a scene and attempted to duplicate it in our camera? More times than I care to remember. This scene of Larch Fir in bright sunlight surrounded by deep shadows is one of those scenes. In my minds-eye I see this scene as nature intended me to see it with all the degrees of light and shadows intertwining to form a beautiful image at that precise moment in time.
As an artist, who uses paint as their medium, they can mix their paints until they have just the right colors to express the feeling they saw in their minds eye. But, as photographers we must rely on our ability to use the correct exposures and then with our post processing software attempt too duplicate what we viewed in our minds eye. Post processing software has come a long ways since I first began my journey in digital photography and post processing and my knowledge continues to grow, but I often become discouraged when an image does not match what I feel I saw when I took the image.
So very often I feel I failed to convey that same feeling to the viewer and all my efforts are in vain.
Please take the time to view this image and try to see it as I saw it....
Photo taken by Herwart Schneider, slide kindly provided for scanning by Theo Kastner from his collection.
München-Riem
June 1988
C-3
Fokker F27-100 Friendship
10150
Koninklijke Luchtmacht (KLu) (Royal Netherlands Air Force, RNLAF)
C-3 was noted at Riem on 25 June 1988, likely the precise date for this shot. This was the day of the European Football Championship 1988 final match between the Netherlands and the Soviet Union (the Netherlands won 2:0).
A number of football charters from the Netherlands were observed:
KLM A310s PH-AGH and PH-AGI, NLM F28s PH-KFD and PH-SFA, NLM F28s PH-CHB and PH-CHD, Martinair A310 PH-MCB, Royal Netherlands Air Force F27 C-3. (Information from Klaus Mohr’s notes for 1988.)
Information from kw.jonkerweb.net and rzjets.net:
First flight with registration PH-FBP on 2 May 1960; PE-CAC 32-seater; in service with KLu from 6 August 1960. Equipped with a belly radome in October 1974 for ECM training. Withdrawn from use on 15 May 1996 and stored at Woensdrecht air base.
The airframe apparently ended up at Koninklijke Luchtmacht Historische Vlucht / Royal Netherlands Air Force Historical Flight on Gilze Rijen AB, Netherlands, buth the fuselage was then sold and sunk in a lake for diving purposes. The tail and wings had been scrapped before, and the interior was sold.
(Source: airnieuws.nl, June-October 2013)
Registration details for this airframe:
www.scramble.nl/database/civil/details/F27_259
C-3 with KLu ca. early 1960s (white top, no camouflage):
ipms.nl/images/foto-nedmil/kisten/fokker-f27/fokker-f27-4...
Scan from Kodachrome slide.
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.
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.
In the Galápagos, these are generally treated as Black-necked Stilt — often referred to locally as the Galápagos Black-necked Stilt.
They are closely related to mainland Black-necked Stilt populations and sometimes considered a subspecies rather than a completely separate species.
In the Galápagos they are commonly found around:
* Brackish lagoons
* Salt ponds
* Mangrove edges
* Mudflats
* Coastal wetlands
Important islands for sightings include:
* Santa Cruz
* Isabela
* Floreana
* San Cristóbal
They are among the more graceful and visually distinctive shorebirds in the islands because of:
* Extremely elongated red legs
* Clean black-and-white geometry
* Precise feeding behavior
* Strong reflections in calm lagoons
Behavior visible here
The left bird is actively foraging:
* Sweeping or probing with the bill
* Likely searching for tiny crustaceans or aquatic invertebrates
The right bird appears alert and scanning:
* Upright stance
* Head elevated
* Watching surroundings while remaining in feeding territory
Photographic characteristics
This image works well because of restraint and spacing:
* Large open water field creates isolation and calm
* Reflections anchor the birds visually
* Minimal shoreline clutter
* Cool subdued palette fits the volcanic/coastal mood common in Galápagos wetlands
The asymmetrical spacing between the birds is effective. They feel related but independent, which gives the frame tension without crowding.
There is no test drive in life. No trial and error. Every decision about family, work, relationship, and even hobby has to be precise and no turning back. Yes life is tough.
The following is just fictitious example for photography hobbyist but it could be any other serious hobby.
You spent thousands of dollars in the photo gear. You put a lot of time in learning the technicalities of the craft such as Photoshop and Lightroom. You shoot in all the weekends, holidays and even weekdays. This got to be serious and no fun shot or snapshots. After 10, 15 and 20 years, you still cannot get even one single shot close to Ansel Adams while your photo club friends and hundreds of thousands of photographers you met on Internet have surpassed the Ansel standard. You have to admit you have no talent on this but what would you do?
May be move on to next hobby like photo equipment collecting?
I saw the empty and ghostly roller-coaster in PNE. I think it may be a test drive. Does life have test drive?
Happy Wednesday!
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.
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.
5837 and 5237 to be precise, the two locomotives were at Worcester Depot (85A) as Peter passed through. He probably grabbed this shot from his train, Peter was heading for Gloucester Eastgate station.
5837 was built at Brush, it entered service new to Sheffield Darnall 19/04/1962, Under TOPS it became 31304. The loco was withdrawn 07/1999 and scrapped 14/01/2000.
5237 was a Derby built locomotive it went new to Toton 19/12/1963. The loco was withdrawn 28/09/1980 and cut at Swindon Works 01/04/1981. Under TOPS it was numbered 25087.
Peter Shoesmith Circa 1970
Copyright Geoff Dowling & John Whitehouse: All rights reserved
I was very happy with the dramatic angle of this amazing hotel when I photographed it back in March 2015. But when I viewed the image on my monitor, I was disappointed. The light on that day when I took the shot was very muted due to the sandstorm in Dubai earlier that day. There were no shadows anywhere, contrast was flat across the image and although the hotel is over 100 meters tall, it seemed flattened with the ground. It seemed like a lost case and I decided to leave it unprocessed.
There was a documentary about sharks on Nat Geo the other day. One of the scenes featured a classic shot of the menacing shark's fin cutting through the surface of the ocean. Somehow, the synapses in my brain connected this visual with the aerial photo of Jumeirah Beach Hotel I took 8 months ago. Eureka! I went back to my computer to give this photograph another look. I knew what to do...
I cut a precise mask along the edges of the hotel and separated it from the rest of the shot. This gave me the ability to control the light in the scene with utmost precision. I adjusted the contrast, colour saturation, highlights and shadows exactly where I wanted them. Few hours later, I up with this result. I finally had the shot I needed from the start. Inspiration indeed comes from the strangest places.
Shot with Canon 5DMk3 and Canon TS-E 24mm f3/5L II lens.
Processed with Adobe CC 2015 on Win 10 Pro 64bit, NIK Color Efex Pro 4 and Silver Efex Pro. I used the Wacom Intuos Pro (digitizer mouse + pressure sensitive pen)
Or to be precise Nigella damascena, I saw this one in a garden and thought at first it may be an aquilegia but the leaves were wrong, Mr Google helped me out and now the big test is to see if the garden centre has any and if so, will it grow in my chalky soil in Ramsgate? The garden it was in looked like the topsoil had been replaced.
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
¿Cuántas ventanas hay en Manhattan?
First of all, there can be no precise figure for the number of windows in Manhattan, simply because there are no uniform buildings in Manhattan. But according to the New York Times, one can estimate that there are approximately 47,000 buildings of all kinds in Manhattan, depending on the source. However, even knowing this fact may not help, since the rest would be pure guesswork.
Another boss-impressing approach might be to estimate the rough number of square blocks in Manhattan — roughly 200 by 10. Next, subtract 150 square blocks for Central Park, which leaves 1,850. Then estimate the average number of windows on one floor per street block and the average windows per floor per avenue block – the Times suggest about 25 (times 2), and 75 (times 2), respectively. This rounds off to about 200 windows per block floor.
However, the next problem is coming up with an average building height – something that the City Planning Department doesn’t track. Again, the Times guesses an average of 10 stories, making 2,000 windows per square block. Add another 500 hundred or so for small inward facing windows, and multiply those 2,500 windows by 1,850 blocks: 4.6 million windows total.
And unfortunately that guess may be as close as any obsessive urbanite can get. [NYT]
En primer lugar, no puede haber una cifra precisa del número de ventanas en Manhattan, simplemente porque no hay edificios uniformes en Manhattan. Pero según el New York Times, se puede estimar que hay aproximadamente 47.000 edificios de todo tipo en Manhattan, según la fuente. Sin embargo, incluso conocer este hecho puede no ayudar, ya que el resto serían puras conjeturas.
Otro enfoque que impresionaría al jefe podría ser estimar el número aproximado de bloques cuadrados en Manhattan: aproximadamente 200 por 10. A continuación, reste 150 bloques cuadrados para Central Park, lo que deja 1850. Luego calcule el número promedio de ventanas en un piso por bloque de calle y el promedio de ventanas por piso por bloque de avenida: el Times sugiere alrededor de 25 (por 2) y 75 (por 2), respectivamente. Esto redondea a unas 200 ventanas por piso de bloque.
Sin embargo, el siguiente problema es encontrar una altura de construcción promedio, algo que el Departamento de Planificación de la Ciudad no rastrea. Nuevamente, el Times adivina un promedio de 10 pisos, haciendo 2,000 ventanas por bloque cuadrado. Agregue otras 500 o más para las ventanas pequeñas que miran hacia adentro y multiplique esas 2500 ventanas por 1850 bloques: 4,6 millones de ventanas en total.
Y, desafortunadamente, esa conjetura puede ser lo más cercano que cualquier urbanita obsesivo puede estar. [Nueva York]
Always amazes me how precise and agile these guys are. Odin is our newest Tiercel and his first year as a father. An exceptionally good hunter and a real looker.
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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As promised I made a trip up to gelt woods this morning , well to be more precise Middlegelt Bridge were I donned the wellies and got myself into to some awkward positions, well it would have been if I had fell in !!
I managed to scramble along the riverbank and under Middlegelt road bridge for this shot looking towards the railway viaduct where light was filtering through the trees.
[EXPLORED]
Brought to you by a very cheap JCPenney 135mm 2.8 K mount.
Precise focus eliminates purple fringing.
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?
the bow tie, the lapel, the perfect red symmetry — and then, he passes. not the man in the suit, but someone just as precise in his own way. black on top, red below, like the street version of a tuxedo. sometimes the world dresses up without asking why.
That is certainly an apt description for these incredibly talented pilots. Watching the Blue Angels do their amazingly precise maneuvers in San Francisco is beyond Awesome! Let that be an inspiration for fulfilling any task you put your mind to: Be precise.
Have a fabulous weekend everyone!
— in San Francisco, California.
St Paul's Cathedral and the meaning of life
Paternoster Square
I had no idea what this woman was thinking at this precise moment, but I was very grateful for her being there. Sometimes you simply have to defocus and let it all just wrap around you ...
The sculpture is part of a major work consisting of a range of wild animals on a giant, very long scooter, called 'Go Wildlife Go!' by Australian and British artists Gillie and Marc (see next post).
That would be a chimpanzee waving its arms about behind the hippo.
en.wikipedia.org/wiki/Paternoster_Square
gillieandmarc.com/blogs/find-our-art/go-wildlife-go?srslt...
gillieandmarc.com/?gad_source=1&gad_campaignid=205125...
en.wikipedia.org/wiki/St_Paul%27s_Cathedral
Autumn in Europe/UK 2025
“Bertie, the man is looking quite befuddled this morning.”
“I hadn’t noticed Sky, but I think you may be right.”
“Do you think it is anything we have done?”
“No, it can’t be after all we haven’t done anything yet today, much...”
“What do you think Posh?”
“Well, it is hard to say for sure but I think it might be something to do with the clocks.”
“What are clocks, Posh?”
“They are things that measure hooman time. Please don’t ask how they work for I have no idea, but I have noticed that he seems to be going around to change the direction of the pointy things they have on all the clocks he has this morning.”
“Maybe, it is because they are all wrong.” Suggested Bertie.
“No, they can’t all be wrong surely, Bertie. No, he is being quite precise in what he is doing for a change. I wonder if this is happening all over the hooman world, what do you think Posh?”
“It is possible, hoomans are silly enough to do something like that. For us bears time really doesn’t matter but for some hoomans they tend to live by their clock or watch. They allow time to rule their lives, very sad.”
“That would be awful Posh, imagine having to get up at a particular moment and go somewhere. One might even be in the middle of a jar of honey and have to leave it because the clock says so.” Said Bertie.
“Not on your life, Bertie. The clock could say what it wants, but I wouldn’t be going anywhere until I had finished the honey.” Said Sky firmly.
“Posh, I think it would be nice if we helped the man with the clocks.”
“We could do Bertie, but we don’t really know how to or even what needs to be done.”
“That is no reason not to help Posh. He is our friend and he does allow us to get all our honey and stuff so it would be nice if we helped.”
“I agree Posh, even if we messed up, I do feel he would appreciate the fact that we did try. I mean, he would try and help us if we wanted him to.” Said Sky.
“Look, he has gone out so now is our chance to collect all the clocks and adjust them so it will be a lovely surprise for him when he returns.” Said Bertie looking at his two friends.
“There are a few I doubt we’ll be able to reach.” Said Posh.
“Oh, come on, Posh, we’ll find a way. We can knock them off the wall and try and catch them as they fall. It’ll be such a lovely surprise for him when he comes back.”
The bears sat looking at the clock, watches and screwdrivers feeling really pleased with their efforts.
“I think they look so much nicer now those pointy things are in different directions and not all the same as he had them. Now, the question is do we leave them like this for him to see and have one huge surprise or put them all back and let him have lots of different surprises?” Asked Bertie.
“I vote we put them back, it will be fun to see how long it takes him to notice what we have done for him.” Said Sky.
“What about the small ones that are still in pieces?” Said Posh.
“I found if you jump up and down on them enough, they click back and are fine.” Said Sky. “If not, he has that bangy thing somewhere, we can use that.”
“Come on, hurry up we need to get these back in place before he returns if we are to surprise him.” Urged Posh Bear.
Suki is an amazingly agile creature. Her movements are always sure, precise, and swift.
At our favorite dog park, there's a long stretch of run right before a huge play area. We enter where the run begins, ask her to sit and wait for us to close the gate (very difficult for her as she gets really excited when she sees the other dogs in the play area), and as soon as we say "Ok go".....
....she goes to warp 10
I'm pretty sure she sonic boomed as she blew by me here. Oh, and the other dog had a head start too =P
Precise, lightweight, and powerful; the BR-81 is an excellent rifle for any scenario. While lacking the capability of full-auto fire, the easily controlled tri-burst more than makes up for it.
Base models come equipped with an integral flashlight, however it can be replaced with a rail system if desired.
Courtesy of ORION Technologies
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Credit to Shockwave for the charging handle.
And to CN for the 203 inspiration.
Walking the Via Turonensis I had two books with me. One was a little booklet, telling me, where to turn left or right. The most important (absolut recommendable!) book was Anne Prache´s "Ile de France Romane".
Anne Prache mentions, that in the hamlet of Mervilliers is a former church with a remarkable tympanum. In found a large farm in Mervilliers, entered and tried to find anybody to ask. But there was nobody at home. This was private property and I did feel uneasy, walking around, knocking on doors and shouting "Allo" and "Coucou"......
I finally found a small wooden garden gate. I pushed it open, entered, turned around - and there was the tympanum.
Here is another total. Though the tympanum is very weatherad and eroded, some names can still be found. Near the knight and the squire are the names HERBERTUS and GUILERMUS. The letters left and right of the seated person in the center are X IEORGIUS (Saint George). Over God´s head stands RENBAUDUS.
The inscription of the banderole reads
HERBERTUS GUILERMUS SIMILITER CUNCE(SSIT) RENBAUDUS MILES EIS (EJUS) HERES MICHI C(ON)TULIT GAZAS P(RAE)SENTES UT HABERET FINE CARENTES
Herbertus and as well Guilermus gave/concedet as well as (their) heir knight Renbaudus me earthly treasures to receive treasures without end.
Well, the translation may not be very precise. The French website below goes into the details:
Here is a French website about the tympanum: