View allAll Photos Tagged precise
94 to be precise!
Now available in a book of the Capsules exhibition www.blurb.com/books/959903
Incapable de l'identifier précisément
"Océan en voie d'illumination" : première partie, le littoral tropical
www.jardindesplantesdeparis.fr/fr/programme/galeries-jard...
A view from the Island Line Rail Trail north of Burlington, Vt. The little pinpoint rainstorm you see there is targeted more or less directly on our rental cabin … when we got back from biking on this trail, the streets were wet. But no rain fell on us.
At this precise moment in the year the sun sets exactly at the end of this brick structure at my college.
Navigating the White Narrows (a passage roughly 80 m / 260 ft wide) is a thrilling, highly precise maritime feat in the Chilean fjords. It serves as a classic gateway into the remote, glacier-carved waterways of Bernardo O'Higgins National Park, which is Chile’s largest protected wilderness
Aug 31 2021
Severe Warned Storm between Strasbourg - Lumsden SK Canada
Big Beautiful beast as I sat on Seven Bridges Road near Lumsden!
For me, this day was all a challenge! I worked until the early afternoon and then headed West! Days that I work, I sometimes find a challenge as I can't sit down and work on my forecasting as precise as I like to.
For a target, I seen 3 options - North of Regina, Moose Jaw area and South of Regina.
I chose North of Regina and headed towards Southey area.
Storms were firing up nicely and around Earl Gray, got some pretty structure forming.
Decided to get ready for the live stream! I had my car as the truck is already "put away" for winter mode. I quickly installed the RAM Laptop mount, only to find out and remember that I didn't change the holding claps as I got a new laptop, so there was no way it was going to hold - so no live stream!
That's fine, and away I went!
I caught up to the North moving storm at Strasbourg, where it looked better on radar than what it was visually (which has happened to me a few times this 2021 season).
Shortly after, it got weaker.
There was a beautiful system forming on radar near Eyebrow and was heading not far from me, so away I went once again.
I made my way to Duval and the West on a grid road to make my way to Liberty.
That was the end for me!
Unfortunately, I forgot about one thing - Last Mountain Lake. The road leads up to the lake, dead end (and is an over 1 hour detour to get to Liberty), so Game Over for that storm!
I sat frustrated for a bit trying to decide what to do next and possibly salvage the day so it wasn't a total bust!
While this was happening, my chaser friends were on a storm cell that formed South of Moose Jaw that at this moment was just showing stunning storm structure around Rouleau and coming Regina inbound!
I decided to backtrack and head towards it, but because it has been dropping a TON of hail, was trying to do so safely as my car does not have hail armor like my truck does!
I made my way down to Lumsden and then pulled into Seven Bridges Road to capture a beast heading right over me!
It was beautiful, but was moving so fast, and had so much rain coming with it, only had a couple mins to take photos.
From there I backtracked to Dysart and then South to Fort Qu'Appelle to get in front of the big storm system.
It worked, but I lost all daylight hours and the structure was then gone.
From there I headed home with the storm, stopping every now and then to catch some lightning shots!
It is rare that I feel upset when I miss a storm moment from my forecasting, and this unfortunately was one of those days!
I did salvage it somewhat, but sure would of liked to of been around Rouleau once I seen the reports of the beautiful structure showing up on social media!
CHASE VIDEO:
www.youtube.com/watch?v=UEhtzVXGOw4
Facebook | Twitter | Instagram | YouTube
* * Fine Art America for my Photo Prints * *
mamoiada-sfilata de Sos Mamuthones-Sos Issohadores
Probably actors who performed pagan rituals in ancient times but whose precise origins and meaning have been lost in the centuries, Sos Mamuthones and Issohadores have manteined intact their fascination and mystery.
"Without the Mamuthones there is no Carnival, say the people of Mamoiada. Theu are its most important feature, its symbol, almost. Their appearance is taken as a sign of festivity, happiness and times of grace.
The preparation of the masquerade creates an industrious ardour, a frantic, thrilled atmosphere that spreads to the whole community.
That of the Mamuthones is a solemn ceremonial, an orderly procession and dance at the same time.
The Mamuthones, in two parallel rows and flanked by the Issohadores, move very slowly, bent under the weight of the cowbells and, at regular intervals, lift their shoulder shaking the bell harness all at the same time. The Issohadores move with more agile steps and jumps, then, suddenly, they run, swiftly throw their lasso ("Sa Soha") to catch and pull towards them as prisoner the male friend or the woman they have singled out in the crowd."
Nati in tempi remotissimi, come attori attivi nei riti pagani, di loro si è persa l'origine e il significato.
"Sos Mamuthones" e "Sos Issohadores" , sono sopravvissuti con tutto il loro fascino e mistero.
"Senza Mamuthones non c'è carnevale", affermano i mamoiadini: il che vuol dire che è questa la più importante manifestazione e quasi simbolo del carnevale stesso e che l'apparizione dei Mamuthones è segno di festosità, di allegria e di tempi propizi.
La preparazione della mascherata, crea un fervore operoso, un'atmosfera agitata e fremente che si propaga in tutta la comunità.
Quella dei Mamuthones, è una cerimonia solenne, ordinata come una processione, che è allo stesso tempo una danza.
I Mamuthones si muovono su due file parallele, fiancheggiati dagli Issohadores, molto lentamente, curvi sotto il peso dei campanacci e ad intervalli uguali dando tutti un colpo di spalla per scuotere e far suonare tutta la sonagliera.
Gli Issohadores si muovono con passi e balzi più agili, poi all'improvviso si slanciano, gettano il laccio ("Sa Soba") fulmineamente e colgono e tirano a sè come un prigioniero l'amico o la donna che hanno scelto nella folla".
This is "Kaga Temari". Japanese traditional handcraft.
Winding the chunk of cotton by a color thread until it forms a precise sphere.
Tribute to Lord Lichfield. Professional Photographer to the rich, famous and beautiful.
The above photograph isn't mine, I found it on Blue Sky Seminars website.
"I don't think old photographers retire .... they just go out of focus" - Lord Lichfield
Photographer Lord Lichfield dies
Friday, 11 November 2005
Royal photographer Lord Lichfield has died at the age of 66 after suffering a major stroke.
The Queen was among the first to pay tribute to Lord Lichfield, saying she was "deeply saddened" at the news.
Lord Lichfield was the Queen's first cousin once removed and was the official photographer at the wedding of the Prince of Wales to Diana.
He was being treated in the stroke unit at the John Radcliffe Hospital in Oxford after falling ill.
The renowned photographer had been staying in the area with friends when he suffered a stroke. He died at 0400 GMT on Friday.
A Buckingham Palace spokeswoman said: "It's a private matter. The Queen is deeply saddened and will be sending private condolences."
Lord Lichfield - who inherited the earldom of Lichfield in Staffordshire from his grandfather - has often been asked by the royals to take their official portraits.
He photographed the Queen and the Duke of Edinburgh for her Golden Jubilee in 2002.
In July 1981, he took the official wedding photographs for the Prince of Wales and Lady Diana Spencer.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images" - Geordie Greig, Tatler editor.
Tatler editor Geordie Greig said Lord Lichfield was an "old-fashioned gentleman" whose best work had been his shots of the wedding.
"The royal wedding was spectacularly memorable, he got the intimacy of the Royal Family, he got that fairytale magic.
"There was a sort of almost Hollywood magic dust spread throughout that shoot and the world enjoyed it.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images."
Former royal press secretary Dickie Arbiter said Lord Lichfield had been very close to the Royal Family and was noted for the easy way he handled them during shoots, using a whistle to marshal guests at the wedding of Charles and Diana.
"One year, we were shooting a Christmas card at Windsor Castle it was all over in about 15 minutes, he was almost a one-shot man, he would get it perfect the first time."
Baroness Thatcher, whose recent 80th birthday photos were taken by Lord Lichfield, said: "Patrick Lichfield was not only one of the most talented and professional of photographers, he was also an absolute delight to sit for.
"Always courteous and considerate, he had a rare skill which is now sadly gone."
Friend and photographer Terry O'Neill said Lord Lichfield's style was always spontaneous.
"He did go for the moment. He was instinctive. It was part of his nature."
He remembered that the aristocrat liked to be viewed as "one of the chaps".
In a career spanning 40 years, Lord Lichfield worked for Vogue and photographed many stars, including Sixties singer Marsha Hunt, Michael Caine and Joanna Lumley.
As well as editorial photography, he worked on advertising commissions across several industries, including fashion, tobacco and pharmaceuticals.
He was recently commissioned by the British Tourist Authority, and was involved in Hot Shots, a television series for Discovery Real Time in which amateur photographers are taught by professionals.
Interviewed in October by the BBC News website, he told reporter Caroline Briggs: "Remember that the person you are photographing is 50% of the portrait and you are the other 50%.
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
Lord Lichfield's long-term partner was Lady Annunziata Asquith, and he had had three children with ex-wife Lady Leonora Grosvenor - a son, Tom, and two daughters, Rose and Eloise.
Lord Lichfield : BBC News Website Obituary
Friday, 11 November 2005
Lord Lichfield stretched beyond his privileged upbringing to become a world-renowned photographer.
He first used a camera at the age of seven, taking pictures of his family, pets and scenes at his beloved home, the stately Shugborough Hall in Staffordshire.
He attended Harrow School, and took his first pictures of the Queen as he played cricket against Eton.
While his upbringing was aristocratic, Lichfield's great passion for photography carried him far beyond any blue-blooded barriers, and through an extremely successful 40-year career.
The son of Viscount Anson and Princess Anne of Denmark, Patrick Lichfield - the 5th Earl of Lichfield - was the Queen's first cousin once removed.
He made his break into photography in 1962, after leaving the Grenadier Guards.
Starting out as a photographer's assistant on £3 a week, he made the most of his showbusiness and aristocratic connections, snapping everybody from Mick and Bianca Jagger on their wedding day to the Duke and Duchess of Windsor in exile.
Lichfield's memory of the latter encounter was of deliberately falling off his chair to force smiles out of his straight-faced subjects. The result got him a contract with Vogue magazine.
He also worked for a range of other newspapers and magazines, including Life.
One of his most iconic images, which he recently recreated, was the naked pose of the singer Marsha Hunt, complete with a huge afro hairdo for the musical Hair.
Another was Swinging London, which featured Roman Polanski, David Hockney and Lady Antonia Fraser. Other famous subjects included Michael Caine, Joanna Lumley and a host of 1960s glitterati.
His long career was celebrated two years ago with an exhibition at the National Portrait Gallery, and he was awarded fellowships of both the British Institute of Professional Photographers and the Royal Photographic Society.
Most recently, he took a special set of pictures of Baroness Thatcher to mark her 80th birthday.
His position and profession came together most famously in July 1981, when he took the official wedding photographs of the Prince and Princess of Wales, before sitting down to the wedding feast with hundreds of other royals.
From his studio in north Kensington, Lichfield became renowned the world over for his skill with the lens, and personally admired for his straightforward manner.
Although he was one the official photographers of the Queen's Golden Jubilee, he liked being addressed as plain Patrick Lichfield and was at his happiest poring over shots in his studio.
A self-professed "spiv" and admirer of feminine beauty, one of Lichfield's favourite commissions was the famous Unipart calendar, shot in glamorous locations all over the world with an emphasis on stunning models.
Lichfield admitted to having relationships with many of his pretty subjects but, away from the camera, he found companionship in his own well-bred circle.
He was married for 11 years to Lady Leonora Grosvenor, sister of the Duke of Westminster, with whom he had three children.
His most recent partner was the biographer, Lady Annunziata Asquith.
Like the late Princess Margaret, he often took refuge on the Caribbean island of Mustique. It was at his holiday home there in 1992 that he suffered a very bad fall, from which he had difficulty recovering.
Despite this, he continued to work throughout his life, becoming a champion of the digital revolution, and attending to the photography that he described as his "calling".
As he got older, Lord Lichfield reflected on his legacy, wondering what he would leave behind.
Acknowledging his pedigree, he was delighted that Shugborough was smaller but better managed. But he always added: "There are the pictures."
Readers Comments about Lord Lichfield
Here are some of his Quotes, Tips & Tricks
I thought you all may like...I did.....
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
His quotes...
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
[FR] 🇫🇷
⚠ Je tiens à préciser que cette photographie a été réalisée dans des règles bien strictes visant à protéger la pratique du paysage nocturne. Les photographies composant ce panorama ont été réalisées avec le même matériel, au même endroit, à la même date et les photographies ont été prises les unes à la suite des autres sans perdre de temps. ⚠
✨ Miroir, miroir, dis-moi où se situe l'un des ciels étoilés les plus purs d'Europe. ✨
Avec ton surprenant effet miroir, il n'y a pas de doute ; le Queyras est très bien placé pour contempler le ciel étoilé !
Et ce surtout, l'hiver. Savez-vous pourquoi ?
Le froid a l'avantage de stabiliser l'air et de réduire la turbulence atmosphérique. En effet, si vous observez les étoiles, plus elles scintillent, plus cela veut dire que le ciel « turbule » et moins bonne est sa transparence. À cela, l'air davantage sec pendant l'hiver permet d'accentuer la transparence du ciel. C'est en partie grâce à ces conditions atmosphériques exceptionnelles que le Queyras est placé parmi l'un des ciels les plus purs d'Europe.
Ciel couplé avec un lac de montagnes et là vous êtes au paradis... ! Enfin de mon point de vue.
Perché à 2214m d'altitude, le lac Miroir fait partie des randonnées incontournables du Queyras.
Une randonnée avec un peu plus de 500m de D+ est nécessaire pour atteindre cet endroit magique.
Le lac Miroir est encerclé de mélèzes qui prennent une couleur orange à l'automne ; probablement le meilleur moment de l'année pour l'admirer !
Cette photographie entièrement prise de nuit a été réalisée la nuit du 10 au 11 juin 2021.
À cette époque de l'année, l'herbe redevient verte et les premières fleurs font leur apparition. Ce qui n'est pas le cas partout !
Le bulbe de la Voie Lactée se pose sur l'incroyable pic des Heuvières culminant à 3271m d'altitude qui fera le bonheur des alpinistes.
Et toi ? Tu es plutôt un contemplatif du ciel étoilé ? Plutôt randonnée ? Plutôt alpiniste ? Ou les 3 ?
Personnellement, je suis contemplatif du ciel étoilé et randonnée !
📷 EXIFS 📷
Canon 5D MKIII + objectif Samyang 24mm f/1.4 sur trépied simple.
Pour le sol : Panorama de 11 photographies. Chaque photographie est une pose unique de 90 secondes à 2500 ISO et f/2.8.
Pour le ciel : Panorama de 22 photographies. Chaque photographie est une pose unique de 13 secondes à 8000 ISO et f/2.8.
[EN] 🇬🇧
⚠ I would like to point out that this photograph was taken under very strict rules aimed at protecting the practice of the nocturnal landscape. The photographs making up this panorama were taken with the same equipment, in the same place, on the same date and the photographs were taken one after the other without wasting time. ⚠
✨ Mirror, mirror, tell me where one of the purest starry skies in Europe is. ✨
With your surprising mirror effect, there is no doubt; the Queyras is very well placed to contemplate the starry sky!
And especially in winter. Do you know why ?
The cold has the advantage of stabilizing the air and reducing atmospheric turbulence. Indeed, if you observe the stars, the more they twinkle, the more it means that the sky is "turbulent" and the less its transparency. To this, the drier air during the winter makes it possible to accentuate the transparency of the sky. It is partly thanks to these exceptional atmospheric conditions that the Queyras is placed among one of the purest skies in Europe.
Sky coupled with a mountain lake and there you are in paradise...! Finally from my point of view.
Perched at an altitude of 2214m, Lac Miroir is one of the essential hikes in Queyras.
A hike with a little more than 500m of D+ is necessary to reach this magical place.
Mirror Lake is ringed with larch trees which turn orange in the fall; probably the best time of year to admire it!
This photograph taken entirely at night was taken on the night of June 10 to 11, 2021.
At this time of year, the grass turns green again and the first flowers appear. Which is not the case everywhere!
The bulb of the Milky Way arises on the incredible peak of Heuvières culminating at 3271m of altitude which will delight mountaineers.
And you ? Are you more of a contemplative of the starry sky? Rather hike? More of a mountaineer? Or all 3?
Personally, I am contemplative of starry skies and hiking!
📷 EXIF 📷
Canon 5D MKIII + Samyang 24mm f/1.4 lens on single tripod.
For the floor: Panorama of 11 photographs. Each photograph is a single exposure of 90 seconds at ISO 2500 and f/2.8.
For the sky: Panorama of 22 photographs. Each photograph is a single exposure of 13 seconds at ISO 8000 and f/2.8.
Acropoli - Tempio C
Il Tempio C è il più antico in quest'area, e risale al 550 a.C.
Nel 1925-27 sono state ricomposte e rialzate sul lato N numerose colonne (per la precisione 14 colonne su 17) con parte della trabeazione.
Presenta un peristilio (lunghezza m 63,70; larghezza m 24) di 6 x 17 colonne (altezza m 8,62).
È caratterizzato a est dall'ingresso preceduto da una scalinata di 8 gradini, un vestibolo con una seconda fila di colonne, quindi il pronao, la cella e l'adyton collegati in un insieme stretto e lungo (carattere arcaico); ha sostanzialmente la stessa planimetria del Tempio F sulla collina orientale.
Acropolis - Temple C
Temple C is the oldest in this area, dating back to 550 BC.
In 1925-27 numerous columns (to be precise 14 out of 17 columns) with part of the entablature were reassembled and raised on the N side.
It has a peristyle (length 63.70 m; width 24 m) of 6 x 17 columns (height 8.62 m).
It is characterized to the east by the entrance preceded by a staircase of 8 steps, a vestibule with a second row of columns, then the pronaos, the cella and the adyton connected in a long and narrow whole (archaic character); it has essentially the same plan as Temple F on the eastern hill.
_MG_8341.CR2
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***
I loved the vibrant red tiles and their neat and precise rows. The rich red painted walls really popped against the white open shutters on the windows. To me this scene was like a visual treat - an unexpected little piece of candy :)
Happy Window Wednesday Everyone!
“The Rows (Danish: Stokkene) are six two-storey terraces which were originally built by Henrik Ruise as barracks for the soldiers based at the Kastellet (The Citadel). The dorms measured four by four metres and contained two triple beds, a small table and two benches. Over time they became known under individual names: General Stock where the commanders resided until the Commander's House was built, Artillery Stock for the artillerists, and Star Stock, Elephant Stock, Swan Stock and Fortuna Stock. The Mansard roofs are not part of the original design but date from 1768 when the rows were altered. The original roof profile is today only seen at the end of Artillery Row as seen from the Prince's Bastion.”
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....
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
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).
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!
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.
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)
For more details on the COR Precise visit: www.corwheels.com/precise/
view our entire Chevrolet gallery at:
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)
Facebook Page: www.facebook.com/xiaoyangphotography/
Instagram: inhiu
Palmer, Alfred T.,, photographer.
Women are trained to do precise and vital engine installation detail in Douglas Aircraft Company plants, Long Beach, Calif.
1942 Oct.
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Douglas Aircraft Company
Airplane industry
Women--Employment
World War, 1939-1945
Assembly-line methods
United States--California--Long Beach
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-39 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35357
Call Number: LC-USW36-130
A blast from the past. September of 2022 to be precise, panoramic stitch of multiple images, morning view of Trondheim city reflected on the Nidelva river.
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)
Standing alone in the long grass at the edge of the Shugborough parkland, this two-storey octagonal tower is one of the most architecturally precise garden buildings in England - a direct response to a specific ancient original, designed by the man who had measured and drawn that original with his own hands. One of the most prominent of the garden buildings at Shugborough is the Tower of the Winds, an octagonal structure of 1765, designed by James "Athenian" Stuart.
The original Tower of the Winds - the Horologion of Andronikos Kyrrhestes - stands on the north slope of the Acropolis in Athens, an octagonal marble structure built around 100-50 BC as a combined sundial, water clock, and weather station. Accurate illustrations were not published until 1762, when they appeared in volume one of James Stuart and Nicholas Revett's The Antiquities of Athens. Stuart had spent years in Athens measuring the building himself - hence the nickname "Athenian" - and the Shugborough tower, completed just three years after the publication of his own drawings, reflects that direct knowledge. The little entrance porticoes were designed with a close eye on the original, and their capitals are a version of Corinthian with acanthus leaves but no spiral volutes, a form now often known as Tower of the Winds Corinthian.
The building's subsequent history is characteristically English in its layered pragmatism. The tower was originally surrounded by water, situated at the end of an ornamental lake, and linked to the land by two bridges. The ground floor windows were inserted in 1803 when Samuel Wyatt converted the building into an ornamental dairy for Lady Anson. In the 19th century, the upstairs room apparently became a gambling den presided over by the 1st Earl of Lichfield - a use the Athenian original had not anticipated. The upper floor ceiling, meanwhile, is based not on any Greek precedent but on one from Nero's Golden House in Rome: a reminder that even "Athenian" Stuart was an eclectic at heart.
The photograph, taken in stormy July light with the long uncut grass blowing in the foreground, catches the tower in a mood of quiet grandeur. Isolated from the hall and its formal gardens, it seems entirely self-contained - a small piece of Athens deposited, with perfect confidence, in the Staffordshire countryside.
To be precise, the title should read: Dubrovnik in the very early morning because this picture was taken at exactly 4:58am on a morning during the summer.
More on this photo: sumfinity.com/photos/croatia/dubrovnik/stradun-at-night/
Follow me on Instagram: www.instagram.com/nicotrinkhaus/
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.
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.
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.