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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....
mamoiada-sfilata de Sos Mamuthones
Probably actors who performed pagan rituals in ancient times but whose precise origins and meaning have been lost in the centuries, Sos Mamuthones and Issohadores have manteined intact their fascination and mystery.
"Without the Mamuthones there is no Carnival, say the people of Mamoiada. Theu are its most important feature, its symbol, almost. Their appearance is taken as a sign of festivity, happiness and times of grace.
The preparation of the masquerade creates an industrious ardour, a frantic, thrilled atmosphere that spreads to the whole community.
That of the Mamuthones is a solemn ceremonial, an orderly procession and dance at the same time.
The Mamuthones, in two parallel rows and flanked by the Issohadores, move very slowly, bent under the weight of the cowbells and, at regular intervals, lift their shoulder shaking the bell harness all at the same time. The Issohadores move with more agile steps and jumps, then, suddenly, they run, swiftly throw their lasso ("Sa Soha") to catch and pull towards them as prisoner the male friend or the woman they have singled out in the crowd."
Nati in tempi remotissimi, come attori attivi nei riti pagani, di loro si è persa l'origine e il significato.
"Sos Mamuthones" e "Sos Issohadores" , sono sopravvissuti con tutto il loro fascino e mistero.
"Senza Mamuthones non c'è carnevale", affermano i mamoiadini: il che vuol dire che è questa la più importante manifestazione e quasi simbolo del carnevale stesso e che l'apparizione dei Mamuthones è segno di festosità, di allegria e di tempi propizi.
La preparazione della mascherata, crea un fervore operoso, un'atmosfera agitata e fremente che si propaga in tutta la comunità.
Quella dei Mamuthones, è una cerimonia solenne, ordinata come una processione, che è allo stesso tempo una danza.
I Mamuthones si muovono su due file parallele, fiancheggiati dagli Issohadores, molto lentamente, curvi sotto il peso dei campanacci e ad intervalli uguali dando tutti un colpo di spalla per scuotere e far suonare tutta la sonagliera.
Gli Issohadores si muovono con passi e balzi più agili, poi all'improvviso si slanciano, gettano il laccio ("Sa Soba") fulmineamente e colgono e tirano a sè come un prigioniero l'amico o la donna che hanno scelto nella folla".
or to be more precise...
in my face, again... [see my previous 'dirt eating' ~ here]
rider: matti lehikoinen
place: downhill line, fort william, scotland
downhill world championship '09
canon 5d mark ii + canon 15mm [fish eye]
view it in large size on black ~ click
ps. this shot almost got onto the paper, but no luck this time,,,
this photo was POD on pinkbike.com on 2009-08-23
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
After the massive Greek storm and rain departed, the sun blasted everything with it's usual intensity, and the villa garden sparkled for a while. Late in the afternoon, just before the sun disappeared below the adjacent mountain, I took several shots of an indigenous bindweed trying to tie a knot around a leaf stem. My DoF was very shallow - f1.5 - which I prefer with the Helios, as I tend to go for the optical 'feel' this generates, rather than absolute pixel-precise focusing accuracy.
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!
Grateful thanks to Graham Hall for the precise location, Dorset. I have only ever seen the species on the continent, so it was great to see what may be the start of a UK population. A few more photos to follow.
I posted this in October of 2008, but somewhere along the line, I must have accidentally deleted it. Well, here it is again, alongside the short story I wrote to go with it. My 13th year on this earth produced some decent shots - how? I don't really know. When I had a camera, or when I've got a pen in my hand, it just sort of...happens. Enjoy!
'So there he stood, in the pouring rain and the harsh, cold autumnal wind, and he looked. He looked at the sea in front of him, and at the small waves gently stroking the shore and then recoiling back again. He watched this for some time, quietly taking himself back and playing the day’s events again and again in his mind. It had been a strange day, more than usual, but it was to be expected. He reached down into his torn, ragged coat pocket, and pulled out a tub labelled “Cash”;. He began to count, becoming less and less excited as he added up the total. £2.74. It was good, he thought, good enough. Good enough, he hoped, for the barman at the Old House at Home. Ironic, since a house at home was the precise thing he needed most of all. Probably why he liked to go there.
Suddenly he was caught unawares by a sharp gust of wind in his ear, and it was then that he noticed the lamp to his right.
He thought once more of how, even with all the weather could throw at it, in spite of all the storms and gales, the lamp had been shining on determinedly, continuously.
And he thought about the peace, the solace, the warmth that in its subtlety the lamp exuded and that he had neither noticed nor ever experienced. This lamp, he decided, was his only, his best friend.
And so the homeless man sat down wearily, exhaustedly, leaning on his new best friend, and with a cough he lay on his side and closed his tired, dry eyes.
The day’s events were past him now, and in the warm orange glow of the lamp, they had no relevance. He was safe. That was all that mattered.'
(c) 2008-2020
Reaching for the finest and juiciest leaves at the top.
The elephant’s trunk tip contains two finger-like appendages that enhance its dexterity, allowing elephants to grasp small objects and perform precise movements. (I have read that the tip is so sensitive that they are able to turn pages in a book)
Their trunk is essentially a fusion of the nose and upper lip and its incredible versatility makes it possibly the most useful body part in the whole animal kingdom. The elephant’s trunk is so sensitive that it is more capable than a bloodhound’s nose and is said to be able to smell fresh water from almost 20 km (12.4 miles) away. The nostrils are located at the tip of the trunk and function in breathing and smelling. The sense of smell is in constant use, with the trunk moving back and forth, detecting new scents and information.
It is remarkable is how the trunk is able to manoeuvre in so many directions without any skeletal support. It is able to do this by means of tightly packed muscle fibres that keep its volume constant through a variety of movements. Longitudinal, cross-sectional and lateral muscle arrangements allow the trunk to flex in literally any direction possible.
Larroque est un petit village tarnais, de la basse vallée de la Vère, entre Bruniquel et Puycelsi. Il est situé au pied d’une falaise de calcaire.
Sa situation géographique ainsi que la présence de grottes font que les hommes se sont installés dès la préhistoire dans lieu privilégié.
De rares vestiges (outils, silex) datant du paléolithique supérieur (vers – 20 000 ans avant notre ère) y ont été trouvés au pied de la falaise.
La découverte de haches en pierre polie, de meules pour broyer le grain, de tessons de poterie, laisse supposer la présence des hommes au néolithique ( – 5 300 avant JC) à cet endroit.
Avec les hommes du néolithique, commence la sédentarisation et avec elle, le début de l’agriculture et de l’élevage.
Dans les grottes de Larroque on a trouvé de nombreux objets attestant de la présence des hommes à l’âge de bronze (-1 500 ans avant notre ère). Ceux sont des morceaux de céramique typique, de vases et des outils (poinçons, lissoirs, coins, gaines en os en bois).
Les grottes furent aussi habitées à l’âge de fer, plus précisément à la période de la Tène (- 500 avant JC), comme le prouvent les nombreux tessons de poterie relatifs à cette époque, trouvés sur le site.
On suppose que les hommes ont commencé à délaisser les grottes pour s’installer au pied de la falaise à cette époque-là.
Les premières maisons, sous forme de cabanes, ont dû être bâties aux premiers siècles de notre ère ( du 2ème au 10ème siècle).
Plus tard, autour du 13ème et 14ème siècles, on construisit de vraies maisons.
Durant cette période de guerres, les grottes servirent de refuge. Il y avait des murs défensifs devant les grottes.
On a trouvé des pièces de monnaies médiévales qui prouvent la présence des hommes durant la guerre de Cent Ans et les guerres de religions (monnaies d’Henri IV et de Louis XIII).
Lorsque les guerres furent terminées, les hommes abandonnèrent les grottes. On peut toutefois supposer qu’elles servirent de refuge durant la Terreur.
La commune de Larroque a été créée aux dépens de Puycelsi, en 1791, à partir des paroisses de Saint Nazaire, de Larroque, Saint Martin d’Urbens et Notre Dame des Mespel (ou du Désert).
L’église romane est dédiée à Saint Nazaire.
Ne ratez pas le château de la Vère, ancien relais de chasse du 18ème siècle.
Larroque est un très beau village, et il fait bon se prommener dans ses ruelles dont les maisons ont été restaurées avec goût
Larroque is a small village in theTarn, in the lower valley of the Vère between Bruniquel and Puycelsi. It is located at the foot of a limestone cliff.
Its geographical location and the presence of caves where men have settled since prehistoric times in a privileged place.
Rare remnants (tools, flint) dating from the Upper Palaeolithic (toward - 20,000 years ago) were found at the foot of the cliff.
The discovery of polished stone axes, mills for grinding grain, pottery shards, suggesting the presence of Neolithic men (- 5300 BC) at this location.
With Neolithic man begins the settlement and with it the beginning of agriculture and livestock.
In the caves of Larroque were found many objects testifying to the presence of men in the Bronze Age (1500 BCE). Those are pieces of typical pottery, vases and tools (punches, polishers, corners, wooden bone ducts).
The caves were also inhabited in the Iron Age, specifically the period of the Tène (- 500 BC), as evidenced by the many pottery shards found at the site.
It is assumed that men began to abandon the caves and moved to the foot of the cliff at that time.
The first houses in the form of huts had to be built in the first centuries of our era (from 2nd to 10th century).
Later, around the 13th and 14th centuries real houses were built.
During the time of war, the caves served as refuge. There were defensive walls to the caves.
Were found pieces of medieval coins that prove the presence of men during the Hundred Years War and the wars of religion (coins of Henry IV and Louis XIII).
When the wars were over, man abandoned the caves. It can be assumed that they served as a refuge during the Terror.
The town of Larroque was created at the expense of Puycelsi in 1791 from the parishes of Saint Nazaire, Larroque, Saint Martin and Our Lady of Urbens Mespel (or Desert).
The Romanesque church is dedicated to St Nazaire.
Do not miss the castle of Vere, a former 18th century hunting lodge.
Larroque is a beautiful village, and it is good to walk through its streets whose houses have been tastefully restored
Thank you all for your visits & comments , they are much appreciated
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.
Poem.
Reflection of breathless stillness.
Right, left, right.
A precise symmetrical image of the slopes above
Loch a Mhuillidh in Strathfarrar.
Not a breath.
Not a ripple.
Perfection.
Iridescent blue reflecting a sublime autumn’s day.
Pine, birch, gorse, rock-faces, telegraph poles and steep hillside repeated in darker tones, on the glassy loch.
Then, the lone Scots Pine,
perched on its roche moutonee,*
surveying a valley of remarkable unspoiled vistas.
Strathfarrar.
roche moutonee* - glacially scoured and scratched rocky outcrop.
The precise extent of the once wooded area from which Southwood in the town of Ramsgate takes its name is uncertain. Today, Southwood has much clearer definition in the local inhabitant's mental map as a predominantly residential area and as the home ground of Ramsgate football. It equates with the area of the former Southwood Farm and of Southwood House. Southwood's large, Victorian water tower is also one of Ramsgate's distinctive and prominent landmarks. The Southwood neighbourhood occupies an area of about half a square kilometre, and consists of predominantly late nineteenth and early twentieth century houses. It sits on elevated ground one kilometre to the west of Ramsgate town centre and behind the more prestigious houses, cliff-top promenades, and greens of the West Cliff area.
The Tower was built in 1887 and was made a grade II listed building in 1988, now converted into flats. I can see the back of this building from anywhere in the front of the house.,
Apparently my house was lot 3 when the farm was sold and was used as a brickfield until the row of houses were built in 1902. A brickfield is a common location name in southeast England. Its name derives from a field where the topsoil was removed and the clay beneath was stripped, and mixed with chalk and ash to create bricks, we now have topsoil and chalk so I suppose all the clay was used up!
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
detail of a diminute wildflower I have encountered only in Northern latitudes so far, Iceland and Scotland to be precise. No idea what it is called but I find it a thing of utter beauty and delicacy and it really makes me think of some alien creature with strange caleidoscopic eyes and large pointed lashes :)
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)
Francesco Guardi (1712-1793) - gondolas on the lagoon (gray lagoon) (1765) - oil on canvas 31 x 41.8 cm - Museo Poldi Pezzoli Milan
Il dipinto viene unanimemente considerato uno dei capolavori del vedutismo poetico di Francesco Guardi, capace di trascrivere, in termini pittorici, l’emozione di un istante di luce colto nella pace della laguna.In un’atmosfera sospesa e quasi magica, una gondola naviga sulla tranquilla distesa delle acque, mentre in lontananza, nella luce rosata del tramonto, si intravede un tratto dell’estuario veneziano. Il dipinto è condotto con una ristretta gamma di colori in cui predominano i grigi e gli azzurri. Acqua e cielo sembrano confondersi, appena separati da un’esile fila di architetture, in cui bassi muraglioni si alternano alle verticali dei campanili. Rimane incerta l’identificazione precisa del luogo rappresentato, forse una delle estreme propaggini di Murano.
The painting is unanimously considered one of the masterpieces of Francesco Guardi's poetic landscape painting, capable of transcribing, in pictorial terms, the emotion of an instant of light caught in the peace of the lagoon.In a suspended and almost magical atmosphere, a gondola sails on the quiet expanse of water, while in the distance, in the pink light of the sunset, you can see a stretch of the Venetian estuary. The painting is conducted with a narrow range of colors in which grays and blues predominate. Water and sky seem to merge, barely separated by a slender row of architectures, in which low walls alternate with the verticals of the bell towers. The precise identification of the place represented remains uncertain, perhaps one of the extreme offshoots of Murano.
For more details on the COR Precise visit: www.corwheels.com/precise/
view our entire Chevrolet gallery at:
I haven't posted anything on Flickr in a while, so it's time to post some overdue MOCs. We're starting with the Viking village I built in early 2025.
To be precise, it's part of the village with a forge, a small house, a warehouse, and a small marketplace.
Or to be precise, a Black Legged Kittiwake, captured from Mumbles Pier today. Really thrilled to see these ( and their chicks ) today because last year the Pier was closed for its ongoing refurbishment and this year, i wasn't sure if I'd get here due to Lockdown, let alone the fact that The Pier was open . One of my favourite seabirds with their raucous call which gives them their name, a call you can hear all the way from Knab Rock, Mumbles and further away depending on the wind direction.
Have you ever noticed precise, conical divots in soft earth beneath large trees or at the base of cliffs? The conical pits are ant traps, dug and maintained by antlion larva, which may occupy the trap for two or three years before transforming to an adult (see first comment).
The larva lies patiently, just barely beneath the surface at the bottom of the pit, waiting for the sound and vibration of sliding sand, meaning that a beetle or spider or ant has fallen into the trap and is trying to climb out. The larva grabs it with its large jaws, injects venom to immobilize the prey and enzymes that turn the prey's tissues to mush. The antlion then siphons the digested material through the mandibles and tosses the hollow carcass out of the trap.
This is a live larva (promptly returned to its trap after this shot) caught beneath pines in a ponderosa pine forest in Boulder, Colorado.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
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And all was just as well as he first came to this world. He learnt, he destroyed, and he rebuilt. He left this temporary ground for himself, and headed to where he came from. Home.
I can't believe this series is finally over. It's been almost a year of planning, making dresses and cloak, and long travels. Looking back at the first picture I took for this series, "Talking tree," I certainly have changed a lot. Or to be more precise, this series has changed me a lot. Story making has become even more exciting for me than before.
I fell on my knees really hard at times that sometimes I thought I couldn't get up. I hurt myself yet enjoyed the art of process at the same time. So I kept on telling myself that this wasn't over yet, and it brings me right here to a closure, and to be finally able to say that I dared to grow, as I always will.
I am officially selling limited edition prints from this series. The full story can be seen on www.mikaelaldo.com/one-day. For information regarding prints, contact me at mail@mikaelaldo.com
Facebook Page and Instagram.
Innocenzo da Imola (Innocenzo di Pietro Francucci - Imola, 1490 - Bologna, 1550) - Madonna and Child in glory and Saints Michael the Archangel, Peter and Benedict (1517-22) - oil on panel 397 x 258.5 cm - Bologna National Gallery
La pala, che fa parte delle serie di lavori eseguiti dall'artista nella chiesa e nel convento di San Michele in Bosco, fu dipinta intorno al 1522 per l'altare maggiore, secondo un programma iconografico ben preciso, che appare nel contratto tra l'artista e il priore olivetano.
La composizione, costruita da figure monumentali, ruota tutta intorno alla figura dell'Arcangelo, che riprende con deboli varianti l'invenzione raffaellesca del San Michele, oggi al Louvre, diffusasi rapidamente in Emilia grazie al cartone del dipinto, donato dallo stesso Raffaello al duca Alfonso I d'Este.
The altarpiece, which is part of the series of works carried out by the artist in the church and convent of San Michele in Bosco, was painted around 1522 for the main altar, according to a very precise iconographic program, which appears in the contract between the artist and the Olivetan prior.
The composition, built from monumental figures, revolves entirely around the figure of the Archangel, who takes up with slight variations the Raphaelesque invention of Saints Michael, now in the Louvre, which spread rapidly in Emilia thanks to the cartoon of the painting, donated by Raphael himself to the duke Alfonso I d'Este.
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
Following earlier thoughts about the relationship between photography and space, the next question for me is how to work photographically so that an image doesn’t just hang on a wall, but actually functions there.
The goal isn’t to make photography more “artistic” – but more suitable for interior space. Not less decorative, but decorative in a way that holds visual weight and emotional depth and resonates emotionally over time. A few initial "rules" suggest themselves:
- Reduction to form and surface.
The image should not show, but organize. Visual elements should be clearly placed, not narrative.
- Abstraction over representational Content.
Geometrical forms over recognizable Objects. No story, no memory. Avoid shallow “zoomed-in” abstractions that rely on texture but lack compositional depth.
- Restrained use of color and tonal values.
Muted, quiet tones. No contrasts that demand attention. No dominant color accents. If strong color is used, then use it with a clear atmospheric intention.
- Calm composition.
No perspective, no motion, no directional pull. Tension through balance, not through lines.
- Texture as a visual tool.
Surface presence instead of content. Stone, fog, light, water – not as subjects, but as structure.
- No Message, no statement.
The image doesn’t need to mean anything – just have presence. It shouldn’t want to say anything. Emotional depth should emerge quietly – through tonal transitions, atmospheric layering, and precise use of detail. Nothing explicit, but enough to move your and hold attention over time.
- Neutral format.
Square or quietly balanced rectangles. No dramatic crops.
Whether these "rules" hold up, I don’t know yet – but they offer a starting point for me. And regardless of whether they prove useful, I know I still have a long way to go before I’m able to work consistently within them.
All the previous posts, six of them, have dealt with the Zeiss lenses I’ve used during this year. I have no gear related subjects determined by, for example, my supporters, but for the sake of this project it was a kind of mandatory to answer the questions I myself proposed at the beginning of this project (to be more precise I promised to share my experiences related to these particular Zeiss lenses and hoped it would be useful to you). But now that I’ve done it and the year is slowly approaching to its end, it’s time to write about something else: the edge of the wave.
I have, of course, shot a lot more than what I have actually shared through this project. I regret that I forgot to check my shutter count before I started this project, but my careful estimation is about 30 000 – 50 000 pictures during this year. I know it might sound a lot, but there are a lot of duplicates as I’m always trying to get a best shot of each particular scenario – for example, Aura swinging in the swing at the summer (see blog post here) took approximately 500-700 shots alone with rapid fire (and multiple days) as I wanted just a right background, angle, etc. Some of the pictures I’ve shot could have been fitted in to this project but having no time to write a proper blog post has sometimes prevent me to share them. Then there are other pictures, like family photography, that is too personal to be interesting to others. But the bottom line is this: I have had a great opportunity to shoot with some of the best gear in the industry and I’ve tried to make best out of it by continuously searching photographic opportunities and ideas throughout the year.
People say that the older you get the faster the years go by. When you are young those childhood summers feel endless, but then at the age of forty you pass 5 or 10 years just like that in one step without knowing where the years went. It happens to all of us. We all get sucked into work, tasks, deadlines and routines which make it difficult to stay there at the edge of the wave where you feel life in all its uniqueness. Every time I realize this I get into this existential mode and it feels like I’m unveiling the unpleasant truth everyone is trying to deny by concentrating on ‘most important matters’ – I realize that I’m not really experiencing the moments, I’m just watching the film go by.
But for me the camera has always been a tool which I have been using to swim against current of time, to collect all those small moments and trying to be there at the edge of wave even then when the wind is raising up. Camera obscura is really miracle of physics which one can use to create projections on a flat surface, to capture light and shadows of life itself and to able to view them later on like we would actually be there. If you have examined old photographs you certainly know that existential feeling when you see people who have already passed away looking directly to your eyes through the frame. You still exists in this world and are able to experience all this, they don’t. This is the feeling when you are at edge of the wave – the feeling of being alive.
What I really love in a yearlong project like this is that it forces me to be active throughout the year. I need to fill in those blog slots with pictures and writings, but at the same time, I’m there collecting moments and creating memories. It forces the time slow down and helps me to experience real life that gets buried under daily routines and tasks. With the camera I'm able to suspend the mundane life and see it in another context where there is great beauty in it as well. Little vanishing moments and marks left by the light of life are captured into frames which constantly remind me that 'this really happened and I was there to witness it'.
As the year is coming to its end very soon I’m sharing some moments along the year. Mostly family stuff as it is, in the end, the most important photographic work for me. Nothing special in the world of photography, but for me, small moments full of life.
Days of Zeiss: www.daysofzeiss.com
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.
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.
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/
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.
Ourang outan du zoo de Beauval.
Les Orang-outans (Pongo) forment un genre de singes anthropoïdes de la famille des Hominidés. Ils sont répandus en Insulinde, plus précisément dans les îles de Bornéo et Sumatra. La taille moyenne des orang-outans est de 1,10 à 1,40 m pour 40 à 80 kg et peuvent vivre de 30 à 40 ans.
La gestation dure 245 jours. Les jeunes orang-outans voyagent accrochés au dos ou au ventre de leur mère pendant plus de deux ans. Les naissances sont espacées, avec un intervalle d'environ huit ans en moyenne.
Les orang-outans sont parmi les plus arboricoles des grands singes. Ils passent la majeure partie de leur temps dans les arbres, à la recherche de nourriture. L'animal se nourrit la plupart du temps de fruits, de jeunes pousses, d'écorce, de petits vertébrés, d'œufs d'oiseaux et d'insectes. Voilà pourquoi Anne Russon, qui étudie l'intelligence des grands singes à l'université York, s'est étonnée d'observer une nouvelle activité des orang-outans vivant autrefois en captivité et relachés à Bornéo : la pêche. Chaque nuit, ils fabriquent un nouveau nid perché entre 12 et 18 mètres au-dessus du sol.
The orangutans are the two exclusively Asian species of extant great apes. Native to Indonesia and Malaysia, orangutans are currently found only in the rainforests of Borneo and Sumatra. Classified in the genus Pongo, orangutans were considered to be one species. However, since 1996, they have been divided into two species: the Bornean orangutan (P. pygmaeus) and the Sumatran orangutan (P. abelii). In addition, the Bornean species is divided into three subspecies. The orangutans are also the only surviving species of the subfamily Ponginae, which also included several other species like Gigantopithecus, the largest known primate. Both species had their genomes sequenced and they appear to have diverged around 400,000 years ago. Orangutans diverged from the rest of the great apes approximately 15.7 to 19.3 mya (million years ago).
Orangutans are the most arboreal great apes and spend most of their time in trees. Their hair is typically reddish-brown, instead of the brown or black hair typical of chimpanzees and gorillas. Males and females differ in size and appearance. Dominant adult males have distinctive cheek pads and produce long calls that attract females and intimidate rivals. Younger males do not have these characteristics and resemble adult females. Orangutans are the most solitary of the great apes, with social bonds occurring primarily between mothers and their dependent offspring, who stay together for the first two years. Fruit is the most important component of an orangutan's diet, however, the apes will also eat vegetation, bark, honey, insects and even bird eggs. They can live over 30 years in both the wild and captivity.
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
Aira Force, to be precise.
I'd say this is one of the most well known and/or visited waterfalls from the Lake District...and if it isn't, it should be.
This is a second visit for me and I'm pretty sure there was a tad more 'force' in the fall, the last time I was here. Even so, it's a lovely place to visit with a decent walk, a fair few steps in places, with plenty to distract you along the way.
I sacrificed the bridge for the sake of the 'pool' in this shot. Definitely personal preference and at least I'm consistent as I seem to recall I did that last time.
This mwila tribewoman was in Hale and came to me, showing a blue cap coming out from her clothes. i first did not understood there was a baby under this cap. Then she opened her clothes to let appear this albino baby girl. She had some little dreadlocks and was incredibly white. The mother was proud to pause for the picture and discovered the magic of polaroid!
I have seen many albinos people in Angola, in the tribes. They are mainly in very bad health, as the sun is very hot there...
Perhaps the most moving picture i ever took as the future of this albino baby is not the happiest you can get in this remote area of Africa.
Mwila (or Mwela, Mumuhuila, or Muhuila) women are famous for their very special hairstyles. Hairstyles are very important and meaningful in Mwila culture. Women coat their hair with a red paste called, oncula, which is made of crushed red stone. They also put a mix of oil, crushed tree bark, dried cow dung and herbs on their hair. Besides they decorate their hairstyle with beads, cauri shells (real or plastic ones) and even dried food. Shaving the forehead is considered as a sign of beauty. The plaits, which look like dreadlocks, are called nontombi and have a precise meaning. Women or girls usually have 4 or 6 nontombi, but when they only have 3 it means that someone died in their family. Mwila Women are also famous for their necklaces, which are central and meaningful as for each period of their life corresponds a specific type of necklace. Young girls wear necklaces, heavy red made with beads covered with a mix of soil land latex. Later girls wear yellow necklaces called, Vikeka, made with wicker covered with earth. They keep until their wedding which can last 4 years. When married they start to wear a set of stacked up bead necklaces, called Vilanda. Women never take their necklace off and have to sleep with it. They also use headrests to protect their hairstyles. However, more and more men and women dress in a western way, because people make fun of them when they go to markets. Women sometimes walk 50 kilometers to sell goods in Huila market. Mwila rarely eat meat, they rather eat porridge, corn, chicken, honey and milk. They kill their cattle only on special occasions. Mwila are not allowed to mention people’s name in public.
© Eric Lafforgue
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