View allAll Photos Tagged rays
Brouwersdam, Concert at Sea, 24 June 2023.
Former GVB 311 now in use with Ray Line, seen here in use on the festival shuttle. It carries the name Soof.
Batoidea is a superorder of cartilaginous fishes, commonly known as rays. They and their close relatives, the sharks, comprise the subclass Elasmobranchii. Rays are the largest group of cartilaginous fishes, with well over 600 species in 26 families. Rays are distinguished by their flattened bodies, enlarged pectoral fins that are fused to the head, and gill slits that are placed on their ventral surfaces.
Batoids are flat-bodied, and, like sharks, are cartilaginous fish, meaning they have a boneless skeleton made of a tough, elastic cartilage. Most batoids have five ventral slot-like body openings called gill slits that lead from the gills, but the Hexatrygonidae have six. Batoid gill slits lie under the pectoral fins on the underside, whereas a shark's are on the sides of the head. Most batoids have a flat, disk-like body, with the exception of the guitarfishes and sawfishes, while most sharks have a spindle-shaped body. Many species of batoid have developed their pectoral fins into broad flat wing-like appendages. The anal fin is absent. The eyes and spiracles are located on top of the head. Batoids have a ventrally located mouth and can considerably protrude their upper jaw (palatoquadrate cartilage) away from the cranium to capture prey. The jaws have euhyostylic type suspension, which relies completely on the hyomandibular cartilages for support. Bottom-dwelling batoids breathe by taking water in through the spiracles, rather than through the mouth as most fish do, and passing it outward through the gills.
Batoids reproduce in a number of ways. As is characteristic of elasmobranchs, batoids undergo internal fertilization. Internal fertilization is advantageous to batoids as it conserves sperm, does not expose eggs to consumption by predators, and ensures that all the energy involved in reproduction is retained and not lost to the environment. All skates and some rays are oviparous (egg laying) while other rays are ovoviviparous, meaning that they give birth to young which develop in a womb but without involvement of a placenta.
The eggs of oviparous skates are laid in leathery egg cases that are commonly known as mermaid's purses and which often wash up empty on beaches in areas where skates are common.
Capture-induced premature birth and abortion (collectively called capture-induced parturition) occurs frequently in sharks and rays when fished. Capture-induced parturition is rarely considered in fisheries management despite being shown to occur in at least 12% of live bearing sharks and rays (88 species to date).
Most species live on the sea floor, in a variety of geographical regions – mainly in coastal waters, although some live in deep waters to at least 3,000 metres (9,800 ft). Most batoids have a cosmopolitan distribution, preferring tropical and subtropical marine environments, although there are temperate and cold-water species. Only a few species, like manta rays, live in the open sea, and only a few live in freshwater, while some batoids can live in brackish bays and estuaries.
Most batoids have developed heavy, rounded teeth for crushing the shells of bottom-dwelling species such as snails, clams, oysters, crustaceans, and some fish, depending on the species. Manta rays feed on plankton.
Batoids belong to the ancient lineage of cartilaginous fishes. Fossil denticles (tooth-like scales in the skin) resembling those of today's chondrichthyans date at least as far back as the Ordovician, with the oldest unambiguous fossils of cartilaginous fish dating from the middle Devonian. A clade within this diverse family, the Neoselachii, emerged by the Triassic, with the best-understood neoselachian fossils dating from the Jurassic. The oldest confirmed ray is Antiquaobatis, from the Pliensbachian of Germany. The clade is represented today by sharks, sawfish, rays and skates.
The classification of batoids is currently undergoing revision; however, molecular evidence refutes the hypothesis that skates and rays are derived sharks. Nelson's 2006 Fishes of the World recognizes four orders. The Mesozoic Sclerorhynchoidea are basal or incertae sedis; they show features of the Rajiformes but have snouts resembling those of sawfishes. However, evidence indicates they are probably the sister group to sawfishes. Phylogenetic tree of Batoidea:
Order Torpediniformes
Family Hypnidae (coffin rays)
Family Narcinidae (numbfishes)
Family Narkidae (sleeper rays)
Family Torpedinidae (torpedo rays)
Order Rhinopristiformes
Family Glaucostegidae (giant guitarfishes)
Family Platyrhinidae* (fanrays)
Family Pristidae (sawfishes)
Family Rhinidae (wedgefishes)
Family Rhinobatidae (guitarfishes)
Family Trygonorrhinidae (banjo rays)
Family Zanobatidae* (panrays)
* the placement of these families is uncertain
Order Rajiformes
Family Anacanthobatidae (legskates)
Family Arhynchobatidae (softnose skates)
Family Gurgesiellidae (pygmy skates)
Family Rajidae (skates)
Order Myliobatiformes
Family Aetobatidae (pelagic eagle rays)
Family Dasyatidae (whiptail stingrays)
Family Gymnuridae (butterfly rays)
Family Hexatrygonidae (sixgill stingrays)
Family Myliobatidae (devilrays)
Family Plesiobatidae (giant stingarees)
Family Potamotrygonidae (Neotropical stingrays)
Family Rhinopteridae (cownose rays)
Family Urolophidae (stingarees)
Family Urotrygonidae (round stingrays)
According to a 2021 study in Nature, the number of oceanic sharks and rays has declined globally by 71% over the preceding 50 years, jeopardising "the health of entire ocean ecosystems as well as food security for some of the world's poorest countries". Overfishing has increased the global extinction risk of these species to the point where three-quarters are now threatened with extinction. This is notably the case in the Mediterranean Sea - most impacted by unregulated fishing - where a recent international survey of the Mediterranean Science Commission concluded that only 38 species of rays and skates still subsisted.
All sharks and rays are cartilaginous fish, contrasting with bony fishes. Many rays are adapted for feeding on the bottom. Guitarfishes are somewhat between sharks and rays, displaying characteristics of both (though they are classified as rays).
A different kind of ray. This stingray was disturbing the sand in the shallows, probably to hide, probably from me.
Cinefantastique Mag. Vol.3 # 2
The Golden Voyage of Sinbad 1973
CAST:
John Philip Law (Sinbad), Tom Baker (Koura), Douglas Wilmer (The Grand Vizier), Caroline Munro (Marigiana), Martin Shaw (Rachid), Kurt Christian (Haroun), Takis Emmanuel (Achmed)
PRODUCTION:
Director – Gordon Hessler, Screenplay – Brian Clemens, Story – Brian Clemens & Ray Harryhausen, Producers – Ray Harryhausen & Charles H. Schneer, Photography – Ted Moore, Music – Miklos Rosza, Visual Effects – Ray Harryhausen, Production Design – John Stoll. Production Company – Morningside. USA 1973
SYNOPSIS:
Sinbad fires an arrow at a strange creature that flies over his ship, causing it to drop the amulet it is carrying. Ashore, the sorcerer Koura attempts to forcibly take the amulet from Sinbad. Sinbad is granted refuge by the benevolent ruler of the city, the Grand Vizier, who has been forced to hide his face behind a beaten gold mask after Koura burnt it with a fireball. The Vizier shows Sinbad a companion amulet and the drawing of a third one. All three form a map that leads to a fountain of youth on the island of Lemuria. With the complete amulet, The Grand Vizier will be able to stop Koura’s ravages on the kingdom. And so Sinbad and the Vizier set sail on an expedition to Lemuria. However, Koura desires the amulet too, wanting to regain the youth that each spell he casts steals from him, and sets sail determined to stop them.
COMMENTARY:
The 7th Voyage of Sinbad (1958) was a landmark in fantasy cinema. It was often imitated over the next decade. Most importantly, it brought to prominence the name of special effects man Ray Harryhausen and his fantastical creatures. Ray Harryhausen was a specialist in the process of stop-motion animation where models are meticulously moved and photographed one frame at a time. Harryhausen went onto a substantial career over the next two decades, creating similar flights of fantasy. (See below for Ray Harryhausen’s other films). He would revisit the Sinbad mythos twice, here and later with the disappointing Sinbad and the Eye of the Tiger (1977). The Golden Voyage of Sinbad is one of Ray Harryhausen’s most acclaimed works and one that shows him at the height of his art.
With The Golden Voyage of Sinbad, Ray Harryhausen employed director Gordon Hessler, who emerged out of the English horror cycle in the late 1960s (see below for Gordon Hessler’s other titles) and Brian Clemens on script. Brian Clemens had worked as script editor on tv’s The Avengers (1962-9), wrote a number of films during the English horror cycle and went on to create series such as The New Avengers (1976-8), The Professionals (1977-83) and Bugs (1995-8). (See below also for Brian Clemens’s other titles). Most Ray Harryhausen films tend to be set around Harryhausen’s provision of creature effects, with the intervening action being stolid and his leading men tending to a uniform woodenness. Although the dialogue here has a tendency to fall in clunky pseudo-profound aphorisms at times, Brian Clemens creates probably one of the more nuanced scripts for any Ray Harryhausen film. Particularly original is the character of the sorcerer Koura who ages every time he casts a spell.
Brian Clemens and Ray Harryhausen also plunder world mythology somewhat indiscriminately, ending up with what often seems a peculiar multi-cultural polyglot – there is Kali from Hindu religion, a griffin and combination centaur/cyclops from the Greek myths, the homunculus from mediaeval alchemy, Lemuria (an idea that was posited by biologist Ernst Haeckel in the 1870s, preceding the notion of continental drift, of a sunken land in order to explain how lemurs managed to get between Africa and India and one that was quickly appropriated by the 19th Century Theosophist movement), and of course the backdrop from the Arabian Nights cycle. This is the less important than the spectacular beauty of Ray Harryhausen’s various set-pieces which, by this time, were at the absolute peak of their form. Harryhausen offers us a six-armed statue of Kali brought to life in a sword-duel; a to-the-death battle between a griffin and a cyclopean centaur; a magically animated ship’s figurehead; and, best of all, the homunculus that Tom Baker brings to life, teasing and prodding it, as it lies pinned to a table.
The Golden Voyage of Sinbad is also notable for many of the up-and-coming stars. There is Tom Baker who, the following year, would become the fourth incarnation of tv’s Doctor Who (1963-89); cult queen Caroline Munro; and Martin Shaw, later hunk hero of Clemens’ superior action man tv show The Professionals.
Ray Harryhausen’s other films are:– The Beast from 20,000 Fathoms (1953), the granddaddy of all atomic monster films; the giant atomic octopus film It Came from Beneath the Sea (1955); the alien invader film Earth Vs. The Flying Saucers (1956); the alien monster film 20 Million Miles to Earth (1957); The 7th Voyage of Sinbad (1958); The 3 Worlds of Gulliver (1960); the Jules Verne adaptation Mysterious Island (1961); the Greek myth adventure Jason and the Argonauts (1963); the H.G. Wells adaptation The First Men in the Moon (1964); the caveman vs dinosaurs epic One Million Years B.C. (1966); the dinosaur film The Valley of Gwangi (1969); Sinbad and the Eye of the Tiger (1977); and the Greek myth adventure Clash of the Titans (1981).
Brian Clemens’s other scripts are:– The Tell-Tale Heart (1960), Curse of the Voodoo/Curse of Simba (1965), And Soon the Darkness (1970), See No Evil/Blind Terror (1971), Dr Jekyll and Sister Hyde (1971), the Disney ghost story The Watcher in the Woods (1980) and Highlander II: The Quickening (1991). Clemens also wrote and directed Hammer’s Captain Kronos – Vampire Hunter (1972). He has acted as script editor and producer on the tv series’ The Avengers, The New Avengers, The Professionals and Bugs.
Gordon Hessler’s other films are:– Scream and Scream Again (1969), The Oblong Box (1969), Cry of the Banshee (1970), Murders in the Rue Morgue (1971), Kiss Meets the Phantom/Kiss in the Attack of the Phantom (1978) and The Girl in a Swing (1988)
REVIEW: Richard Scheib
TNT grocery on Grand Park Drive uses these lamps on its exterior and I've always been fascinated by the way the light illuminates.
Leica M6 TTL
Leica Summicron 35mm f/2 IV "King of Bokeh"
Ilford HP5+ pushed to 1600 ISO
Tetenal Emofin
8+8 min 20°C
Scan from negative film
For this magazine cover from November 1993, David Carson used letters from Roman Cieślewicz’s surrealist alphabet, commissioned by Claude Tchou for Guide de la France Mystérieuse in 1964.
Plaque at Progressive Field to Indians Shortstop Ray Chapman, the only player to be killed playing in a major league game.
We took a trip to Fredericksburg, TX yesterday. And I snuck this picture of Ray while we were eating lunch. I knew better than to focus on him, so I stuck to the Droid. Right after I snapped this, he said, "You aren't taking a picture of me, are you?" No, no, no, of course not.
I'm going out of order with my 365 pics...not a good sign.
Ray Church is located 2.5 km northeast of Falcarragh, near the confluence of the Yellow River and Ray River.
St Fionnán founded this church in the 6th century. Ray stood next to the Ray River, an ancient boundary between the Cenél Luighdech and Cenél Duach. Four 7th-century abbots of Iona were of the Cenél Duach; Ray was almost certainly their home church.
Ray high cross is the largest early medieval stone cross in Ireland. Local lore claims it was made by Columba (521–597) on Muckish to bring to Tory Island, but local saint Fionnán recovered Columba's Gospel Book and he gave the cross to Ray. The cross actually dates to the late 8th century.
The church was destroyed by Oliver Cromwell's soldiers in the 17th century. During Sunday Mass, the entire congregation was slaughtered in the Massacre of Ray (Marfach Ráithe). The dead are buried in a mass grave called Resting Place of the Bones (Lag na gCnámh).
The cross was knocked down in a storm about 1750, and lay broken in the graveyard until it was repaired by the Office of Public Works in the 1970s. [Wikipedia ]
Watched this beautiful sunset recently and captured these magic rays in the last moment before the sun disappeared behind the cityhedge :-)
Related to Fire Element... Whenever I see sunrays like that I'm humming this enerjazzing piece of music :-)
UPDATE: You may see the music video "Fire Element" by Julian Ray with my footage of the magnificent sunset magic at youtu.be/ZNxdo8ysC7w Enerjazz yourself! :-)
Ray is an artist, he works in watercolours and his work is detailed and full of colour. Over the years we have become friends, discussion buddies when we meet and its comfy. We meet usually out on the road somewhere, he on his bike and me on my feet, occasionally on my bike.
Caught him being contemplative on Ballygally Head, shot him as he neared and about 3/4 hour later we were still being a danger to traffic on the sharpest part of the Head!
stretch across a smoky sky in this iPhone 4s panorama that covers about 120-135º of sky horizontally. Since this was taken on the last day of Summer, where the rays are vertical (on the right side of the image) is approximately due West. Click here to see the sunset that followed 36 minutes later. i4s10432
The Golden Voyage of Sinbad 1973
CAST:
John Philip Law (Sinbad), Tom Baker (Koura), Douglas Wilmer (The Grand Vizier), Caroline Munro (Marigiana), Martin Shaw (Rachid), Kurt Christian (Haroun), Takis Emmanuel (Achmed)
PRODUCTION:
Director – Gordon Hessler, Screenplay – Brian Clemens, Story – Brian Clemens & Ray Harryhausen, Producers – Ray Harryhausen & Charles H. Schneer, Photography – Ted Moore, Music – Miklos Rosza, Visual Effects – Ray Harryhausen, Production Design – John Stoll. Production Company – Morningside. USA 1973
SYNOPSIS:
Sinbad fires an arrow at a strange creature that flies over his ship, causing it to drop the amulet it is carrying. Ashore, the sorcerer Koura attempts to forcibly take the amulet from Sinbad. Sinbad is granted refuge by the benevolent ruler of the city, the Grand Vizier, who has been forced to hide his face behind a beaten gold mask after Koura burnt it with a fireball. The Vizier shows Sinbad a companion amulet and the drawing of a third one. All three form a map that leads to a fountain of youth on the island of Lemuria. With the complete amulet, The Grand Vizier will be able to stop Koura’s ravages on the kingdom. And so Sinbad and the Vizier set sail on an expedition to Lemuria. However, Koura desires the amulet too, wanting to regain the youth that each spell he casts steals from him, and sets sail determined to stop them.
COMMENTARY:
The 7th Voyage of Sinbad (1958) was a landmark in fantasy cinema. It was often imitated over the next decade. Most importantly, it brought to prominence the name of special effects man Ray Harryhausen and his fantastical creatures. Ray Harryhausen was a specialist in the process of stop-motion animation where models are meticulously moved and photographed one frame at a time. Harryhausen went onto a substantial career over the next two decades, creating similar flights of fantasy. (See below for Ray Harryhausen’s other films). He would revisit the Sinbad mythos twice, here and later with the disappointing Sinbad and the Eye of the Tiger (1977). The Golden Voyage of Sinbad is one of Ray Harryhausen’s most acclaimed works and one that shows him at the height of his art.
With The Golden Voyage of Sinbad, Ray Harryhausen employed director Gordon Hessler, who emerged out of the English horror cycle in the late 1960s (see below for Gordon Hessler’s other titles) and Brian Clemens on script. Brian Clemens had worked as script editor on tv’s The Avengers (1962-9), wrote a number of films during the English horror cycle and went on to create series such as The New Avengers (1976-8), The Professionals (1977-83) and Bugs (1995-8). (See below also for Brian Clemens’s other titles). Most Ray Harryhausen films tend to be set around Harryhausen’s provision of creature effects, with the intervening action being stolid and his leading men tending to a uniform woodenness. Although the dialogue here has a tendency to fall in clunky pseudo-profound aphorisms at times, Brian Clemens creates probably one of the more nuanced scripts for any Ray Harryhausen film. Particularly original is the character of the sorcerer Koura who ages every time he casts a spell.
Brian Clemens and Ray Harryhausen also plunder world mythology somewhat indiscriminately, ending up with what often seems a peculiar multi-cultural polyglot – there is Kali from Hindu religion, a griffin and combination centaur/cyclops from the Greek myths, the homunculus from mediaeval alchemy, Lemuria (an idea that was posited by biologist Ernst Haeckel in the 1870s, preceding the notion of continental drift, of a sunken land in order to explain how lemurs managed to get between Africa and India and one that was quickly appropriated by the 19th Century Theosophist movement), and of course the backdrop from the Arabian Nights cycle. This is the less important than the spectacular beauty of Ray Harryhausen’s various set-pieces which, by this time, were at the absolute peak of their form. Harryhausen offers us a six-armed statue of Kali brought to life in a sword-duel; a to-the-death battle between a griffin and a cyclopean centaur; a magically animated ship’s figurehead; and, best of all, the homunculus that Tom Baker brings to life, teasing and prodding it, as it lies pinned to a table.
The Golden Voyage of Sinbad is also notable for many of the up-and-coming stars. There is Tom Baker who, the following year, would become the fourth incarnation of tv’s Doctor Who (1963-89); cult queen Caroline Munro; and Martin Shaw, later hunk hero of Clemens’ superior action man tv show The Professionals.
Ray Harryhausen’s other films are:– The Beast from 20,000 Fathoms (1953), the granddaddy of all atomic monster films; the giant atomic octopus film It Came from Beneath the Sea (1955); the alien invader film Earth Vs. The Flying Saucers (1956); the alien monster film 20 Million Miles to Earth (1957); The 7th Voyage of Sinbad (1958); The 3 Worlds of Gulliver (1960); the Jules Verne adaptation Mysterious Island (1961); the Greek myth adventure Jason and the Argonauts (1963); the H.G. Wells adaptation The First Men in the Moon (1964); the caveman vs dinosaurs epic One Million Years B.C. (1966); the dinosaur film The Valley of Gwangi (1969); Sinbad and the Eye of the Tiger (1977); and the Greek myth adventure Clash of the Titans (1981).
Brian Clemens’s other scripts are:– The Tell-Tale Heart (1960), Curse of the Voodoo/Curse of Simba (1965), And Soon the Darkness (1970), See No Evil/Blind Terror (1971), Dr Jekyll and Sister Hyde (1971), the Disney ghost story The Watcher in the Woods (1980) and Highlander II: The Quickening (1991). Clemens also wrote and directed Hammer’s Captain Kronos – Vampire Hunter (1972). He has acted as script editor and producer on the tv series’ The Avengers, The New Avengers, The Professionals and Bugs.
Gordon Hessler’s other films are:– Scream and Scream Again (1969), The Oblong Box (1969), Cry of the Banshee (1970), Murders in the Rue Morgue (1971), Kiss Meets the Phantom/Kiss in the Attack of the Phantom (1978) and The Girl in a Swing (1988)
REVIEW: Richard Scheib