Lockdown 2020 World.
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Newspapers, radio and television reporting on deaths are occurring at an alarming and unreal rate and they are not getting better but worse, by the day! When are we going to do something to stop this situation? If our politicians will do nothing, we the people have to act and react!
Family is the most important unit and we need to cherish and protect it! We need to teach our own families about love, respect, understanding and compassion and how important it is for us to reach out to one another, listen, help and embrace our differences. Hate only brings misery and violence, which no family needs! Please Flickr artists help me address this problem and bring it to the forefront of our attention.
With heartfelt and genuine thanks for your kind visit. Have a wonderful and beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating, stay safe and laugh often! ❤️❤️❤️
I was surprised more photos of these icicles didn't appear on flickr. The only other place I saw some (from the Hopton tunnel) were in the Daily Mail. It had been 8 years since I last saw any in the Chee Tor tunnel and this time they were better than before.
Normally passing through the tunnel is rather gloomy. If it is later in the day I always hurry through (as best I can) in case the lights get switched off. But even when the sun is shining outside I don't like passing the recesses....the dark alcoves where workers could get out of the way of trains coming through the tunnel. I'm always ready to retaliate against anyone who jumps out of the dark to scare me. Don't do it! I might over react!
Blunt nose, small eyes, and small hairy ears in contrast to other British species of mice and also much smaller; prehensile tail the same length as the head and body; russet orange fur with a white underside.
Size: 50-70mm.
Weight: 4-6g.
Lifespan: 18 months on average.
Origin & Distribution: The harvest mouse is a native species. The harvest mouse is mainly found from central Yorkshire southwards. Isolated records from Scotland and Wales probably result from the release of captive animals. Areas of tall grass provide favourable habitats, such as cereals, road side verges, hedgerows, reed beds, dykes and salt mashes where nests can be built.
Diet: They eat a mixture of seeds, berries and insects, although moss, roots and fungi may also be taken. Harvest mice sometimes take grain from cereal heads, leaving characteristic sickle-shaped remains. Noticeable damage to cereal crops is extremely rare.
General Ecology: Harvest mice are extremely active climbers and feed in the stalk zone of long grasses and reeds, particularly around dusk and dawn. Their hearing is acute and they will react sharply; they either freeze or drop into cover in response to rustling sounds up to 7m away. Harvest mice have high energy requirements; the cost of being warm blooded and coping with a high surface to volume ratio.
Breeding nests are the most obvious sign indicating the presence of harvest mice. The harvest mouse is the only British mammal to build nests of woven grass well above ground. Nests tend to be found in dense vegetation such as grasses, rushes, cereals, grassy hedgerows, ditches and brambles. They are generally located on the stalk zone of grasses, at least 30cm above ground in short grasses and up to a metre in tall reeds. The size of the nest can vary from only 5cm in diameter for non-breeding nests to 10cm in diameter for breeding nests.
Harvest mice have many predators: weasels, stoats, foxes, cats, owls, hawks, crows, even pheasants.
Breeding: Harvest mice usually have two or three litters a year in the wild, between late May and October, but even into December if the weather is mild. Most litters are born in August. Cold wet weather is a major cause of mortality. There are usually around six young in a litter. The young are born blind and hairless but grow extremely quickly and start to explore outside the nest by the 11th day. The young are abandoned after about 16 days, but continue using the nest which may at then start to look rather dilapidated. A fresh nest is built for each litter.
The same toner combination as the previous image, but this time with Ilford Classic. This paper reacts considerably slower to both toners, so colour saturation is lower when bleaching is relatively short.
Ilford Classic in SE2 Warm
Left MT3 Variotoner: Bleach 1+75 1.5 minutes, toner setting D.
No significant colour change can be seen yet.
Right with subsequent selenium toning, MT1 1+20 2.5 minutes.
Near impossible to get a satisfying shot of this one. Just waiting, more waiting and reacting quickly gave this mediocre shot. Also, not even sure I will ever get another shot, so these moments must be remembered forever.
Trip to South Africa 2015
Thank you very much for all your faves and I will react on your given comments as soon as possible
❤ New Post Featuring Beautiful Dirty Rich & .:Joplino:.
♡ Beautiful Dirty Rich Mainstore ♡
Trip to South Africa 2015
Thank you very much for all your faves and I will react on your given comments as soon as possible
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Mirage
by Cristina Vega and Pablo Losa Fontangordo
Madrid, Spain
Mirage has been designed to react to the movements of the sun and the people. Depending on where the visitors are positioned, they will see either a red transparent sun setting or a light and bright rising sun laying on the horizon. As they walk closer, they will discover the thin structure that makes these two simultaneous realities possible.
Source: winterstations.com/
This beachy pose with a palm tree prop is by UNIQUE Poses Tropical Dreams I, available at Anthology Event , opens 21st of the month, closes next month 17th
Wearing this amazing swimsuit with Aquasense technology - reacts to sl default water by S&P Rose bikini MEGAPACK
Body: Reborn
Head: Lelutka - Avalon
Hair: Doux - Ryder
Church Street. "Temperance Halls" such as this mid-19th century example were part of the Temperance Movement in the UK and usually aimed at the working class. Mostly run by Nonconformist churches (the Protestant Left if you want) they agitated against the sale and use of alcohol ("teetotalism"). Chesham in the 16th century was a centre of religious dissent. The established church authorities (and later what was to become the Anglican Church) reacted with violence. The Amersham Martyrs in the early 1500s were burned at the stake because they dared to pray and read the Bible in English (not in Latin). Thomas Harding was also burned at the stake, here in Chesham in 1532, because he dared to doubt the "real presence" in the sacrament of Holy Communion (the dogma that the wine and the bread consumed were actually and "really" the flesh and the blood of Christ). Shall we add the mass murder of the 30 Years War between Protestants and Catholics a century later that wiped out about a third of the central European population? The West is appalled these days by the atrocities committed by the Taliban. But violence meted out in the name of religion is not unknown to the West. We just need to look back long enough.
It's always fascinating how all react differently to snow.
Some hate it and get surprised by the fact it´s snowing every winter, others embrace it with joy.
I hear that women only want the “tattooed bad boys” Listen up we are waiting and waiting for you to react.
It doesn't matter if you want or are a bad boy. It matters if you know “how” to be while being a good guy.
Sometimes you have to take a woman who wants to be taken by the hair and push her back to the wall and take her in a fit of heated passion.
You cover her flesh with your ravenousness kisses until you feel her squirming. Then you continue to turn up the heat by denying her what she wants most. You let your dominant animistic masculine actions devour, leaving her breathless.
You don't leave her until she is wanting more. We want you to react.
So I have this rule when it comes to sunsets. When you think it's over, sit down and wait 15 minutes before putting your camera away. Usually I follow this rule, but sometimes I don't and regret it.
I posted an image a while ago of this scene earlier in the evening with a crystal clear reflection. Not long after that shot the rain and wind moved in and the reflection disappeared. I was so excited about that image that I didn't really look too hard to find much else if the sunset really kicked off. The sky went grey, the lake had no reflection at all, and light rain started to take its toll. I started packing up.
Of course after packing up halfway, what do I see? The slightest hint of pink on the horizon.
"Uh oh. I've made a mistake here."
I grabbed my stuff and started scouting as quickly as I could. I found a little cove where the wind wasn't impacting the lake quite so much and decided to see if I could pull back a bit of reflection with a long exposure. As quick as the light came, it disappeared. Far from perfect outcome, but hey, I still liked it.
So what’s the moral of the story? That’s a good question. Don’t pack up early? OK preparedness results in OK outcomes? Sometimes things happen and you have to react fast? All of the above? There’s a lesson in here somewhere. I’m just not sure that I’ve learned it yet.
Thanks for coming to my Ted talk!
This landscape seems like any other at first sight. But in fact it is the result of a conscious decision to go out into conditions that often deter photographers – what we think is bad light and rain. What prompted me to do this? Well I can be very specific here, and point to two absolutely brilliant video presentations that I had watched as the rain poured down earlier in the day. The first is by English artist and photographer Justin Jones, “On Landscape” www.youtube.com/watch?v=ZBT5pgFFwWo
One of Justin’s key concepts here is the notion of “visual literacy”. In just the same way as we learn to read a text, so we must also to learn to read the visual language of a photograph. This is just as important for composing as interpreting a photograph. Landscapes that survive the test of time are those we choose to return to time and again. Chocolate box images in perfect light and with plenty of Photoshop-ing give us a “sugar hit”, but it doesn’t last. That’s why we keep returning to the realist landscapes of Ansel Adams, Robert Adams and Fay Godwin and not to those that dominate the Google pages.
The second inspiring video was an interview with the Danish photographer Per Bak Jensen, “It isn't the camera. It's life itself unfolding.” www.youtube.com/watch?v=X1L-UmKwZHQ&t=506s
I assure you that this is 38 minutes very well spent if you are concerned with making your photography count. If there is one quote that sums up Jensen’s perspective it is this:
“...I sense something in our midst. Among us is something that wants to be in contact with us… That something wants to tell me something. I often feel I am very close to knowing or being told something – that can increase my knowledge of being a human being. My photographs are an attempt to search for the presence of that something, that can teach me about myself and about life.”
Jensen then concludes a lifetime’s photographic observation with this key:
“The photos I take aren’t photos I take myself. It’s a cooperation between me and something else that makes me take the pictures. I’d rather claim that the fundamental value of art is the spirit. And the spirit wants to contact us, but it’s invisible… But somehow it gives us an odd desire. It gives us courage. And it gives us a life force… If that’s the case, traces of that spirit can be seen in our images. I think that everyone working with images hopes so. That one can find a life force and spirituality in one’s work.”
The important thing for me when taking “Being Present in the World” was to immerse myself in the scene. To allow my subconscious understanding of “being in the landscape” to take over the decisions I made in the composition. When this happens you become part of the flow of life – you feel the breeze, smell the water in the wetlands, taste the air, observe every swan, react to the subtle changes in colour from green through to straw-yellows. And you also feel the Presence.
For me the trigger for that was the cloud cover that sat like a cushion overhead. I made my settings and clicked the shutter button. In that fraction of a second the landscape and I were inseparable. In Buddhist philosophy this is known as non-duality. There is simply no way to distinguish subject from object. The landscape was taking me in as much as I was photographing it. You can’t describe this feeling (like most mystical experiences), except that when it happens you KNOW it is real.
When you come to process the image your rational mind begins to take over again. Observation of the landscape tells you things you hadn’t seen before. In this case the most interesting discovery was to see how my subconscious had noted the way that in the upper third of the photograph the darker clouds mirror the grass formations next to the river in the bottom third, with the brightest luminescence across the middle. I was not operating on some conscious level to obey the rule of thirds (most of those rules are intended to be broken anyway).
There are many ways to make a photograph. This is just another one of them.
I've always loved the beginning BW segment of the Wizard of Oz film. In particular the scenes where Dorothy meets Professor Marvel just before the storm brews up. The sepia tones, the dusty landscape, the dark clouds, the shadows, it's all part of classic visual storytelling. It sets the mood and atmosphere before even a word of dialog is spoken. I think, like most of us, scenes from that film are hard wired into my mind because we first viewed it at such a young age, and probably multiple times. All these years later, I still react to environments that remind me of the film. I'm insipred to attempt to recreate them photographically.
This Anhinga reacts like I have intruded in her privacy after she heard the shutter of my camera.
Canon EOS 7D Mark II, EF400mm f/5.6L USM, f/8, 1/1000, ISO 1000
Easily my best shot so far. Captured in the streets of Melbourne.
This moment unfolded in a split second right in front of me. I saw the frame and just reacted by instinct. It wasn't until I looked back at the photo later that I realized how heavy the context actually was.
The irony of the sign, "Hill of Content", makes it almost surreal. While the name suggests a state of satisfaction, the frame captures the two extremes of city life crossing paths. The man in the sharp suit isn't just walking by; he's looking right at the homeless man sitting against the wall.
That look between them, right under that sign, says it all. It makes you stop and wonder who is actually "content," and exposes that city divide we usually ignore in a way that’s impossible to miss.
Really proud of this one.
DSC9564
I shot this collection of photographs at White Sands during twilight, some in the early morning hours, but most in the evening. When the sun is below the horizon, the dunes and sky take on a magical presence. The dunes reflect the sky which can range from warm to cool, and there is a magical fifteen minutes when the sky away from the compass point of sunrise or sunset develops a glow of reds and oranges.
In late October, I made a trip to New Mexico to shoot the dunes at White Sands National Park. I hooked up with my close friend and photographer, Sandra Herber. www.flickr.com/photos/sandraherber/ We were at White Sands four days, made eight excursions into the dunes, hiked over 20 miles and shot close to 2,000 photos between us.
We are posting our images at the same time and it will be interesting to see how we handled being in the same locations together. For safety reasons and for the fun of it, we hiked the dunes together, sometimes pointing our lenses in the same direction, other times wandering apart. I am sure we got some similar shots, but it will be interesting to see those that are different as we each have our own way of looking at things, as well as having different focal length coverage. Then there is the processing aspect.
To say White Sands is magical is an understatement. As photographers, we talk about the light, emphasize the light, are critical about the light. The dunes at White Sands react in amazing ways to the change in light, offering different looks, revealing various personalities. It is this diversity of the dunes that I wanted to capture then, and present here now.
(Cut to Trajan choking Caly.)
Trajan: You should have chosen a male body. They're superior to the females!
(Caly's eyes narrow and she reaches down and back, grabbing and twisting -- hard. Trajan's eyes roll back as he nearly shrieks, releasing Caly, who immediately spins, slamming her weapon into his open mouth.)
Caly: Suck on your superiority.
(Cut to the service room where Laithi is making a break for the door, which Ronan slams shut, facing off with her.)
Ronan: Sorry, princess, but your ball is over.
Sienna: Permanently.
(Laithi looks down at the floor, where Sienna is still lying, and sees the weapon in Sienna's hand. She doesn't have time to react as Sienna stabs the weapon against Laithi's exposed foot. Sienna rolls away as Laithi collapses, light spilling onto the floor.)
Lucas: What a team! Am I right?
(Lucas celebrates, raising a hand to high-five Mateo, who also starts to bring his hand toward Lucas' palm. Lucas looks surprised, and his hand misses Mateo's, his eyes filling with golden light as he falls forward, revealing a grim-faced Ronan, who'd shot Lucas in the back of the neck with the weapon.)
Ronan: Don't touch him! (sharply warns Mateo) He's a razer!
(Mateo initially looked like he was about to catch Lucas before he fell, but he steps back at Ronan's warning, watching the golden light spill out across the floor, evaporating.)
(to be continued)
Thank you to the cast!
Sienna: Bailey
Ronan: Seth
Lilitus: B
Laithi: Kes
Mateo: B
Lucas: B
Clothing Design: Bailey
Set design: Bailey
DSC9551
DSC8536
I shot this collection of photographs at White Sands during twilight, some in the early morning hours, but most in the evening. When the sun is below the horizon, the dunes and sky take on a magical presence. The dunes reflect the sky which can range from warm to cool, and there is a magical fifteen minutes when the sky away from the compass point of sunrise or sunset develops a glow of reds and oranges.
In late October, I made a trip to New Mexico to shoot the dunes at White Sands National Park. I hooked up with my close friend and photographer, Sandra Herber. www.flickr.com/photos/sandraherber/ We were at White Sands four days, made eight excursions into the dunes, hiked over 20 miles and shot close to 2,000 photos between us.
We are posting our images at the same time and it will be interesting to see how we handled being in the same locations together. For safety reasons and for the fun of it, we hiked the dunes together, sometimes pointing our lenses in the same direction, other times wandering apart. I am sure we got some similar shots, but it will be interesting to see those that are different as we each have our own way of looking at things, as well as having different focal length coverage. Then there is the processing aspect.
To say White Sands is magical is an understatement. As photographers, we talk about the light, emphasize the light, are critical about the light. The dunes at White Sands react in amazing ways to the change in light, offering different looks, revealing various personalities. It is this diversity of the dunes that I wanted to capture then, and present here now.
Sorry about the garish colors! This is not quite what I had in mind when I went to "Fantasy Canyon," but this is what I was presented with (well, almost); and, when you are handed lemons, you try and make lemonade. Let me explain...
For years I've wanted to travel to Fantasy Canyon and photograph their amazing claystone knobs and pinnacles (located on BLM land, about 27 miles or 43 km south of Vernal, Utah). I had envisioned their eerie shapes photographed under natural starlight. Unfortunately, I discovered that there was a super bright mercury-vapor security light from a petroleum pumping station less than 2,000 (609 m.) feet away, casting it's ugly blue-green light pollution onto all the features of this interesting canyon!
By using one of my low-level lights at the opposite angle to the mercury-vapor light, and with a complimentary color (yellow-magenta or red) I was able to replace the shadow side with this contrasting color and salvage the image—that is, if your tastes are are into Sci-Fi. So often, life presents us with twists that we never wanted or planned for. It's how we react to the unexpected that often defines us.
TECHNIQUE & EXIF: Stacked & Blended exposures • Canon 6D + Tamron 15-30mm @ 15mm • Milky Way sky: 15 stacked exposures (in Starry Landscape Stacker to reduce noise) at 15 sec, f/4.0, ISO 10000 • Foreground: 4 focus stacked exposures (in Ps) at 120 sec, f/5.6, ISO 2500 with low-level lighting • Sky & foreground blended in Ps layers. This 5-image sequence give a tutorial on the technique.
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A protective mother lioness reacts aggressively to a male lion intruder on the distant savanna that she feels presents a danger to her cubs. The top photo is a composite of the distant male and the mother surrounded by the cubs and the bottom photo shows her fierce expression. Unrelated males will kill the cubs. Serengti National Park, Tanzania.
29/03/2026 www.allenfotowild.com
One of three bioluminescent fungi found in western Pennsylvania. The weak glow is limited to the gill area and requires a long-time exposure to bring out the details. The bioluminescent glow is caused by enzymes that react chemically with a pigment called luciferin.
Moose is the bobcat at Elmwood Park Zoo. Here, he's reacting to the sound of many children's voices on a field trip.
First Lady Michelle Obama reacts while talking on the phone to children across the country as part of the annual NORAD Tracks Santa program. Mrs. Obama answered the phone calls from Kailua, Hawaii, Christmas Eve, Dec. 24, 2016.
(Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
DSC8690
When I think of sand dunes and photography, I think black and white. The natural white environment coupled with shadow areas is just made for B/W interpretation. Here are my attempts to capture the beauty of White Sands National Park in this medium. Most are shot in hard light, but some are early or late in the day, some even approach high key. White Sands looks great in any wardrobe.
In late October, I made a trip to New Mexico to shoot the dunes at White Sands National Park. I hooked up with my close friend and photographer, Sandra Herber. www.flickr.com/photos/sandraherber/ We were at White Sands four days, made eight excursions into the dunes, hiked over 20 miles and shot close to 2,000 photos between us.
We are posting our images at the same time and it will be interesting to see how we handled being in the same locations together. For safety reasons and for the fun of it, we hiked the dunes together, sometimes pointing our lenses in the same direction, other times wandering apart. I am sure we got some similar shots, but it will be interesting to see those that are different as we each have our own way of looking at things, as well as having different focal length coverage. Then there is the processing aspect.
To say White Sands is magical is an understatement. As photographers, we talk about the light, emphasize the light, are critical about the light. The dunes at White Sands react in amazing ways to the change in light, offering different looks, revealing various personalities. It is this diversity of the dunes that I wanted to capture then, and present here now.