View allAll Photos Tagged refinance
I will tweak this style a little but have been wanting to use this fabric for something like this for a while :)
As each photographer gains experience, a personal, recognizable style in processing is developed.
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Photo processing is magic for me. ✨ In a creative impulse, I can sit at work until the morning...
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In the question of how to make photos – bright or muted, I rely on my intuition. Everything happens automatically, I "feel" the picture, and I know how to refine the image, place accents, evoke the necessary emotions...
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Also, I always listen to my client: what kind of shooting plan he wants. Perhaps it will be content for social networks, classic portrait or strict 👩💼 photos for a website, romantic 💕 history, vintage, retro...
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Considering the idea, I am making every effort to make each picture a beautiful work of art in its own way.
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#blackhair #cgartwork #chest #eye #eyelash #flashphotography #humanbody #jewellery #longhair #necklace #NikonD800 #safronoviv_photo
Originally shot June 2021 this is a re-edit utilising a years worth of learning new techniques and refining my processing style.
L'Garçon refines his game...
Skippy was inspired by the following sophisticated creations:
Deadwool's Peak Suit, available at Monsieur Chic!
Zerkalo's Black Line Collection, available at Monsieur Chic!
Zerkalo's Memories Collection, available at Shiny Shabby!
Apple Fall's Country Hall, available at Shiny Shabby!
Apple Fall's Tournament Billiard's Table, available at Apple Fall!
Your car awaits...
Keep shining bright everyone!
P.S. If you look very closely, there are SHIPS!!! on my tie! Thank you Mister Masa for my favorite new blue tie!
Okay now that I am getting closer to refining this effect, I will be driving everyone crazy......... I have been striving for a diffused lighting for the highlights and i think i have stumbled on a 3rd party filter that produces the effect I want. It's a very subtle effect, barely noticeable by most, but I notice it.
Once again, the picture of the car was not taken (by a camera, that is) by me. Actually taken off the internet. Hope I don't get sued - but why should I. I'm not selling these pictures............yet!
Hope you enjoy..........
Ok....my first sketches are always rough, just playing with an idea. I refine it a little bit before I start the rendering. Then on tracing paper I very lightly will start with a single center line to use as a reference. I also draw a center line on my rough sketch to compare. The rough sketches are just a tad bigger than actual size but the rendering will be at least 3 to four times actual size. All first lines are drawn as lightly as possible.....and with a .3mm pencil that I keep fine sanded to a needlepoint. I use an eraser shield and an eraser a lot....but try to draw lines only once (ha!). I use a compass whenever a clean large circle or an arc is called for. I use plastic templates for smaller circles or arcs. I use a steel straight edge and have several french curves on hand. I try and keep my grubby, oily hands off the paper by covering areas already drawn with another sheet of clean paper. When all the lines are lightly drawn just the way I want them, I erase whatever extra marks I can find and air blast the residue off. Then I darken all the lines. Then I shade it. Then I hit the whole thing with the eraser again, and air blast it. Then I apply a very light spray of "Aussie Instant Freeze" hair spray. Now it's time to paint the back. With fine sable brushes I first paint only the areas which are "gold", being very careful not to go outside the lines, hee hee! Dry it thoroughly. Then I rather sloppily apply the other colors quickly so as not to disturb the gold layer. Dry thoroughly. For this job I then also returned to the front and applied tiny smudges (without any rubbing or blending) of a day-glo green oil pastel to the green stones for highlights and green, orange and a little blue for the opal's play of color. For this back-painted rendering to be successful, you must use at least tracing paper......but vellum is uber nice! From there on it's photoshop for color-enhancement and more cleanup. But the images above are how far I get by hand.
I'm posting this to demonstrate a neat concept. This was shot using a simple point & shoot camera, the Canon Ixus 60.
Recipe:
Take 2 exposures. One aiming for the sky and the other for the foreground.
Import both exposures into a single Photoshop CS3 (or CS2) document, as two layers. Keep layer with correctly exposed sky on top.
Select both layers and then EDIT>Auto align layers.
Select the sky in the top layer with the Quick Selection Tool
(It's good to use Refine Edge (alt-cmd-r) to improve the selection)
Press the "Add layer mask" icon (3rd from left) at the bottom of the layers pallette
And Voila: You have an image with rich foreground and sky detail from your point&shoot camera.
After this I do various adjustments like:
Curves in LAB mode to increase saturation and contrast
Crop
Selective color adjustment layer to further tune the colors.
The pic doesn't have anything to do with the lyrics, but I thought it fitting since the song reminds me of Postman Pat.
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Gold teeth and a curse for this town were all in my mouth.
Only, i don't know how they got out, dear.
Turn me back into the pet that i was when we met.
I was happier then with no mind-set.
And if you'd 'a took to me like
A gull takes to the wind.
Well, i'd 'a jumped from my tree
And i'd a danced like the king of the eyesores
And the rest of our lives would 'a fared well.
New slang when you notice the stripes, the dirt in your fries.
Hope it's right when you die, old and bony.
Dawn breaks like a bull through the hall,
Never should have called
But my head's to the wall and i'm lonely.
And if you'd 'a took to me like
A gull takes to the wind.
Well, i'd 'a jumped from my tree
And i'd a danced like the kind of the eyesores
And the rest of our lives would 'a fared well.
God speed all the bakers at dawn may they all cut their thumbs,
And bleed into their buns 'till they melt away.
I'm looking in on the good life i might be doomed never to find.
Without a trust or flaming fields am i too dumb to refine?
And if you'd 'a took to me like
Well i'd a danced like the queen of the eyesores
And the rest of our lives would 'a fared well.
New Slang - The Shins
" To Claudio Del Fuoco", for your help and explanation, about my new Jellika Copyright!"
"Thank you very much, my friend"
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***Canon 5D Mark II - EF 24-105mm 1:4 L IS USM. © 2016.***
Lázaro Antônio dos Santos - "monsieurlazarophotographies".
Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
---------------------------------GOD BLESS YOU------------------------------------
Notice
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)
Murano glass paper weights
Murano glass is glass made on the Venetian island of Murano, which has specialized in fancy glasswares for centuries. Murano’s glassmakers led Europe for centuries, developing or refining many technologies including crystalline glass, enamelled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass. Today, the artisans of Murano are still employing these centuries-old techniques, crafting everything from contemporary art glass and glass figurines to Murano glass chandeliers and wine stoppers, as well as tourist souvenirs.
Today, Murano is home to a vast number of factories and a few individual artists' studios making all manner of glass objects from mass marketed stemware to original sculpture. The Museo del Vetro (Glass Museum) in the Palazzo Giustinian houses displays on the history of glassmaking as well as glass samples ranging from Egyptian times through the present day.
History
A Murano glassworker adds color to his creation
Making the glass malleable
Making a Glass Horse
Located 1.5 km (0.93 mi) from the main city Venice, Italy, Murano has been a commercial port since as far back as the 7th century. It is believed that glassmaking in Murano originated in 8th-century Rome, with significant Asian and Muslim influences, as Venice was a major trading port[citation needed]. Murano glass is similar to the 1st-century BC Greek glasses found in the shipwreck of Antikythera[citation needed]. Murano’s reputation as a center for glassmaking was born when the Venetian Republic, fearing fire and destruction of the city’s mostly wooden buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is the largest proportion of Venetian glass.
Murano's glassmakers were soon the island’s most prominent citizens. By the 14th century, glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state, and their daughters permitted to marry into Venice’s most affluent families. Marriage between glass master and the daughter of the nobleman wasn't regarded as misalliance. However glassmakers were not allowed to leave the Republic. Exportation of professional secret was punished by death. Many craftsmen took this risk and set up glass furnaces in surrounding cities and as far afield as England and the Netherlands. By the end of the 16th century, three thousand of Murano island's seven thousand inhabitants were involved in some way in the glassmaking industry. French revolutionary armies occupied Murano in 1797.
Murano glass was produced in great quantities in the 1950s and 1960s for export and for tourists.
Murano glass chandeliers
In the 18th century Murano glassmakers started to introduce new products such as glass mirrors and chandeliers to their production. In history these glass chandeliers became popular after the iron, wood and brass era of chandeliers, and they were such a success that instantly brought chandeliers to a new dimension. The first Murano glass chandeliers to be produced by Venetian glassmakers date back around the year 1700. This new type of chandelier was called "ciocca", literally bouquet of flowers, for the characteristic decorations of glazed polychrome flowers. The most sumptuous of them consisted of a metal frame covered with small elements in blown glass, transparent or colored, with decorations of flowers, fruits and leaves, while simpler model had arms made with a unique piece of glass. Their shape was inspired by an original architectural concept: the space on the inside is left almost empty since decorations are spread all around the central support, distanced from it by the length of the arms. One of the common use of the huge Murano Chandeliers was the interior lighting of theatres and rooms in important palaces.
Giuseppe Briati was the most famous producer of these chandeliers. He focused his work on the creation of what are now recognised as the typical Murano chandeliers with multiple arms decorated with garlands, flowers and leaves, called "ciocche". Born on the island of Murano in 1686 from a family of glassmakers he apparently had the chance to work in a Bohemian glass factory, where he learned the secrets of working the crystal, that at the time was taking over venetian glass leadership on the European market. Briati contributed significantly to improve the fortunes of the Venetian glass, which after having experienced a period of success, was heavily decayed. His furnace became famous for the production of Bohemian inspired glass with a twist of eccentricity, that through colors and decorations gave them the look of triumph of polychrome flowers. Giuseppe Briati created what it's now called Rezzonico Chandelier, whose name derive from the first chandelier of its kind, that represents the classic Murano chandelier. It was designed by Briati for the noble venetian family Rezzonico and hung in their palace along the Grand Canal, now famed venetian museum under the name "Ca' Rezzonico". This kind of chandelier, completely realized by hand, required a particular working by the glassmakers due to the arms being formed by many small pieces of glass. Every shape of glass had to be masterly executed because any outsize piece wouldn't fit to be mounted between the others. Rezzonico chandelier is an example of the ability of the Italian craftmanship to adapt to changes and to offer new and innovative solutions to the mutation of architectural needs.
Murano glass chandeliers have a unique history and continue to be produced in Venice today, thanks to the success that makes them one of Venetian glass best-known and most appreciated products. These pretty and joyful glass chandeliers that became popular after the iron, wood and brass era of chandeliers, instantly brings a new dimension of fun and fashion to the idea of chandelier. Today they are widely appreciated as one of the most beautiful and decorative types of chandelier.
Murano glass in the 20th century
Conditioned by the gusto of recovery and revival which had decreed the nineteenth century re-launching, modern glass-making on Murano was born relatively late on, that is, in the first years of the century while it gave original results only in the second decade at the time when the great foreign Art Nouveau glass-makers had already given their best works.
In the first twenty years of this century the glass of modern style was produced at Murano quite discontinuously, for the most part on the occasion of the Venice Biennale exhibitions and of the Fondazione Bevilacqua la Masa at Ca’ Pesaro. Only in the immediate post-war period did the factories begin a normal production of non-traditional models which often constituted the development of attempts made in previous years. In the 1920s Muranese glass-making positively felt the changes which had taken place in the international artistic world to a greater extent than had been the case in the pre-war period. In the 1930s and 1940s we have the happy union to Art Deco, with its preciosity and decorative fancies. The handicraft of production which will continue to characterize the Muranese glass-works in the 30’s and 40’s in such a way that at the dour Biennale of 1942, invaded by praise of war, the Murano glass constituted a vivacious and almost anachronistic note. Having come out from the nightmare of the dictatorship and the war, those who operated in the interior decorating sector took up activity once again with enthusiasm, nevertheless showing themselves divided between the desire to renew themselves on the bases of rationalist principles and the continuous and inevitable reference to the experiences of the 1930s.
The modern furniture market was covered almost completely by Swedish production for the whole of the 1950s. The rationalists produced furnishing objects which were practical and simple, even programmatically modest. The rationalist instances were generally ignored in Murano, while the attempt was made to stylistically renew the product. In this way the glass-makers, exploiting traditional manual techniques, shaped vases in elementary forms, often square, in bright and provocative colors, with schematic motifs, sometimes geometrical whilst others were inspired by abstract painting. This was an exasperated and provocative affirmation of modernity which, shortly after, would be resolved in more meditated ways.
Murano glass today
Some of Murano's historical glass factories remain well known brands today, amongst them De Biasi, Gabbiani, Venini, Salviati, Barovier & Toso, Pauly, Berengo Studio, Seguso, Formia International, Simone Cenedese, Alessandro Mandruzzato, Vetreria Ducale, Estevan Rossetto 1950 and many others. The oldest glass factory is Antica Vetreria Fratelli Toso, founded in 1854.
Orange Murano beads
Murano Millefiori pendant
Overall, the industry has been shrinking as demand has waned. Imitation works (easily recognizable by experts but not by the common client) from Asia and Eastern Europe take an estimated 40% - 45% of the market for Murano glass, and public tastes have changed while the designs in Murano have largely stayed the same. Due to these factors, as well as the difficult and low-paying nature of the work, the number of professional glassmakers in Murano has decreased from about 6000 in 1990 to fewer than 1000 today.
In an effort to curb imitations, a collection of companies and concerned individuals in Murano created a trademark to certify authenticity. Today about 50 companies use the Artistic Glass Murano® trademark of origin.[6] The trademark was introduced by and continues to be regulated by Region of Veneto Law no.70 of the 23/12/1994. Factories on the island are not required to apply for the trademark and many choose not to, but if a work carries the trademark, its authenticity is guaranteed.
Materials
The other raw materials, called flux or melting agents, soften at lower temperatures. The more sodium oxide present in the glass, the slower it solidifies. This is important for hand-working because it allows the glassmaker more time to shape the material. The various raw materials that an artisan might add to a glass mixture are sodium (to make the glass surface opaque), nitrate and arsenic (to eliminate bubbles) and coloring or opacifying substances.
Colors, techniques and materials
The Murano glass is made up of 70% silica sand, added to a 30% of other substances called “fluxes” and "stabilizers" (soda and lime). These added “fluxes” allows the glass to be melted at a lower temperature, and the "stabilizers" prevent the glass's solubility in water. When the glass melts at a lower temperature, it is possible to create homogeneous and bubble free Murano glass. The Murano glass in its basic composition is colorless. The colors are obtained by adding small amounts of minerals, oxides, and chemical derivatives to the base composition of the glass powder. This is the Murano magic that creates infinite combinations of transparent colors, crayons and alabasters.
Colors, techniques and materials vary depending upon the look a glassmaker is trying to achieve. Aquamarine is created through the use of copper and cobalt compounds, whereas ruby red uses a gold solution as a coloring agent.
Murrine technique begins with the layering of colored liquid glass, which is then stretched into long rods called canes (see caneworking). When cold, these canes are then sliced in cross-section, which reveals the layered pattern. The better-known term "millefiori" is a style of murrine that is defined by each layer of molten color being molded into a star, then cooled and layered again. When sliced, this type of murrine has the appearance of many flowers, thus mille- (thousand) fiori (flowers).
Filigree (a type of caneworking), glass engraving, gold engraving, incalmo, lattimo, painted enamel, ribbed glass and submersion are just a few of the other techniques a glassmaker can employ.
Sommerso
Sommerso (lit. "submerged" in Italian), or "sunken glasses", is a form of artistic Murano glass that has layers of contrasting colors (typically two), which are formed by dipping a gather of colored glass into another molten glass and then blowing the gather into the desired shape; the outermost layer, or casing, is often clear. Sommerso was developed in Murano during the late thirties and was made popular by Seguso d'Arte in the fifties. This process is a popular technique for vases, and is sometimes used for sculptures.
Tools
Special tools are essential for Murano artisans to make their glass. Some of these tools include borselle (tongs or pliers used to hand-form the red-hot glass), canna da soffio (blowing pipe), pontello (an iron rod to which the craftsman attaches the object after blowing in order to add final touches), scagno (the glass-master's workbench) and tagianti (large glass-cutting clippers). The tools for glass-blowing have changed little over the centuries and remain simple. An old Murano saying goes "Good tools are nice, but good hands are better," reinforcing the artistic nature of the glass-making process, which relies on the skill of the worker rather than the use of special tools.
In popular culture
In The Sopranos episode, "A Hit Is a Hit", Tony Soprano's neighbor, Jean Cusimano, hosts a dinner party, at which she comments about the Soprano home: "Oh, but that bar with the goombah[disambiguation needed] Murano glass". Dinner party guest (and Tony's psychiatrist), Dr. Jennifer Melfi, responds: "I like Murano glass". This exchange occurred in the context of a larger conversation that addressed the blurred distinctions amongst various socio-economic classes of Italian-Americans and between gangsters and successful professionals.
Informations from Wikipedia, the free Encyclopedia.
Just continuing to refine my techniques. The theme build for the car was inspired by Ruby's scythe from the web series RWBY. I may have a front shot coming, but it's heavily dependent on my mood since I kinda get bored when I spend too much time on a single car.
Before & After: www.artstation.com/artwork/kzJ4d
Vehicle: Toyota GT86 w/ Varis widebody kit & Rocket Bunny ducktail sitting on SSR MS1's.
Community wrap by: HernanLucena203 (based on the NFS No Limits design)
NEMBA trail work meet-up. Refining and re-routing a couple areas of trail upland and away from the wetland boundary. Here, Matt (L) and Al (R) are trying to position this transition rock at the best depth and angle for approaching and crossing our newly placed bridge.
Five years ago, shooting with an astro-modified camera or using a tracking mount was considered extremely advanced. Stacking for noise reduction was little known outside the deep sky astrophotography world and low level lighting was associated with interior-design. Today, trackers are widely used and stacking has become a standard procedure. Astro-modified cameras are now available directly from manufacturers and low level lighting has found its deservrd place in night photography.
Refining known techniques and equipment or shooting from ever more exotic places is great, but where are the future game changers? As deep sky astrophotography has been a constant source of inspiration, future innovations in nightscape photography are likely to come from there again.
In DSO photography, specialized astro-cameras have mostly replaced conventional cameras. They are more sensitive and can be cooled for lower noise. Traditionally however, dedicated astro-cameras have been a bad choice for nightscapes, because their monochrome CCD sensors require long exposure times for each sub. This translates into heavy mounts, the need for filters, a computer and an external power source. All this makes a conventional deep sky imaging rig too complex, heavy and slow for nightscapes, but things are changing:
Several companies are now offering cooled astro-cams with CMOS sensors - the same as those used in the latest photo cameras. Compared to CCDs, they still have drawbacks, but thanks to the lower readout noise, exposure times can be kept much shorter. This allows the use of a simple tracker. Many CMOS astro-cams also come as one shot color cameras (OSC). This lowers their sensitivity compared to their monochrome cousins, but it also simplifies image acquisition.
Furthermore, there now are several solutions to control astro-cameras (and even complete imaging rigs) with tiny raspberry pi computers, through a smart device. You can leave the laptop computer at home and while you still need external 12V power, lightweight lithium power banks are available today.
As there are no obvious showstoppers anymore, I have been waiting for the first astro-cam nightscapes to appear. To my surprise, this did not happen.
I have recently bought a cooled monochrome CMOS camera with a motorized filter wheel for my telescopes. I now have the possibility to try it myself and a few weeks ago, I finally got the chance to abuse it for nightscapes. I made many rookie-mistakes that night and the result is far from perfect, but I consider it a proof of concept, showing the potential of dedicated astro-cameras for nightscapes.
One advantage of such a setup, apart from lower noise and higher sensitivity, is the possibility to shoot through narrowband filters. Despite all my mistakes, the addition of just 15 minutes of narrowband H-alpha data to the image, reveals nebula details I have never been able to record with my astro-modified Canon EOS 6D.
I am not going to put away my beloved 6D anytime soon, but I will certainly continue to experiment with my astro-cam. I still have to find out how it performs with wide angle lenses. These could produce problematic gradients with some filters. However, for longer focal length, close-up nightscapes, it has huge potential and narrow banding should enable me to shoot scenes from heavily light polluted sites, which are impossible to capture in broadband light.
I hope to see a lot more such ‘deepscapes’ in the future. Think out of the box and if you have access to a specialized astro cam or if you have other innovative ideas, start doing some pioneering work with them. I would love to hear about your experiences!
EXIF
ZWO ASI 1600MM Pro
ZWO EFW 36mm motorized filter wheel with Baader HaLRGB filters
ZWO ASI AIR computer for camera control with a Samsung Galaxy S7
Canon EF 70-200 f/2.8 L IS USM @ f/4 and 135mm (resulting focal length 270mm)
iOptron SkyTracker Pro
Celestron Powertank Lithium
Foreground: 5 x 60s Luminance / 5x60s RGB
Sky: 5 x 180s H-alpha / 20 x 30s Luminance / 10 x 30s RGB
When travelling in 1998 thru Shan-State (Lashio and Kalaw) the first visual impression was: where are the trees? Some locals told me both private entrepreneurs and the government had cut down huge areas and sold to China.
Myanmar had political trouble and was considered some sort of pariah state suffering under embargoes and lack of investments. Next to selling natural resources and precious stones, little was left to refinance the state then to sell even the forests. It also enabled China to get a harbour at the Burmese coast in order to reduce seafreight for its exports. Back in 1998, so I was told when being in Mandalay, 40% of all Mandalay's property would already belong to Chinese traders and companies (I have no sources to confirm or deny it). Apparently, Chinese had a strong influence already then and I wonder how it is now, more than 20 years later.
Scanned slide, image taken End of March 1998
After some refining. HDR shot of Tokyo from the Metro Building. I didn't want to have the "overboard" HDR effect, but more of a subtle enhancement; something that makes you pause and ponder.
***UPDATE 9/19/2007: I replaced the original shot with one that I think is much better, in between the original darker one and the lighter one, I think this is a lot clearer! I did some more fine-tuning and tweaking (especially with the color profile!)
On the high plains of Central Montana a westbound train of Bakken North Dakota Sweet Crude moves west up the east slope of the Continental Divide at Browning Montana. There is no pipeline direct from North Dakota to the refineries in the Pacific Northwest. These refineries were built mostly to refine Alaska Crude long before a fracking boom in the "old" oil fields would unleash a civilization changing surge in US oil production. Rail is now the conduit that move this black gold west. The train is on heavy grade of 1% which will increase to 1.3% near Bison. note the snow fences protecting the railroad, the area is historically known for extreme winter storms dumping snow by the feet. 6/22
The sun rises behind the pines of Lake Guntersville
(Explore #8, 11/21/2009, and Front Page! Thanks everyone!)
This is the largest canvas I have ever worked with. I bought it at a sale and have had to take time to think about what I would do. It's always hard to make a start to a work of art, for me, but after the very first touch of paint, I can pretty much jump in! I had to give this one a lot of thought, too, as to subject matter. THAT is a difficult thing, too- to decide WHAT to do!
OH! And my pallet was limited because I only used house paint that was left by the previous owners or paint I was currently using at the house! Kind of a "memories" color pallet for the cottage!
This canvas is 4 feet x 4 feet- I hardly have a wall big enough at Lagniappe to accommodate it! What glorious fun!
I will post the rest of the series, so you can see how the painting developed! :)
New Orleans, LA
Working on refining my technique with this fun form of macro photography.
This is a 20 image stack, each frame shot at f4. Getting the lighting right on this one was tough with so many drops in so many different places. In the end it was worth the work.
Shot using a Tokina AT-X 90mm f2.5 Macro lens and the AT-X 1:1 extender.
Introduction
2019 Christian Music Video "I'm Willing to Submit to God's Work" | Thank God's Love | Korean Song
O God! I beg You to do judgment work in me,
purify and change me,
allowing me to understand and obey Your will in all things.
In Your salvation of me, there is Your supreme love, and Your will.
In Your salvation of me, there is Your supreme love, and Your will.
Although I’m rebellious and have corrupt disposition,
and my nature is betrayal,
I have understood Your will in saving man.
I would that You give me more trials and suffering,
allowing me to behold Your hand amid such suffering, and see Your deeds.
Although You test and refine me,
I know this is Your love.
I beg You to provide to me according to my stature,
so that no matter what the trials and sufferings,
I will understand Your will, not betray You or complain,
and will completely obey and satisfy You,
satisfy You.
from Follow the Lamb and Sing New Songs
Excerpt from the plaque:
From Line to Form
Brian Donnelly began his artistic journey at the age of 12 with graffiti – a style of art that breaks convention. He began tagging the streets of his hometown, Jersey City, eventually branching out to Lower Manhattan and Brooklyn. This was the formative period when he developed his artist persona KAWS and several of his signature motifs. In 1993 he enrolled in Manhattan’s School of Visual Arts, where he received technical training. This salon-style hang of works reveals his love of drawing and his dedication to refining his skill.
KAWS’s time as a graffiti artist was foundational to what would become the ethos of his current practice: claiming public spaces, communicating with broad audiences, and self-promotion through creating.
This car was an early-stage design experiment that Oldsmobile chose not to develop further. Other than its experimental and avant-garde appearance, little else is known about it.
Clay models are often used by automotive designers to explore and refine the visual and aerodynamic aspects of a vehicle before it ever hits the production stage. These models can sometimes remain as purely conceptual pieces, never advancing beyond the design phase. They allow designers to physically visualize and tweak their concepts.
... written by Wm Macfie to his brother John in Edinburgh regarding the family sugar refining businesses and life in general. 1831-1840
[ contents of these letters at - www.mawer.clara.net/letters.html ]
Refining processing skills again with stockimages...:)
Thanks to NEOkeitaro for the stockimage:
neokeitaro.deviantart.com/art/3R-Stock-Steampunk-Instrume...
Great stuff there! i just love old mechanics like this...
Hope you like it!
The United States Smelting, Refining and Mining Company. Fairbanks Alaska. ca. 1985. Illinois Street supply yard.
The USSRM provided equipment to the Fairbanks Exploration Company (F.E. Co) in support of gold mining operations outside of Fairbanks in the middle part of the last century.
www.asme.org/about-asme/engineering-history/landmarks/113...
Friday Flashback.
Tri-X 400, Minolta SRT.
The mine has been shut down for years by this point but the refining of copper continued apace. A tidy pair of ex-Algoma Central GP38-2s has their outbound train put together and will soon begin the 77-mile trek across the length of the White Pine Sub.
December 22, 2002.
"This autumn issue explores how refining our senses - taste, sight, sound, touch, and smell - enriches the experiences we have with each other."
Pretty excited about this volume, not only because it's beautiful & always exciting to receive in the mail, but because I got a chance to contribute. I, with the help of Eric, (who is honestly much better with words) wrote an essay about taking the time to slow down and enjoy brewing coffee in the morning. The essay is featured next to photos by the talented Chantelle Grady, who photographed a Kyoto drip coffee maker & a page with different old time brewing methods.
There's a few more shots on the blog as well, along with pictures of our homemade s'mores that turned out far better than I thought- I'll just say that graham cracker dough is stickier than I expected!
The headstone of Mansfield How whose epitaph reads:
"In the bloom of Life
I did refine my breath
O then by me admonish'd be
And all prepare for death"
This is my entry for this weeks Mosaic Montage Monday where the theme was Refine/Refined, I hope this is a close enough match to the theme given that each one of those little coloured balls on the Freckles sweets is pretty much just refined sugar.
Happy Mosaic Montage Monday!
10 years of refining the Surfer Girl MOC.
I don't know how many of you go through constant refinement of certain MOCs. I often start a MOC and wish there was a part in a specific color and I often have to either wait for me to obtain it or wait for Lego to produce it. So I put off updating it for years at a time. Other reason for updating is just improving my building skills and the dissatisfaction of my earlier version. I don't hide my old builds here on Flickr, as it captures my learning curve. So obviously my older builds will be of lesser quality, but such can be said for Lego's official sets from prior years/decades. Clearly Lego's building quality stems from the talented and passionate builders that once walked amongst us here on Flickr, that got recruited by Lego to elevate their set designs. Lego is lucky and may not realize just how much the Lego community has shaped the Lego product line. In my opinion all of the adult theme Lego sets are clearly a product of the talented AFOLs that went to work for Lego.
Will I continue updating this model, time will tell.
I am curious to know how many others go back and refine their MOCs, assuming you don't completely take them apart. I try to capture it in Studio software if it's not too large so that I can go back and update it later.
SiG-552 with x2 magnification red dot on top rail, 550 lumens flashlight, red dot sight for CQB and a grip on the sides.
.... Refining tactical
A farmer unloads raw salt at salt field yard in Chittagong, Bangladesh. This photo is taken in the destination of Banshkhali Upazila in the division of Chittagong in the country of Bangladesh.
The salt industry being one of the largest labor intensive cottage industries of Bangladesh absorbs largely around 5 million people directly or indirectly. The total value chain of the salt industry in Bangladesh involves largely two sub-sectoral activities namely-- the refining process which is operated by salt mills and the crude salt production process that involves a significant chunk of marginal farmers of coastal Bangladesh.
Among the farmers, farmers some are cultivating salt on their own lands while the other farmers are cultivating salt after taking the land as lease either directly from owners of the lands or through middle men. Local administration sources said a huge quantity of lands are being used for salt cultivation in Banshkhali this year.
© Zakir Hossain
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বাঁশখালীর উপকূল জুড়ে চলছে লবণ উৎপাদন। এখানকার বিভিন্ন ইউনিয়নে ৫০ হাজার লবণচাষি ১৫ হাজার হেক্টর জমিতে লবণ চাষ করছেন। অনেকে জমি মালিকের সঙ্গে চুক্তিতে চাষ করেন। উপজেলার কাথরিয়া, বাহারছড়া, সরল, গন্ডামারা, পুইছড়ি, শেখেরখীল, ছনুয়া ও খানখানাবাদ উপকূলীয় এলাকায় ব্যস্ত সময় পার করছেন তারা।
লবণ চাষিরা জানান, কাঠের রোলার দিয়ে মাঠ সমতল করার পর চারপাশে মাটির আইল দিয়ে ছোট ছোট প্লট তৈরি করা হয়। এরপর ছোট প্লটগুলো রোদে শুকিয়ে কালো বা নীল রঙের পলিথিন বিছিয়ে দেওয়া হয়।
জোয়ার এলে মাঠের মাঝখানে তৈরি করা নালা দিয়ে জমির প্লটে জমানো হয় সাগরের লবণাক্ত পানি। অনেকে ইঞ্জিনচালিত শ্যালো মেশিনও ব্যবহার করেন। এভাবে পানি সংগ্রহ করার পর ৪ থেকে ৫ দিন রোদে রাখা হয়।
কড়া রোদে পানি বাষ্পীভূত হয়ে চলে যায় আর লবণ পড়ে থাকে পলিথিনের ওপর। লবণ চাষ মূলত আবহাওয়ার ওপর নির্ভরশীল। একটু ঝড় বৃষ্টি হলেই উৎপাদন বন্ধ হয়ে যায়। কুয়াশাও লবণের জন্য ক্ষতিকর।
উৎপাদিত লবণ থেকে পানি সরে গেলে ব্যাপারীদের হাতে তুলে দেওয়া হয়। এই লবণ কিনে নিয়ে কারখানায় রিফাইনারি মেশিনের মাধ্যমে পরিশোধন শেষে বস্তা বা প্যাকেট ভর্তি করা হয়। পরে সেই লবণ চলে যায় বিভিন্ন স্থানে।
As I said on my last picture, here is V.3. Now, this was actually painted after the Satyr Zerofrost's Nightingale re-texture , as I like this enhanced texture much more than the original armour, I also use this on my skyrim, so thats another reason. I will definatly be refining some lines, as I now see some are uneven.
Enjoy!
SuperDracos will power the Crew Dragon spacecraft's revolutionary launch escape system, the first of its kind. Should an emergency occur during launch, eight SuperDraco engines built into Dragon's side walls will produce up to 120,000 pounds of axial thrust to carry astronauts to safety.
SpaceX has test-fired this Crew Dragon Propulsion Module 27 times, in addition to test-firing SuperDraco engines individually over 300 times, to refine the design for the demands of operational missions carrying astronauts to the International Space Station.
More info: blogs.nasa.gov/commercialcrew/2015/11/10/crew-dragon-prop...