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the light and shadows were better from this angle, i thought, but the tv is just gross. i need to set up a mini-studio in my house. =)
3xp HDR shot (although the HDR is somewhat muddled due to the extra processing I did afterwards in Photoshop). Crouching under the apple tree. Rejected because... there's a bit of ghosting due to the branches shaking, and I just preferred the other shot :-)
A 365 Reject for Day 2.194. It's a fun picture, but the composition isn't quite right, the focus certainly isn't and it didn't convert to black and white.
Sponsored by Dovely Poses (MAIN STORE) linktr.ee/sldovely, Knifu Poses (MAIN STORE) and EXCY (MAIN STORE)
Pose: Samurai Kami (Levitate 2) by Knifu/Dovely Poses, available soon at TOKYO-ZERO
Cybernetic Arm: Arm-XC-88 by EXCY, available now at Cyber-Fair (maps.secondlife.com/secondlife/ACCESS%202/124/123/1504)
Background: CYBERCITY by *ZEROICHI*
Cyber-Kabuki Killsquad by Maru Kado
Garb by The Forge and Gabriel
Katana: Rhodonite Photon Blade by AYAYA
Mask: Gestel Breather by Contraption
My Rolos were rejected from the Smile on Saturday group because Rolo is a brand name (note to self - always read the small print), but I hope they make someone smile today! For those not familiar with Rolos the tagline for these chocolate covered caramels is “Do you love anyone enough to give them your last Rolo?”, and so if someone gives you their last one I hope it brings a smile to your face!
..unused artwork from the recent album, 'A Limited Vocabulary'. This album is now available for free as a DRM-free download from www.cormacphelan.com/thirteen.html.
Scottish bluebell
Campanula rotundifolia
Kereklevelű harangvirág
SMC Takumar 50mm 1.4
Press 'L' for large view
Here's what I left in this location:
Three common unis had scratches and cracks. Two 16" Corollas and one Mirage were run over. One of the Corollas was a shame, because it appeared to be mint before it was hit.
Nissan Sentra had a big chunk, and I took the badge. 15" Corolla had severe curb damage and a few broken clips. I also took the badge from that one.
The one on the left is a 2000-02 Saturn SL1. I almost took that because it's fairly uncommon, but it had paint issues and most of the plastic alignment tabs on the back were broken. Old Saturn stuff is mostly hard to sell. I ended up just taking the lug caps from that one.
If I get a chance in the winter, I'll check this section again. I bet there are a few more hidden that I couldn't see because there are too many leaves still on the plants right now. Maybe another Mirage in there somewhere :-P
An overlooked reject from our recent holiday. Taken while exploring White Scar Caves.
Nasty triple-chin... but I am looking straight at the ground and trying to avoid banging my head.
Frissell, Toni,, 1907-1988,, photographer.
Bermuda Rejects
August 1956.
1 photograph : color transparency ; 35 mm (slide format)
Notes:
Please use digital image: original slide is kept in cold storage for preservation.
Title, date, and keywords based on information that came with or on collection items.
FRISSELL - Job 1956-20 contains B&W and color.
Image shows snorkeling in the shallows at Flatts.
Sports Illustrated Job Number: x4125.
Sports Illustrated Assignment Information: Bermuda Children.
Container Notes: 7.
Additional information on note: S.B. [check mark].
Subjects:
Bermuda Islands.
Rights Info: No known restrictions on publication. For information see "Toni Frissell Collection," hdl.loc.gov/loc.pnp/res.070.fris
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Toni Frissell photograph collection (DLC) 2009632520
General information about the Toni Frissell photograph collection is available at: hdl.loc.gov/loc.pnp/coll.090
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/tofr.07822
Call Number: LC-F905-07822 [item]
uhhhhh here’s a mix bag of dc figs
My process of making a post is sort of making a fig and building the rest of the figs around it. These are the ones I made that didn’t really fit in with any other pic. I’m in love with the Killer Moth, and I like the Elongated Man.
From Left to Right: The Atom V2, Elongated Man, Tempest, Killer Moth, Slipknot, Booster Gold, and Sinestro.
Atom: JL Flash Head, cyclops torso, Chima hips and Ultra Agents legs
Elongated Man: Obi wan Hair, Modified Steve Trevor Head I made for Stilt man, Calculator arms, torso, and legs
Tempest: Star Wars Head, Electro torso (Credit to Johnathan) WW arms, handcuff vambraces
Killer Moth: Killer Moth Helmet, Hydra soldier head, Beetle wings, Killer Moth torso, LBM belt, Killer Moth legs
Slipknot: Bard Hair, Apache chief Head, Ninjago movie torso and hips, Boba Fett legs
Booster Gold: Thor Hair, Star Wars Head, Nova torso (credit to someone, I forget who. If you know please tell me) and LBM arms
Sinestro: Ras Al Ghul Hair, Sinestro Head, LBM shoulder pads, CMF torso, modified legs
Enjoy! +1 Meem point
This isn’t about rejecting ambition or effort. It’s about choosing ownership of the work, the pace, and the outcome. Some paths are built around extracting returns first and meaning later, and I’ve learned that alignment matters more than acceleration. I would rather let something grow slowly, imperfectly, and on my own terms than trade the core of it away for approval, optics, or manufactured momentum. There is a quiet dignity in building without permission, even if it never becomes loud enough to impress anyone else.
I am a middle child. I had one older brother and one younger brother. As I grew up I developed a classic case of "middle child syndrome". My older brother was the "golden" child and my younger brother was the "baby". All I got was leftovers and to get anyone's attention I always had to be the "pleaser". It's got a fancy name now called co-dependency.
When things go bad at work or in my personal life these feelings always rise to the surface and affect the way I handle situations. I always try to be the pleaser but sometimes people are abusive or indifferent to my feelings and at some point I just explode. That happened this morning with a client. I have a few things going on right now but he basically said he didn't care. I finally had enough and told him I didn't care either and that he could get out and don't come back. Boy that felt good but I'm still in a bad mood.
Our Daily Challenge - In the Mood
Gian Lorenzo Bernini (1598-1680) - Apollo and Daphne (1622-1625) - Carrara marble height cm. 243 - Third Room - Galleria Borghese Roma
Soggetto del gruppo scultoreo è la favola di Ovidio tratta dalle Metamorfosi (I, 450-567), dove si narra di Apollo che, a causa di una vendetta di Eros, è da lui colpito con una freccia d’oro - il metallo più nobile - che lo fa innamorare della ninfa Dafne, seguace di Diana. La fanciulla, invece, trafitta da un dardo del vile piombo, rifiuta l'amore del Dio e prega suo padre Peneo, divinità fluviale, di aiutarla a farle cambiar quelle sembianze che tanta passione avervano suscitato. L'opera rappresenta il momento culminante della metamorfosi di Dafne in albero di alloro.
Bernini crea una messa in scena teatrale, nella quale l'occhio dello spettatore segue lo sviluppo della trasformazione: Apollo dopo la corsa ha raggiunto l'amata, che ha già mutato i suoi piedi in radici e le mani e i capelli in un’unica fronda. Lui tenta di afferarla, ma le sue dita sfiorano non il suo corpo, ma la corteccia dell'albero. Da quel momento l'alloro diventerà caro al dio, che si cingerà il capo con le sue fronde, e sarà considerato attributo di artisti e poeti.
The subject of the sculptural group is the tale of Ovid taken from the Metamorphoses (I, 450-567), where it is said of Apollo that, due to a revenge of Eros, he is struck by a golden arrow - the noblest metal - that makes him fall in love with the nymph Daphne, follower of Diana. The girl, however, pierced by a dart of the vile lead, rejects the love of God and prays her father Peneo, river divinity, to help her change her appearance that so much passion aroused. The work represents the culminating moment of the metamorphosis of Daphne in a laurel tree.
Bernini creates a theatrical staging, in which the eye of the spectator follows the development of transformation: Apollo after the race has reached his beloved, who has already changed his feet into roots and hands and hair in a single frond . He tries to hold her, but his fingers touch not his body, but the bark of the tree. From that moment the laurel will become dear to the god, who will gird his head with his fronds, and will be considered an attribute of artists and poets.