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The fledged young barnswallows are quite capable of flying and fend for them selfs but still like to get that extra mouth-stuffer.
Poole wetland. St.Albert, AB.
Most of my pictures are taken in and around the city of Molde, witch is the capital of Møre og Romsdal, in the country of Norway
This one was taken is not far from the city limits.
Rabelera holostea, known as greater stitchwort, greater starwort, and addersmeat, is a perennial herbaceous flowering plant in the family Caryophyllaceae.
Stellaria, the genus name, means star-like. The specific epithet holostea comes from the Greek holosteon, literally meaning 'entire bone'; thus it is a derogatory reference to the brittleness of the weak stems of this plant.
My Website:
Apart from specific calls to advertise, and specific things of interest i am on permanent hiatus from Second Life blogging, Second Life in general. 2020 wasn't very kind, and the culture of SL is LITERALLY just becoming even more toxic as the days go by. In order to save myself the hassle i'm just cutting ties and walking off.
Early morning visit here for a specific sunrise composition i have had in mind for some time.
To my annoyance,my position to complete this composition had the footpath shut of which would have been at 90 Deg to the right of this one.
Also the tide was a lot lower than i hoped so rather than a wasted journey,i decide to do a few from here.
If you enlarge,you can see the Hayling Island to Eastney Ferry Terminal in the background.
To be more specific, one of the pressed flower note cards our mother used to make. She was a very creative, talented, gifted person, and one of the many things she would make were these note cards made with pressed flowers from her own garden.
She had a patch of Queen Anne's Lace growing in the backyard for this purpose. I still have a small assortment of her cards left, and this one with the Queen Annes' Lace flower is my favorite.
** Best when viewed large - just click on the image.
Sculpture garden
At Duke Farms, the sculptures in the gardens are mostly 19th-century Italian works brought by Doris Duke’s family. In many 19th-century European and American gardens, these figures were placed as decorative statues, not always tied to a specific mythological name but rather to symbolic personifications. They often represent allegorical figures (Seasons, Muses, Nymphs).
I made these windlights to use either for a specific land theme or portraits, if the picture is going to be taken outside of the studio. Not relying too much on projectors but on the environment.
Windlights:
🌃 Night in my room - Good for indoors and balcony view. Night sky with stars.
☁️ Rainy day - Foggy day, make it shine with street lights and rain.
🐑 Grass field - For nature landscape. Beautiful with shadows of trees.
📷 Polaroid - Basic polaroid color with clear sky.
🌸 Blue Water - Dreamy blue sky with sun light. Nice with pastel colors.
🚲 Playground - A sunny afternoon for portraits and landscapes.
If you are curious, I share them in my store LUVN!
There is a specific kind of power in softness, and that’s exactly what we’re exploring with this Sunday Morning feature.
The goal was to take the Atlas line’s signature dominance and wrap it in the warm, approachable glow of the LelaPeau Theo skin.
Theo in the NF Ruddy tone provides a realistic, blood-pumped vitality that makes the Wade head look incredibly lifelike, especially when layered with Nuve’s face shine and .Hype. natural freckles.
Assassin in the blackberries !
Taken back at the beginning of September this year 2017.
I believe this to be a marsh damsel bug rather than a common damsel bug - Nabis rugosa but I'm not 100% sure I have to admit.
A tiny little predator of around 7.5mm - 9mm in length and I only noticed it out of the corner of my eye as it roamed over a blackberry and showed up lighter against the dark of the berry while I was focusing on a hoverfly nearby.
It is apparently non specific in its choice of prey.
The image will enlarge a little.
I spent some time scanning some of my father's old slides. Most are from the mid seventies, however I can't provide the specific dates. As I remember it from trips with my dad, a colorful and busy East Deerfield yard is bustling with action, including a pair of B&M geeps and Alco S4 1268 getting ready to make it's next move. Fred McGinnis, March 1977.
Excerpt from islamicartsmagazine.come:
The Koski Mehmed Pasha Mosque in Mostar represents another extraordinary piece of Ottoman architecture in Bosnia and Herzegovina. Besides the Karadžoz Bey Mosque, this is the most known and most monumental mosque in Mostar.
It was built in the year of 1618/19 and represents the large construction of the classical Ottoman architecture in Bosnia and Herzegovina. Mehmed Koskija, the founder of the mosque, was the chronicler of the great vizier Lala Mehmed Sokolovic. He died in 1611, and the Koski Mehmed Pasha Mosque was finished by his brother Mahmud. Besides the mosque, he built a madrasah too.
The Koski Mehmed Pasha Mosque has a one-space floor plan with a dome. Designed in the main architecture office in Istanbul, it was built from the precisely tanned stone blocks. Its architectural design is very similar to the Karadžoz Beg Mosque, which probably served as a model. Unlike the Karadžoz Beg Mosque, the minaret of the Koski Mehmed Pasha Mosque is slightly lower, without the stalactite decoration in the area of sherefe. It has a porch with three domes, and extraordinary well-crafted mihrab and mimbar. The proportions of the Mosque are especially distinguished. The location of the Koski Mehmed Pasha Mosque is quite specific as it is placed on the cliffs of the Neretva River, in the center of the city.
Off brand, case specific comic book character.
Toronto, Ontario
YI Xiaoyi 42.5mm F1.8
Olympus OM-D E-M5
Lichtrouten - Lüdenscheid, Erlöserkirche
THE BODY OF LIGHT
Immersive environment
The multi-part laser installation is a site-specific intervention with line lasers and mirror systems. The architectural cubature of the church interior becomes a coordinate system for a system of red illuminated lines and surfaces, partly static and partly dynamic. The interior of the church becomes a luminous body. . The elementary fields of tension between the visibility and invisibility of light, between color and light, between materiality and immateriality are the working material of Margareta Hesse. With a strictly constructivist approach, she develops a poetic and sensual pictorial space.
MARGARETA HESSE
From diaphanous objects to immersive spaces: since the end of the 1990s, she has been developing diaphanous objects, which she calls “translucides”. The characteristic material are surfaces made of semi-transparent polyester in order to thematize the changeability of color impressions in changing light situations. She has been integrating physical light into her works since 2008. She works exclusively with red laser light in graphic systems, mostly site-specific.
lichtrouten.de/en/margareta-hesse/
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THE BODY OF LIGHT
Immersive Umgebung
Die mehrteilige Laserinstallation ist eine ortsspezfische Intervention mit Linienlasern und Spiegelsystemen. Die architektonische Kubatur des Kirchenraumes wird zum Koordinatensystem für System aus roten-leuchtenden Linien und Flächen, zum Teil statisch und zum Teil dynamisch angelegt. Der Kircheninnenraum wird zu einem leuchtenden Körper. Die elementaren Spannungsfelder von Sichtbarkeit und Unischtbarkeit des Lichts, von Farbe und Licht, von Materialität und Immmaterialität sind das Arbeitsmaterial von Margareta Hesse. Mit einer streng konstruktivistischen Arbeitsweise entsteht ein poetisch-sinnlicher Bildraum.
MARGARETA HESSE
Von diaphanen Objekten zu immersiven Räumen: Seit Ende der 1990er Jahre entwickelt sie diaphane Objekte, die sie „Transluzide“ nennt. Das kennzeichnende Material sind Flächen aus semi-transparentem Polyester, um die Veränderlichkeit von Farbeindrücken in wechselnden Lichtsituationen zu thematisieren. Seit 2008 integriert sie physikalisches Licht in ihre Arbeiten. Dabei arbeitet sie ausschließlich mit rotem Laserlicht in grafischen Systemen, meist ortspezifisch.
Despite these limitations, Lower Antelope Canyon draws a considerable number of photographers, though casual sightseers are much less common there than in the Upper canyon. Specific photographer-only tours are available for booking around midday, when the beam of light is at its peak. Photographers are required to bring a tripod to participate.
215a 2 - _TAC3609 - lr-ps - frame
Spaß mit KI!
(Kein bestimmtes Thema)
„Mit KI erstellte Fotos”
Die KI hat dieses Bild auf Grundlage einer von mir eingegebenen Textbeschreibung erstellt.
AI created this image based on a text description I entered.
Sisters' Meals Festival Of Miao Ethnic Group
The Sisters’ Rice Festival is sometimes called Sisters’ Meal Festival or Eat Sisters’ Rice Festival. The legend is there was once an old man and his wife who had three beautiful daughters. One day while they played on the riverside, the young girls felt lovesick. Zhang Guolao, a bearded God who carried a bamboo tubular drum, possessed the spirits of the girls, telling them to prepare five-colored rolls of glutinous rice filled with shrimp, fish and other special things. When young men came down from the mountain, the beautiful girls presented the rice to them. In this way, the young girls found their marriage partners
Sisters’ Meal festival, which takes in the Spring, is specific to southeast Guizhou. During the third lunar month in Shidong, Taijiang County in Southeast Guizhou Province, girls flock to the mountains to collect wild flowers and berries to dye the glutinous rice known as Sister’s Rice and everyone cooks up a storm! A storm of glutinous rice that is — dyed in several colors and formed into balls. Each girl prepares her rice with a symbol then wraps it in a handkerchief or put inside small baskets
The Miao minority “Sisters’ Rice Festival” is a celebration of spring and of love. Dressed in finest embroidered and appliqued clothing, adorned in all their freshly shined silver jewelry, young women set out to attract a suitable mate. That’s the traditional goal, but fun is the name of the game! Two, sometimes three, festival days are filled with dancing, singing, eating, drinking lots of rice wine, watching bull fights and cockfights, and horse racing.
The Festival brings villagers from many remote areas together, the girls beautifully dressed in their embroidered costumes. A kaleidoscope of colors, local customs and traditions, signature costumes and hairstyles provide a never-ending fashion show. It is said that the Miao originated from the egg of a butterfly that emerged from a maple tree. The butterfly married a bubble and laid twelve eggs. A mythical bird called the Jiyu watched over the eggs for twelve years and finally they hatched into a Miao man known as Jiangyang, a Thunder God known as Leigong, a water buffalo, snake, dragon, tiger, centipede, elephant and four other omens. All of these symbols are found in the exquisite embroidery and colorful decoration of these artistically talented people.
In anticipation of the Sisters’ Rice Festival, the grandmothers, mothers and other female relatives polish and shine the collection of silver neck rings, bracelets, anklets, earrings, hair pins and combs, rings and pendants, phoenix crowns and headpieces that the young courting-age girls will wear. The Miao believe that silver, representing light, dispels evil spirits. Silver is also a symbol of wealth and beauty, and some young women wear several kilograms of it at one time. Dazzling embroidered skirts, blouses, aprons and jackets are decorated with many different tooled silver ornaments. Pretty necks are encircled with bands of silver and linking silver chains that support large shining lockets, glittering beads and hanging tassels. Elaborate silver headpieces crown the heads of the girls as they proudly display their self-made costumes.
The festival always begins with special family meals. Sharing traditional foods such as rice that has been colored with the dyes of different leaves, berries and flowers, then cooked in bamboo tubes, and homemade rice wine, is similarly practised among the many Miao tribes. Some of the dyed rice is molded into balls that hold hidden treasures. These rice balls are presented to the young men who come to visit, and each treasure has a different meaning. Pine needles mean “You should give me embroidery needles.” and corn silk is a suggestion of fine yarn. A thorn tells the lucky fellow “You are the one!” Chopsticks or red flower pistils say, “Let’s marry quickly — the sooner the better.” And a single chopstick, some garlic or chili means, “Find someone else!”
Meanwhile, you will find many elders at the cockfighting competitions, trading at the daylong markets, or leisurely rowing long dugout canoes on the river beside the festival ground. This is a time of camaraderie and “catching up.” Mid-morning approaches, and the elders rush off to the bullfights. Excitement rises as the mighty bulls lock horns, trying to wrestle each other to the ground. All day long, one bull after another is defeated and then the final match begins. The winning bull brings great honor and riches to his owner for the following year, so although it is festival, the participants enter into the fights with a certain seriousness. Such anxiety calls for much merriment, eating, drinking and friendly betting. The champion bull’s horns are festooned with chickens, ducks, red ribbons and flowers as he is led around the battleground and through the town, snorting proudly for all to see. Finally he is bathed in the soothing waters of the Qingshui. The crowds thin out as people join picnics and special feasts.
The Qingshui riverside becomes lively and exciting as the music and dancing begins. As they walk and dance, the lovely Miao girls jingle and shimmer in the sun. Their cheeks burn with excitement while they flirt with handsome young men, each of whom is searching for a beauty worthy of his strength and handsomeness. Towards evening the newly formed couples break away and begin singing together.
When darkness falls, the festival beat increases as the dragon dances begin. Candles are lit inside the 25-meter-long hollow paper dragons. Battles begin as the fiery dragons weave in and out of the hooting crowds chasing each other. Drums and fireworks complete the noisy atmosphere. Into the evening, the elders continue to make the rounds, greeting their friends, swapping stories and songs, sharing tobacco and wine As the moon rises high in the night sky, young lovers wander off. The mountain paths are busy with the sounds of tinkling footsteps and clear melodious voices singing gentle love songs to the tunes of Lusheng pipes. Long into the night, the partying continues… Bamboo flutes and wooden drums echo sounds throughout the valley as the dawn breaks, beginning the next day’s festivities. As crowds slowly gather, the lovely dancing girls strut like peacocks while the boys look on admiringly
Portret of a tiger, taken in the zoo in Płock :)
The Siberian tiger is a tiger from a specific population of the Panthera tigris tigris subspecies native to the Russian Far East, Northeast China, and possibly North Korea. It's the largest of the subspecies of the Asian tiger, a predatory mammal of the felidae family. It lives in mountain coniferous and mixed forests, near rivers and streams. A mature male reaches a length of over 300 cm (including the tail) with a body weight of up to 300 kg. Females are smaller - they reach 260 cm in length and weigh from 100–167 kg. As a result of warfare in the areas occupied by the Siberian tiger, as well as hunting, its population decreased to about 20-30 individuals in the 1940s. In 1947, a total ban on hunting Siberian tigers was issued. In the 1990s, a number of measures were introduced as part of the plan to stabilize the Siberian tigers population. It is now recognized that the primary goal has been achieved and the number of Siberian tigers is beginning to increase. Despite this, the species is still threatened with extinction.
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Portret tygrysa, spacerującego w płockim zoo :)
Tygrys syberyjski, tygrys amurski (Panthera tigris altaica) – największy z podgatunków tygrysa azjatyckiego, drapieżnego ssaka z rodziny kotowatych. Zamieszkuje Kraj Nadmorski i Kraj Chabarowski na wschodnich krańcach Rosji a część występuje na granicy rosyjsko-chińskiej, w dolnym biegu Amuru. Żyje w górskich gęstych lasach iglastych i mieszanych, w pobliżu rzek i potoków. Dojrzały samiec osiąga długość ponad 300 cm (razem z ogonem) przy masie ciała dochodzącej do 300 kg. Samice są mniejsze – osiągają do 260 cm długości i ważą od 100–167 kg. Na skutek działań wojennych na terenach zajmowanych przez tygrysa syberyjskiego, a także polowań, jego populacja zmniejszyła się do około 20-30 osobników w latach 40. XX wieku. W 1947 roku wydano całkowity zakaz polowań na tygrysy syberyjskie. W latach 90-tych wprowadzono szereg działań w ramach planu ustabilizowania syberyjskiej populacji. Obecnie uznaje się, że podstawowy cel został osiągnięty, a liczba tygrysów syberyjskich zaczyna wzrastać. Mimo tego wciąż gatunek ten znajduje się na granicy wymarcia.
You do not have the right to copy, reproduce or download my images without my specific permission, doing so is a direct breach of my copyright.
Refectory, bath, and boat houses, including plot plan, bathing beach, water line, diving tower, service road, main park road.
Specific date: 12/1937
Draftsman: Lair, Joe C. Pencil, black ink, and colored pencil on paper. LN: 36.00 x WD: 24.50.
Most lionesses reproduce by the time they are four years of age. Lions do not mate at a specific time of year and the females are polyestrous. The average gestation period is around 110 days; the female gives birth to a litter of between one and four cubs in a secluded den, which may be a thicket, a reed-bed, a cave, or some other sheltered area, usually away from the pride. She will often hunt alone while the cubs are still helpless, staying relatively close to the den. Lion cubs are born blind - their eyes open around seven days after birth. They weigh 1.2 - 2.1 kg (2.6 - 4.6 lb) at birth and are almost helpless, beginning to crawl a day or two after birth and walking around three weeks of age.
Usually, the mother does not integrate herself and her cubs back into the pride until the cubs are six to eight weeks old. Sometimes this introduction to pride life occurs earlier, particularly if other lionesses have given birth at about the same time. When first introduced to the rest of the pride, lion cubs lack confidence when confronted with adults other than their mother. They soon begin to immerse themselves in the pride life, however, playing among themselves or attempting to initiate play with the adults.
The Queen of the Black Rock Pride was seen walking her cubs away from the commotion of the rest of the pride feeding on the nights successful Buffalo hunt. Captured during a photography safari on an early morning game drive in the Maasai Mara Game Reserve, Kenya.
Benin, West Africa.
January, 9th marks the start of the annual voodoo festival in Benin.
After the official ceremony we were invited in a private home to witness the ceremonial offerings
Voodoo/Vodoun is a name attributed to an West African ancestral religious system of worship and ritual practices, where specific deities are born and honored, along with the veneration of ancient and recent ancestors who earlier served the same tutelary deities.
Since 1994, Voodoo has officially decreed as an official religion, Voodoo festival continues to be the country’s most colorful and vibrant annual celebration.
Similar to any other religion, Benin’s voodoo practitioners remain strong and devoted to their religion, as Benin’s leading religion is animism.
The Voodoo Festival is held on the 9th of January at Allada in remembrance ‘Adjahounto’ the initiator of voodoo and 10th of January as a national festival at Ouidah (at the site of Dagbokonou and across the country).
I had a conversation with a friend recently where the topic of failure came up. In specific, he was reflecting on the failure of his photography business and how that led to him avoiding photography for several years after his business went under. That brief conversation has been kicking around in my head ever since, particularly the power that the idea of failure has over us. We struggle with this concept in so many different ways, related to photography and otherwise. All of us have a fear of failure on some level or another and it influences our behavior and choices. To keep the scope of this manageable, I'll keep it revolving around photography. A good example is the idea of "bad pictures". We try to avoid making bad pictures, right? Why? What exactly is wrong with a bad picture? Well, it is a little failure on our part and enough of those strung together... so we follow trusted formulas, trends and cliches to make photos, that while not original, are at least better guaranteed of "success" both in our own eyes and those of others. It is fear of failure that makes it so hard for many photographers to share their work with their peers. What if it is not received positively? What does that say about me? It was fear of failure that led my friend to giving up photography after the perceived failure of his photo business. And I am sure there are many other ways we can list that this fear insinuates itself into our photographic lives.
I don't think I have all the answers on this. On some levels I am as much a victim of this fear as others. But I also feel like in some ways I have learned to inoculate myself against this fear as well, at least in photography. A big part of the way I did that was redefining what "success" and "failure" meant to me. It is a simple and tricky thing to do. But if you take a moment to consider that the rules of failure that we play by are rules that we have the power to dictate then it is simply a matter of changing those rules. I sometimes tangentially lecture on this to classes when I talk about the whole idea of "bad pictures". I encourage my students to not think of bad pictures as bad just because they didn't turn out like you wanted or expected, but rather to see them as learning opportunities with each picture you make teaching you something new and making you a slightly better photographer in the process. In that sense, no picture is a bad picture and every picture makes you more experienced and competent, even if that growth is incremental. That is changing the definition of both success and failure and by doing so eliminating to some degree the fear of failure via bad pictures at least.
I do think it is worth considering what you define as success and how wise a definition you are following. Is the success you are chasing financial? creative? social popularity? It is not that these are wrong answers per se, but they might be, or at least they might be wrong for you in that particular circumstance or moment. And if you are tripping up against that struggle with perceived failure, try changing you how perceive success and failure.
I don't know if this image embodies fear as much as it does disappointment (which is a lower version of fear I suppose). This was one of those photos that I liked the idea and execution but problems with the film itself manifested causing the speckling and mottling across the image. I scanned it anyway and left it for months in my To Edit folder, just sitting there. Then one night recently I was looking at it again and didn't see the failure I had seen before. That allowed me to see a success I had not seen before. And so I present this image with these thoughts today.
Hasselblad Flexbody
Rollei Retro 80S
Golden Bowerbird (male)
Prionodura newtoniana
November 13th, 2018
Evelyn, Atherton Tablelands, Queensland, Australia
Canon EOS 1D X Mark II
Canon EF 100-400mm f4.5-5.6L IS II USM lens
Canon 600EX II-RT flash
The incredible Golden Bowerbird! This species was my second most sought after bird on my trip to Far North Queensland in November last year. These secretive birds inhabit the rainforests of Northern Queensland above 700 metres in elevation. They are the smallest of all bowerbirds, however they build the largest & most elaborate bowers, which they use to attract a mate.
Their bowers consist of one or two towers of sticks, usually constructed around the trunks of two saplings loosely connected by a fallen branch or log. These towers can be up to 2m in height! The centre platform of the bower is decorated with lichen & freshly plucked flowers from a specific type of plant.
Once the male has established his bower, he will spend considerable time decorating it. He will perch nearby & advertise to females with a series of incredible electronic-like vocalisations. When not fussing over his bower or trying to woo a mate, he will be actively defending his bower from rival males & even raiding other bowers to steal their treasures for his own!
I spent two days in a secluded rainforest on the Atherton Tablelands observing this particular male from my throw hide. Some of his time was spent fending off rivals, but one two occasions another male penetrated his defences & stole his flowers. Once he realised what had happened, he would quickly go about the task of locating more decorations to replace those that were pilfered. His perseverance obviously paid off - he had a female visit to inspect his bower on both days.
Quietly watching this bird for some 16 hours was fascinating & enabled me to observe some of his behaviours & routines. He had particular branches he would repeatedly visit for different purposes. A couple branches just below the canopy were used as platforms to perform his amazing array or vocalisations; another branch was used for his regular preening routine (clearly wanting to look his best for the ladies!). He also had a couple of lower-level branches he would visit to watch over his bower, including the branch on which he is perched in this photo.
He did not appear to be bothered by my presence in the slightest - in fact he seemed quite curious of me. When I arrived to my position each morning, he dropped down onto branches near where I was sitting to have a good look at me. He then went about the rest of his day & rarely revisited me.
Originally I was positioned with my camera focused on the bower, but around noon on the second day I decided to try my luck by focusing on one of the lower 'observation' branches. I was richly rewarded when within minutes of relocating, he came down & watched me for a few moments, with a series of very quizzical looks, including this tilted head pose. Satisfied that I was not worthy of concern, he proceeded to one of his higher vantage positions & began performing his vocalisation routine.
One of those amazing birding experiences I will remember for a lifetime - sitting quietly in a remote rainforest with just my thoughts, the birds & several leeches for company!
Poster on a temple wall in Nakhan Phanom, Thailand
A comprehensive outlook of Sannipata
Free PMC article
Abstract
Nomenclature of the disease on the basis of vitiation of the body humors is stressed in ayurveda. Sannipatika, i.e., 'conglomeration of vitiated tridosa' is the final stage of process of manifestation of disease. In this specific state of pathogenesis, the disease becomes more advance and mostly irreversible. A detailed scientific study of Sannipatika-avastha has been documented in classics. Comprehensive analysis of sannipata-state and its ways of presentation is the main theme of the current article.
PubMed Central
The origin of this lake is glacial, even if it lies almost on the Furlania plane. Now it's a nice, peaceful biotope with specific fauna and flora. Behind is San Daniele, mirroring in the lake.
The theme for week 27 is 'Numbers or one specific number' The number is on the side of a small boat in Peel harbour. I was hoping for a better reflection but there has been just a bit of wind that with the natural movement of the water combined to form ripples. Had a play in Topaz adjust to see if I could get the numbers clearer so posing for Sliders Sunday as well!
Trichocentrum longicalcaratum in situ, avec taches dans les pétales et les sépales. L'imagination de la nature n'a pas de limite pour s'adapter á des centaines d'habitats particuliers avec des microclimats spécífiques, créant des especes d'orchidées les plus surprenantes les unes que les autres de par leurs formes, couleurs et parfums. Colombie.
Trichocentrum longicalcaratum in situ, with dots on the petals and sepals. Imagination of nature has no limit to adapt to hundreds of particular habitats with specific microclimate, creating more astounding orchid species one than the other by their shapes, colors and fragrances. Colombia.
Trichocentrum longicalcaratum in situ, con manchas en los pétalos y sépalos. La imaginación de la naturaleza no tiene límite para adaptarse a cientos de hábitats particulares con microclimas específicos, creando especies de orquídeas más asombrosas una que la otra por sus formas, colores y fragancias. Colombia.
The image represents a year's worth of research for my MRes project entitled, ‘A Property Comparison of Cold Formed and Hot Finished Steel Conveyance Tubes’ sponsored by Tata Steel Tubes, which I completed (and passed) last year.
The main image is made up of all the key sections of my MRes thesis, in order of how they appear in the finished document, from the title page to the literature review to the conclusions and further work. The border is made up of painted, galvanised and uncoated tube samples that I have acquired throughout the last year – I omitted the rusty ones from salt spray testing as they would have stained the carpet!
The image reflects how there are many different aspects to a scientific research project and successfully putting all the pieces into place makes for a good picture, a good story and ultimately a good thesis.
Picture credit: Nathan Cooze, SPECIFIC, Swansea University
Viewed here from Volodomyrs'kya Passage, Saint Sophia Cathedral (Ukrainian: Собор Святої Софії) in the Ukrainian capital, Kyiv, is one of the city's best known landmarks and the joint first heritage site in Ukraine to be inscribed on the World Heritage List along with the Pechersk Lavra monastery complex 4 kilometres to the south.
Named after Istanbul’s Haghia Sophia, its dedication is to Holy Wisdom rather than to a specific saint named Sophia. The first foundations were laid in either 1011 or 1037, with the earlier date being accepted to allow officially celebrations of its thousandth anniversary in 2011. The structure has 5 naves, 5 apses, and (quite surprisingly for Byzantine architecture) 13 cupolas. Originally the cathedral was a burial place of the Kyivan rulers although the cathedral's putative founder, Yaroslav I the Wise, is the only royal grave to survive.
After the pillaging of Kyiv by Andrei Bogolyubsky of Vladimir-Suzdal in 1169, and then the Mongolian Tatars in 1240, the cathedral fell into disrepair. It was also greatly damaged in the 16th century when the Polish–Lithuanian Commonwealth was trying to unite the Roman Catholic and Orthodox churches. During this period the cathedral was almost ruined: its roof had decayed and many wall paintings had gone. Following the 1595-96 Union of Brest, the Cathedral of Holy Sophia belonged to the Ukrainian Greek Catholic Church until it was claimed by the Moldavian Orthodox metropolitan Peter Mogila (Mohyla) in 1633. Mogila commissioned the repair work and the upper part of the building was thoroughly rebuilt, modeled by the Italian architect Octaviano Mancini in the distinct Ukrainian Baroque style, while preserving the Byzantine interior, keeping its splendour intact. The work continued under the Cossack Hetman Ivan Mazepa until 1707. During this period the bell tower was built along with many monastery facilities, all in the Ukrainian Baroque style.
During the Soviet anti-religious campaign of the 1920s, the Soviet government planned for the cathedral's destruction and transformation into a military memorial park. The cathedral was saved from destruction primarily thanks to the efforts of many scientists and historians. Nevertheless, in 1934, Soviet authorities confiscated the structure from the Church and converted it into a museum complex.
Since the late 1980s Soviet, and later Ukrainian, politicians have promised to return the building to the Orthodox Church. Due to various schisms, and factions within the Church the return was postponed as all of Ukraine’s main Orthodox denominations as well as the Greek Catholic Church lay claim to it. Although all of the Orthodox churches have been allowed to conduct services at different dates, at other times they are denied access. A severe incident was the funeral of Patriarch Volodymyr of the Ukrainian Orthodox Church – Kyiv Patriarchate in 1995 when riot police were forced to prevent the burial on the premises of the museum and a bloody clash took place. After events such as those no religious body has yet been given the rights for regular services. The complex now remains a secular museum of Ukraine's Christianity, with most of its visitors being tourists.
This description incorporates text from the English Wikipedia.
6670
REFORD GARDENS | LES JARDINS DE METIS
From Wikipedia:
Iris versicolor is also commonly known as the blue flag, harlequin blueflag, larger blue flag, northern blue flag, and poison flag, plus other variations of these names, and in Britain and Ireland as purple iris.
It is a species of Iris native to North America, in the Eastern United States and Eastern Canada. It is common in sedge meadows, marshes, and along streambanks and shores. The specific epithet versicolor means "variously coloured".
It is one of the three Iris species in the Iris flower data set outlined by Ronald Fisher in his 1936 paper "The use of multiple measurements in taxonomic problems" as an example of linear discriminant analysis.
Visit: en.wikipedia.org/wiki/Iris_versicolor
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REFORD GARDENS | LES JARDINS DE METIS
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
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Fete Nationale aujourd'hui - Le Jour de l'Independence.
“One night I dreamed that I painted a large American flag,” Johns has said of this work, “and the next morning I got up and I went out and bought the materials to begin it.” Those materials included three canvases that he mounted on plywood, strips of newspaper, and encaustic paint—a mixture of pigment and molten wax that has formed a surface of lumps and smears. The newspaper scraps visible beneath the stripes and forty-eight stars lend this icon historical specificity. The American flag is something “the mind already knows,” Johns has said, but its execution complicates the representation and invites close inspection. A critic of the time encapsulated this painting’s ambivalence, asking, “Is this a flag or a painting?”
Gallery label from 2011
Very organic feel that I just can't seem to capture with my camera.
Contemporary baby, non gender specific. 42x35. Kona cotton, Kaffe, Linen, Japanese Linen/cotton, Yardwork from Etsy and Linen Binding.
There's no specific blog post for this photograph: it's just something I had a great time making.
Thanks so much to Geryn Sloane for giving me a tour of her shop, and for a great conversation.
Credits:
Body: Maitreya
Head: Catwa, Lona
Feet: SLink Pointe
Eyes: Mesange, Sanford Eyes
Ears: Lumae, Leevi Long Ears
Skin: Lumae, Ella (Catwa Applier)
Hair: Analog Dog (natch!), Onus (Available NOW at The Epiphany!) -- this is the exclusive you can buy with points after you've turned in your un-needed gachas!
Wings: Fable Workshop
Bracelets: The Plastik, The Aeliora Cuffs (Available NOW at The Season’s Story!)
Dress & Leg Ribbons: G Sloane / The Seamstress, Enchanted
Shoes: ChicChica, Fairy Pointes
Photo Backdrop: Inspire Pose, Studio Street RARE
I rarely go out with the specific goal of shooting the hind end of a train. While locomotives have always been the primary focus of railroad photographers since the earliest days of the genre at least a couple generations ago the rear ends were nearly as interesting. Until the mid 1980s every freight train was punctuated by a caboose each dressed in the unique colors and style of the owning road, of which there were far more in the pre mega-merger era. Go back a generation or two further than that to the pre Amtrak era and the rear end of passenger trains were just as interesting often brought up by observation cars of varied styles and colors and frequently adorned with neon logos or stylish nameplates befitting the status of the train.
Alas those days have been relegated to the history books and if you want to photograph a caboose rolling you have to visit a heritage railroad or participate in a photo freight reenactment. Similarly you won't find an observation car on any modern Amtrak trains so unless you want to travel north to see VIA's classic Canadian, you have to visit a museum or be lucky enough to catch a private car or executive train out on the line.
However in recent years the New Jersey based United Railroad Historical Society has begun running regular excursions along the Hudson River (and even a few as far as Chicago!) with their trio of original New York Central Railroad cars that they add to regularly scheduled Amtrak trains.
Bringing up the rear of Amtrak train 233 (Empire Service from New York Penn Station to Albany-Rensselaer) are NYC tavern-lounge number 43 (Budd built 1947), Pullman bedroom lounge 'Swift Stream' (Budd 1949), and observation lounge car 'Hickory Creek' built by Pullman-Standard for the 1948 refit of the flagship 20th Century Limited.
All three cars would have regularly traveled these rails on their original trains, though originating at Penn Station instead of Grand Central would seem blasphemous to those old Central men! The Hickory Creek looks right at home as she splits the classic and unique New York Central era small target GRS type SA signals that still serve here at MP 99 on Amtrak's modern day Hudson Line.
This legendary route opened between New York and Albany in 1851 as the Hudson River Railroad, and in 1864 was purchased by Cornelius Vanderbilt along with the New York and Harlem. Meanwhile in 1853 Erastus Corning had assembled a plethora of small local lines as the New York Central Railroad running from Albany to Buffalo and in 1867 Vanderbilt merged it with his road to create the New York Central and Hudson River Railroad and the rest as they say is history. The line passed from the NYC, to Penn Central, Conrail, and ultimately CSXT until December 2012 when Amtrak took over control and dispatching of the line from Poughkeepsie to Hoffmans (where it joins the busy Mohawk Subdivision) under a long term lease agreement with CSXT.
Alas this was the final weekend for these popular trips which is why I wanted to make sure I got a couple shots. To learn why, check out this link to the URHS site here:
www.hudsonriverrail.com/keepusrolling
And for an in depth history of each of these three cars check out these links:
www.urhs.org/rolling-stock#/nyc43
Tivoli, New York
Saturday March 1, 2025
I rarely go out with the specific goal of shooting the hind end of a train. While locomotives have always been the primary focus of railroad photographers since the earliest days of the genre at least a couple generations ago the rear ends were nearly as interesting. Until the mid 1980s every freight train was punctuated by a caboose each dressed in the unique colors and style of the owning road, of which there were far more in the pre mega-merger era. Go back a generation or two further than that to the pre Amtrak era and the rear end of passenger trains were just as interesting often brought up by observation cars of varied styles and colors and frequently adorned with neon logos or stylish nameplates befitting the status of the train.
Alas those days have been relegated to the history books and if you want to photograph a caboose rolling you have to visit a heritage railroad or participate in a photo freight reenactment. Similarly you won't find an observation car on any modern Amtrak trains so unless you want to travel north to see VIA's classic Canadian, you have to visit a museum or be lucky enough to catch a private car or executive train out on the line.
However in recent years the New Jersey based United Railroad Historical Society has begun running regular excursions along the Hudson River (and even a few as far as Chicago!) with their trio of original New York Central Railroad cars that they add to regularly scheduled Amtrak trains.
Bringing up the rear of Amtrak train 233 (Empire Service from New York Penn Station to Albany-Rensselaer) are NYC tavern-lounge number 43 (Budd built 1947), Pullman bedroom lounge 'Swift Stream' (Budd 1949), and observation lounge car 'Hickory Creek' built by Pullman-Standard for the 1948 refit of the flagship 20th Century Limited.
All three cars would have regularly traveled these rails on their original trains, though originating at Penn Station instead of Grand Central would seem blasphemous to those old Central men! The Hickory Creek looks resplendent in her Henry Dreyfuss designed two toned grey livery crossing the causeway and small bridge separating North Bay from the west bank of the icy Hudson River as she sails north up Main 1 on modern day Amtrak's Hudson Line at MP 115 across the causeway and small bridge separating North Bay from the west bank of the icy Hudson River.
This legendary route opened between New York and Albany in 1851 as the Hudson River Railroad, and in 1864 was purchased by Cornelius Vanderbilt along with the New York and Harlem. Meanwhile in 1853 Erastus Corning had assembled a plethora of small local lines as the New York Central Railroad running from Albany to Buffalo and in 1867 Vanderbilt merged it with his road to create the New York Central and Hudson River Railroad and the rest as they say is history. The line passed from the NYC, to Penn Central, Conrail, and ultimately CSXT until December 2012 when Amtrak took over control and dispatching of the line from Poughkeepsie to Hoffmans (where it joins the busy Mohawk Subdivision) under a long term lease agreement with CSXT.
Alas this was the final weekend for these popular trips which is why I wanted to make sure I got a couple shots. To learn why check out this link to the URHS site here:
www.hudsonriverrail.com/keepusrolling
And for an in depth history of each of these three cars check out these links:
www.urhs.org/rolling-stock#/nyc43
Hudson, New York
Friday February 28, 2025
Becoming Marni is a site-specific installation conceived as the concluding act of the whole Marni Prisma program. It consists of one hundred wooden sculptures created by Brazilian self-taught artist Véio, distributed around the cloister and inside the rooms of the Abbey, drawing an ideal landscape of organic forms. The sculptures are installed in different groups, indoors and outdoors, their presence marked by a tactile path, the color of Venice’s water, drawn on the floor: an irregular surface with translucent spots, creating continuity between the outside and the inside. A small cabinet in the cloister housed Véio’s workshop, enabling him to create artworks on site. Furthermore, as the San Gregorio Abbey is usually closed to the public, this exhibition presented an opportunity to enjoy a unique space.
Consuelo and Carolina Castiglioni discovered Véio at a collective exhibition in Paris. Through Galeria Estação, which exclusively represents him, they entered in contact with him and Carolina tracked him down to Nossa Senhora da Gloria, the small village in the north East of Brazil where he lives and works. Here Véio creates his enigmatic sculptures by giving new life to pieces of wood, clogs and branches he finds along the river. He immediately identifies a being in each piece – an animal, a resting human, a fantastic bird. By a process of artistic transformation – clipping, shaving, adding a final layer of color – he makes the same beings visible to the public, removing them from the raw material and thereby restoring to the wood a meaning that exceeds pure physicality.
This is the complete album of the photos of my visit. --- --- --- www.flickr.com/photos/136891509@N07/albums/72157661202999340
Not long after sunrise, southbound CN ore train U702 rumbles under the signal bridge near Branchton on the old Bessemer & Lake Erie. A pair of SD70M-2s up front and one more on the rear have the train moving along at a good clip.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
SN/NC: Abelia x Grandiflora, Caprifoliaceae Family
Abelia × grandiflora is a hybrid species of flowering plant in the honeysuckle family Caprifoliaceae, raised by hybridising A. chinensis with A. uniflora. Abelia × grandiflora was first raised in 1886 at the Rovelli nursery at Pallanza (now Verbania), on Lake Maggiore in Italy. It is used as an ornamental plant in specimen plantings in gardens, or in a mixed border with other shrubs. This plant is still widely listed in Australia and the UK under the name Abelia. The Latin specific epithet grandiflora means "abundant flowers".and the Oxford English Dictionary says "Bearing large flowers". However these flowers are not large, but they are abundant, so further research is warranted. "Abelia", the common name and genus name, honors Clarke Abel, physician and naturalist who collected seeds and plants on a British expedition to China in 1817.
Abelia × grandiflora é uma espécie híbrida de planta com flores da família das madressilvas Caprifoliaceae, criada pela hibridização de A. chinensis com A. uniflora. Abelia × grandiflora foi criada pela primeira vez em 1886 no viveiro Rovelli em Pallanza (hoje Verbania), no Lago Maggiore, na Itália. É usada como planta ornamental em plantios de espécimes em jardins ou em uma borda mista com outros arbustos. Esta planta ainda é amplamente listada na Austrália e no Reino Unido sob o nome Abelia. O epíteto específico latino grandiflora significa "flores abundantes" e o Oxford English Dictionary diz "Produzindo flores grandes". No entanto, essas flores não são grandes, mas são abundantes, portanto, pesquisas adicionais são necessárias. "Abelia", o nome comum e o nome do gênero, homenageiam Clarke Abel, médico e naturalista que coletou sementes e plantas em uma expedição britânica à China em 1817.
Abelia × grandiflora es una especie híbrida de planta con flores de la familia Caprifoliaceae, que se obtuvo mediante la hibridación de A. chinensis con A. uniflora. Abelia × grandiflora se cultivó por primera vez en 1886 en el vivero Rovelli en Pallanza (ahora Verbania), en el lago Maggiore en Italia. Se utiliza como planta ornamental en plantaciones de ejemplares en jardines o en un borde mixto con otros arbustos. Esta planta todavía se incluye ampliamente en Australia y el Reino Unido con el nombre de Abelia. El epíteto específico en latín grandiflora significa "flores abundantes" y el Oxford English Dictionary dice "que tiene flores grandes". Sin embargo, estas flores no son grandes, pero son abundantes, por lo que se justifica una mayor investigación. "Abelia", el nombre común y el nombre del género, honra a Clarke Abel, médico y naturalista que recolectó semillas y plantas en una expedición británica a China en 1817.
Abelia × grandiflora ist eine Hybridart einer Blütenpflanze aus der Familie der Geißblattgewächse (Caprifoliaceae), die durch Kreuzung von A. chinensis mit A. uniflora gezüchtet wurde. Abelia × grandiflora wurde erstmals 1886 in der Gärtnerei Rovelli in Pallanza (heute Verbania) am Lago Maggiore in Italien gezüchtet. Sie wird als Zierpflanze in Einzelpflanzungen in Gärten oder in gemischten Rabatten mit anderen Sträuchern verwendet. Diese Pflanze ist in Australien und Großbritannien immer noch weithin unter dem Namen Abelia gelistet. Das lateinische Artepitheton grandiflora bedeutet „reichlich blühende Pflanzen" und im Oxford English Dictionary steht „große Blüten tragend". Diese Blüten sind jedoch nicht groß, aber reichlich vorhanden, sodass weitere Forschungen erforderlich sind. „Abelia", der gebräuchliche Name und Gattungsname, ehrt Clarke Abel, einen Arzt und Naturforscher, der 1817 auf einer britischen Expedition nach China Samen und Pflanzen sammelte.
Abelia × grandiflora è una specie ibrida di pianta da fiore della famiglia delle Caprifoliaceae, ottenuta ibridando A. chinensis con A. uniflora. Abelia × grandiflora è stata coltivata per la prima volta nel 1886 presso il vivaio Rovelli a Pallanza (ora Verbania), sul Lago Maggiore in Italia. È utilizzata come pianta ornamentale in piantagioni esemplari nei giardini o in una bordura mista con altri arbusti. Questa pianta è ancora ampiamente elencata in Australia e nel Regno Unito con il nome Abelia. L'epiteto specifico latino grandiflora significa "fiori abbondanti" e l'Oxford English Dictionary dice "che porta grandi fiori". Tuttavia questi fiori non sono grandi, ma sono abbondanti, quindi sono giustificate ulteriori ricerche. "Abelia", il nome comune e il nome del genere, onora Clarke Abel, medico e naturalista che raccolse semi e piante durante una spedizione britannica in Cina nel 1817.
Abelia × grandiflora is een hybride soort bloeiende plant in de kamperfoeliefamilie Caprifoliaceae, gekweekt door A. chinensis te hybridiseren met A. uniflora. Abelia × grandiflora werd voor het eerst gekweekt in 1886 in de kwekerij Rovelli in Pallanza (nu Verbania), aan het Lago Maggiore in Italië. Het wordt gebruikt als sierplant in specimenbeplantingen in tuinen of in een gemengde border met andere struiken. Deze plant wordt nog steeds veel gebruikt in Australië en het Verenigd Koninkrijk onder de naam Abelia. De Latijnse soortnaam grandiflora betekent "overvloedige bloemen". en de Oxford English Dictionary zegt "met grote bloemen". Deze bloemen zijn echter niet groot, maar ze zijn overvloedig aanwezig, dus verder onderzoek is gerechtvaardigd. "Abelia", de algemene naam en geslachtsnaam, eert Clarke Abel, arts en natuuronderzoeker die zaden en planten verzamelde tijdens een Britse expeditie naar China in 1817.
Abelia × grandiflora est une espèce hybride de plante à fleurs de la famille des Caprifoliacées, obtenue par hybridation d'A. chinensis avec A. uniflora. Abelia × grandiflora a été cultivée pour la première fois en 1886 dans la pépinière Rovelli à Pallanza (aujourd'hui Verbania), sur le lac Majeur en Italie. Elle est utilisée comme plante ornementale dans les plantations de spécimens dans les jardins, ou dans une bordure mixte avec d'autres arbustes. Cette plante est encore largement répertoriée en Australie et au Royaume-Uni sous le nom d'Abelia. L'épithète spécifique latine grandiflora signifie « fleurs abondantes » et l'Oxford English Dictionary dit « portant de grandes fleurs ». Cependant, ces fleurs ne sont pas grandes, mais elles sont abondantes, donc des recherches plus approfondies sont justifiées. « Abelia », le nom commun et le nom de genre, rendent hommage à Clarke Abel, médecin et naturaliste qui a collecté des graines et des plantes lors d'une expédition britannique en Chine en 1817.
Abelia x grandiflora هو نوع هجين من النباتات المزهرة من عائلة زهر العسل Caprifoliaceae، يتم تربيته عن طريق تهجين A. chinensis مع A. uniflora. تم زراعة Abelia x grandiflora لأول مرة في عام 1886 في مشتل Rovelli في Pallanza (Verbania الآن)، على بحيرة Maggiore في إيطاليا. يتم استخدامه كنبات زينة في زراعات العينات في الحدائق، أو في حدود مختلطة مع شجيرات أخرى. لا يزال هذا النبات مدرجًا على نطاق واسع في أستراليا والمملكة المتحدة تحت اسم Abelia. تعني الكلمة اللاتينية grandiflora "أزهار وفيرة". ويقول قاموس أكسفورد الإنجليزي "تحمل أزهارًا كبيرة". ومع ذلك، فإن هذه الأزهار ليست كبيرة، لكنها وفيرة، لذا فإن المزيد من البحث ضروري. "Abelia"، الاسم الشائع واسم الجنس، تكريمًا لكلارك آبل، الطبيب وعالم الطبيعة الذي جمع البذور والنباتات في رحلة استكشافية بريطانية إلى الصين عام 1817.
Abelia × grandiflora は、スイカズラ科 Caprifoliaceae の開花植物の交雑種で、A. chinensis と A. uniflora を交配して育成されました。Abelia × grandiflora は、1886 年にイタリアのマッジョーレ湖畔のパランツァ (現在のヴェルバーニア) にある Rovelli 苗床で初めて育成されました。庭園の標本植栽や、他の低木との混合境界に観賞用植物として使用されています。この植物は、オーストラリアや英国では今でも Abelia の名で広く記載されています。ラテン語の種小名 grandiflora は「豊富な花」を意味し、オックスフォード英語辞典には「大きな花を咲かせる」とあります。ただし、これらの花は大きくはありませんが、豊富であるため、さらに研究が必要です。一般名および属名の「Abelia」は、1817 年にイギリスの中国探検隊で種子と植物を収集した医師で博物学者の Clarke Abel にちなんで付けられました。
The specific origin of the Generals of the Ulla cannot be assured with certainty, but, due to the common characteristics of these masquerades, it is necessary to look for it in the different armed confrontations that occurred in the region throughout the 19th century: first the fight against the French invasion and, later, the revolution of 1846, which ended with the battle of Cacheiras, with the troops of each of the sides crossing the spaces in which this carnival is kept alive today. The different Carlist wars that took place in Spain during the nineteenth century would undoubtedly help create a collective astonishment that led to their ridicule.
Joé Juneau: Team Canada's 1992 Olympic Star
This image captures Canadian ice hockey player Joé Juneau in his iconic Team Canada uniform, wearing jersey number 9. This specific jersey style, featuring the large maple leaf crest, was worn by the Canadian National Men's Hockey Team during the early 1990s, most notably at the 1992 Winter Olympics in Albertville, France. This specific photograph is an autographed piece of memorabilia, commemorating his time as an Olympic hero.
Juneau postponed his professional NHL career to represent his country, a decision that proved historic. At the 1992 Games, he was the standout player, leading the entire tournament in points with six goals and nine assists in just eight games. His exceptional play was a key factor in Canada winning a silver medal, the nation's first Olympic hockey medal in 24 years.
Player Profile
Full Name: Joseph "Joé" Juneau
Position: Centre
Nationality: Canadian
Olympic Achievement: Silver Medal (1992 Winter Olympics)
Notable Career Fact: In his rookie NHL season immediately following the Olympics, Juneau set an NHL record for assists by a left winger and amassed an incredible 102 points with the Boston Bruins. He earned a degree in aeronautical engineering from Rensselaer Polytechnic Institute, known for balancing high academics with elite athletics.
LINK to video - 1992 Gold Medal Hockey Game - Canada vs Unified Team Albertville winter Olympics - www.youtube.com/watch?v=wjDV8fGWQ5c
LINK to video - Great Canadians: Joé Juneau - www.youtube.com/watch?v=e_x9tBqL1eQ
Joé Juneau played a total of 78 games for Team Canada (including exhibition and Olympic tournament play) across the years 1989 to 1992. He famously led Canada to a silver medal at the 1992 Winter Olympics in Albertville, where he was the tournament's leading scorer.
1989/90 - 3 games
1990/91 - 7 games
1991/92 - 60 games
1992 - Winter Olympics - 8 games
The uniform he is wearing is not from the 1992 Winter Olympics Games - Does anybody know where and when this photo was taken? And what the advertisement on the boards says - BE / ANT / BRA ?
Joé Juneau was an ice hockey star. In 1991, the native of Pont-Rouge, Quebec postponed a confirmed trip to the National Hockey League so he could play on Canada’s national team. Clutching a new degree in aeronautical engineering, Juneau suited up for Team Canada and his impact was immediate. In 60 exhibition games, Juneau scored 69 points – but only a prelude to the Olympic tournament in 1992. At the Olympic Winter Games that year in Albertville, France, Juneau led a team composed of amateur players. Canada won a silver medal and not only did Juneau lead the team in points, he led the entire tournament. In eight games, the centre had six goals and nine assists for 15 points. LINK - develop.olympic.ca/2009/09/10/all-about-joe-juneau/
In the NHL, Juneau carved a memorable career. In his rookie season of 1992-1993, Juneau scored 102 points as a member of the Boston Bruins. His professional hockey career took him through Washington, Buffalo, Ottawa, Phoenix and Montreal. Juneau played in the Stanley Cup final twice, in 1998 with Washington and in 1999 with Buffalo. Upon retiring in 2004, Juneau had amassed 156 goals and 572 points in 828 career games.
CAREER HIGHLIGHTS:
At the 1992 Olympic Winter Games in Albertville, France, Juneau led a team composed of amateur players.Canada won a silver medal and not only did Juneau lead the team in points, he led the entire tournament – in eight games, the centre had six goals and nine assists for 15 points.
In his NHL rookie season of 1992-1993, Juneau scored 102 points as a member of the Boston Bruins.
His professional hockey career took him through Washington, Buffalo, Ottawa, Phoenix and Montreal. Juneau played in the Stanley Cup final twice, in 1998 with Washington and in 1999 with Buffalo.
Upon retiring in 2004, Juneau had amassed 156 goals and 572 points in 828 career games.
The red-eyed tree frog, Agalychnis callididryas is an arboreal hyoid native to neotropical rain forests where it ranges from Mexico through Central America to Colombia. It is sometimes kept in captivity - as this little chap is. The specific name of the the red-eyed tree frog A.callidryas comes from Greek words kalos (beautiful) and dryas (a tree or wood nymph)
Wikipedia.
Specific intensity is the radiance of a surface per unit frequency or wavelength.
The conservation of specific intensity has two important consequences:
1. Brightness is independent of distance. Thus the camera setting for a good exposure of the Sun would be the same, regardless of whether the photograph was taken close to the Sun (from near Venus, for example) or far away from the Sun (from near Mars, for example), so long as the Sun is resolved in the photograph.
2. Brightness is the same at the source and at the detector. Thus you can think of brightness in terms of energy flowing out of the source or as energy flowing into the detector