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Been seeing their tracks, plus reports of sightings.... I knew they were around. Today we saw this coyote out and about in the park looking for, and finally did score...a snack of Red Backed Vole.
(Specific locations are not revealed unless there's a threat to safety).
© Michel JS Soucy - www.michelsoucy.ca
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
specific name ; Coccinella 7 punctata
sub order ; Coccinellidae
order ; Coleoptera
Endopterygotes, Pterygotes, Insecta, Arthropoda
Lady birds are the most easily recognised of the beetle order and are favoured for their bright colours and voracious Aphid eating habits of most species, of which the 7 spot ladybird is one. It is one of the commonest species and certainly the most conspicuous. Their bright colour advertises to predaters, their bitter taste, and when handled will exume from its leg joints a pungent fluid with a long lasting odour that leaves a stain. The fluid is actually blood and the phenomenom is known as reflex bleeding. It contains several bitter alkaloids and smells strongly of pyrazines (volatile compounds found in many ditasteful insects ).
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
The Emberiza cia is a passerine bird in the bunting family Emberizidae, a group now separated by most modern authors from the finches, Fringillidae.
The genus name Emberiza is from Old German Embritz, a bunting. The specific cia is from a local Italian name for this bird, from zirlare, "to chirp"
Flawless is a site-specific installation based on the brightness of nature. The installation encourages visitors to capture the movement of shedding leaves and its reflection, inviting the contemplation of a natural environment that connects water and wind. The natural process of photosynthesis is essential for life in every city. Flawless interprets this phenomenon with a magical chemistry concept called photoluminescence; during the day, the pigments of the leaves absorb energy from the sunlight, giving them a bright green glowing colour at night. In this way, the installation is self-sufficient and self-illuminated.
© Leslie Hui. All rights reserved.
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。
After passing through the Strait of Messina we sailed to the port of Brindisi. That day we travelled to the beautiful village of Alberobello with it's famous Trullo houses.
A trullo (plural, trulli) is a traditional Apulian dry stone hut with a conical roof. Their style of construction is specific to the Itria Valley, in the Murge area of the Italian region of Apulia. Trulli were generally constructed as temporary field shelters and storehouses or as permanent dwellings by small proprietors or agricultural labourers. In the town of Alberobello, in the province of Bari, whole districts contain dense concentrations of trulli. The golden age of trulli was the nineteenth century, especially its final decades, which were marked by the development of wine growing.
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.
This was a strange morning last winter when it was quite a dull snowy day but the sky seem to come alive with colour.
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.
The Valley of the Rocks is a section of the coastline on the northern edge of Exmoor, Devon, England.
For me with a "scepticism" towards heights not the best spot, but somehow I appear to be drawn to these locations nevertheless. For everyone without that specific problem, a comfortable asphalted path for a walk with a fantastic view…
It was already quite windy, though, a day before storm "Ciara"/Sabine" started (have storms always been named per nation? Why??), making me even less comfortable up there.
So beautiful, but so poisonous. A fly agaric sits on the bank side of the Wey surrounded by a scattering of fallen leaves, while the sunlights up trees still in full leaf.
Post processing involved the use of levels and curves in specific areas of the scene to give more depth.
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
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
Four Union Pacific SD70Ms have an intermodal train in tow as they roll under the signal bridge and approach the Rock Island diamond in Joliet, IL, one summer morning back in 2012.
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!
Lydia always loved Forrest Gump, so when we reached Monument Valley, Utah and the site of the famous movie scene, she had to recreate the moment. She also told me, "I bet this will make Maria smile!" 😊🐶
Happy Sliders Sunday! (Enhanced a bit to correct for the harsh sunlight and bring out Lydia's features.)
ChatGPT: The iconic scene from the movie "Forrest Gump" filmed in Monument Valley features Forrest Gump, played by Tom Hanks, running on a long, straight road with the stunning, red-sand desert landscape of Monument Valley in the background. This location is on the border of Arizona and Utah, within the Navajo Nation Reservation. The specific spot is often referred to as Forrest Gump Point. It's become a popular tourist destination, especially for fans of the film. The scene symbolizes the vastness and beauty of the American landscape, and it's one of the most memorable moments in the movie, marking the point where Forrest decides to end his cross-country run. This visually striking backdrop is known for its unique rock formations, making it a quintessential American image and a favorite for photographers and filmmakers.
I got to this specific location below Hamilton, MT thanks to a dear photo-buddy a few autumns ago and was, and still am, very grateful for the tip. By the fall season, the Bitterroot River is usually very low, owing to many factors, and its usual vibrancy is reduced to a crawl. Nonetheless, that natural and seasonal transformation does nothing to reduce its beauty and its charm.
Being surrounded by the colors of autumn, and backed by the majestic Bitterroot Mountains, does not hurt the cause either. Quite the contrary.
Two watco GP40s head south along the Pleasant Valley Branch on there way back to Endicott to tie up for the day.
The PCCs crew that morning started along the western portion of the line while we started out eastern, driving from Mockonema to Endicott. When we got to Endicott, there was no sign of any of the three WAMX locomotives assigned to the line. So we asked around the NWGG elevator and they suggested we head north to Sunset as PCC was supposed to pick up a couple loads there sometime soon. Instead, we ran into the 4043 and 4046 curving around the wye at Winona and onto the PV branch. They grabbed a fairly long cut of PCC/CWW/WAMX hoppers assigned to this specific line and headed north. Originally, I thought they might be headed all the way north to Sunset but instead, they only went as far as Willada before dropping the whole train off and heading back south as just power. We chased them back south, however the lighting was not ideal, if they had went all the way to Sunset, we may have got better light for the SB journey. I did end up getting lucky with this shot though. I hadn’t originally seen this spot but as they were headed away I decided to grab a shot anyway and the clouds and train lined up perfectly to give me this shot.
6/16/22
In the 19th century, specific buildings for entertainment appeared in many cities, including stone circuses. Ghent also joined this international trend. In 1894, the so-called "Nieuw Cirkus" was built, designed by architect Emile De Weerdt .and was eventually inaugurated as a stone circus, where numerous companies gave performances, also during the winter.
Shortly after World War II, the Winter Circus was transformed into Ghislain Mahy's garage. In this transformation, the entire circus interior was lost. In its place came a completely new concrete structure with an elaborate system of ramps that allowed cars to drive all the way to the top. In 1978, the garage closed its doors and the building continued to serve as a depot for vintage cars for two more decades. After that, the building stood virtually empty.
n order of the City, sogent purchased the historically valuable building in 2005 with the intention of renovating and repurposing it with respect for its rich heritage value.
Projetos Escalares
PASSAGEM - Site Specific - SESC de Presidente Prudente - 2016
Galhos secos, cimento, terra e grama, 3 x 5 x 18 metros.
Márcio Diegues
Foto de Thiago Ferri.
The Cathedral Church of St. John the Divine, New York
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Anne Patterson, Divine Pathways, site-specific textile installation.
Azulejo
Wikipedia: Azulejo is a form of Spanish and Portuguese painted tin-glazed ceramic tile-work. Azulejos are found on the interior and exterior of churches, palaces, ordinary houses, schools, and nowadays, restaurants, bars and even railways or subway stations. They are an ornamental art form, but also had a specific functional capacity like temperature control in homes. Azulejos constitute a major aspect of Spanish architecture and Portuguese architecture to this day and are fixtures of buildings across Spain and Portugal and their former territories. Many azulejos chronicle major historical and cultural aspects of Spanish and Portuguese history.
The images were found whilst exploring Lisbon on foot.
Determination, inspiration and COLD doesn't even begin to describe how wonderful today was. Surprisingly, I was honestly kind of worried that I wasn't on my game during this shoot. We were both so cold taking breaks every 5 minutes to jump back into the car. I took a lot less photos than I usually do because I only wanted to do a few specific things per outfit. We ended up getting some absolutely fantastic photos as an outcome! This lady is so dedicated. Not only did she bare with being in the very cold temperatures, she also came all the way from Indiana and drove 2.5 hours to do so! Always so honored when people do that. Kourtney and I already have a million other ideas up our sleeves and I cannot wait to collaborate with her again when it is WARM!
5d mark ii + 50mm 1.4
Recently, CSX extended Q327 eastward beyond Grand Rapids for the first time in nearly 10 years, and the train is finally a true Detroit-Chicago manifest again. Unfortunately, the train leaves Detroit early in the morning, putting it into Grand Rapids usually around noon, making the sun angle challenging (if not total crap). I hadn't bothered shooting it yet for that reason, however hearing about the colorful pair of engines on it today changed my mind. Here we see an old Santa Fe SD75M, sold of by BNSF to leasing firm Progress Rail (PRLX) and a Kansas City Southern ES44AC leading the train into GR near Godfrey Ave. The train was running on main 2 inbound as a track inspector was occupying main 1. Y106 was sitting behind me on main 1 waiting for Q327 to clear so they could cross over and head east.
Interested in purchasing a digital download of this photo? 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 or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
Because this project required a very specific type of light, I had to shoot over two evenings with similar conditions. It was also imperative to work quickly in the fading light and to alter my settings for outcome rather than the conditions.
These days, if someone says the name “Tucker”, people are likely to think you mean Tucker Carlson. If the listener is a boomer, they may be thinking Tanya Tucker or maybe Marshall Tucker. Unless they are big Jeff Bridges fans, they do not think of Preston Tucker.
If you do a search for “Tin Goose” you will see pages of images of the Ford, Tri-motor airplane. You won’t see this car unless your search language is quite specific.
Car people will naturally think of Preston and his legendary car. This image is of the prototype Tucker 48, also known as the Tin Goose. Though only about 50 Tuckers were ever made, the car has become part of American car-lore.
This is a forced perspective photograph of a 1/24 scale die-cast model car in front of a real background.
Danbury Mint 1948 Tucker 48 “Tin Goose”
I needed a break from studying so I set out to create a very specific image. The result was something entirely different, but to me that is what's so beautiful about creative expression. Intent is important when creating a photo but being open to new possibilities, to truly living in the moment and reacting fluidly to what is around you...Responding to the forces that surround you while you're creating - that is just as special.
This photo is rooted in two thoughts...The first is from one of my favourite movies, Chronicles of Narnia (I read the book a long time ago, I'm sure it's amazing but the visuals in the movie are incredible <3)...The image has to do with the scene where the little girl meets Mr. Tumnus and learns that winter has lasted for a long time. So that connects to the whimsical aspect of the photo. The second part is that this looks like an ad for something. It has that element of sexuality and smoking. The materialism that is symbolized represents how obsessive we have become over consumer goods, over trivial nonsense. The two girls face the same direction, and one even looks straight at the camera. The earth behind them is warm, green and lush but there is no way of knowing whether or not they are aware of this. They are huddling together for warmth. Ultimately, they are immersed in the lifeless cold of winter but there is always hope for summer and what summer represents :)
BTS shots are on my blog
A snowflake that doesn’t know what it wants to be! This intriguing snowflake has a shape that is battling between branches and a solid plate shape, and you can clearly see where the lines of battle have been drawn. View large!
As you’ve seen so far in this series, the tiniest snowflakes always have a way of being enigmatic and interesting. Maybe it’s the lack of complexity that allows us to focus on specific features, or maybe it’s that smaller snowflakes contain smaller details that we can more easily see and be curious about. In this case, there’s a mystery to solve!
The upper-right-most branch holds the story of the branching while the lower-left tells us how the crystal stays as a plate. In the former, we can identify a crystal split. The snowflake divides itself into two new planes when a cavity forms in the ice, a very common occurrence. What’s odd here is that the bottom plate grows the branch at the tip, but the rest of the bottom plate falls behind the top plate in growth. This might be a case where the knife-edge instability comes into play.
I don’t fully understand the physics (I’m a geeky photographer, not a physicist), but when a snowflake is incredibly thin, the growth can accelerate. If the bubble/cavity that cut the snowflake in half changed its thickness just at the tip, it could propel the tip into a branch-like growth without causing the same rapid growth to the rest of the crystal facets. It’s unusual, but not the first time I’ve seen it – something must behave slightly differently at the corner to evoke this behaviour.
On the other side of the snowflake, we see a very solid hexagonal shape, but the ghosts of branches are hidden closer to the center. How does this happen? Again, I’m not entirely sure. I love these mysteries! I believe the best explanation would be this: As the branches began to form, the growth of the top plate was keeping pace, likely due to the direction that the snowflake was falling. The same physics that made the branch grow faster than the edges of the underside are at play, but with more water vapour building up the top plate, it kept pace with the branching, and eventually overpowered it. As soon as any one plane of growth as the advantage of growing farther out, it chokes out the growth of the competition.
Again, my ideas are just the theories of a man who has studied snowflake growth for the fun of it, and has witnessed many thousands of these crystals to see how they grow. It’s open to interpretation – and I welcome yours!
For more musings on snowflakes and the most detailed photographic tutorial on the subject you’ll ever see, consider a copy of Sky Crystals: www.skycrystals.ca/book/ - it’s a great winter companion for any photographer or naturalist. Winter can be more tolerable when you ponder the mysteries in a single snowflake.
I did a couple sketches, and the guy wanted a wildstyle graffiti piece, I was like you sure, dude was like yeah, do your thang, So, I did a color scheme and wanted midnight dark blue for the background, the idea was going for a blue print background, dude came back after I already made the paint order with, yeah a couple people arent feeling the wall color being that dark....pause...I was like okay go with what you want i guess...so, there goes the concept and the color scheme, commission jobs...yuuup!
When the alarm went off at 4:30 AM a couple of weeks ago, I gritted my teeth and told myself, yet again, that a 95% burn forecast on Skyfire doesn't come along every day. I had also checked the satellite the night before and I knew there was a decent chance of some color down in Laguna, but I had been shut out PLENTY of times down there before. I can't begin to count the number of times over the past couple of years where I made the drive based on a Skyfire forecast only to show up and have the sun duck behind some clouds right at game time, or worse...have the clouds disappear altogether.
So when I groggily pulled up at Heisler Park at 5 AM, I wasn't sure what to expect. I was further unnerved by the fact that I was here on a Sunday morning and it looked like I was the only photographer who showed up. I started to set up my tripod, but one of the legs locked up and I had to improvise by hanging the stupid thing over a railing. Muttering to myself like a deranged homeless guy, I fought with the tripod and shivered as the wind had picked up substantially. "Bah!", I thought to myself. "I came all the way down here for what, exactly?"
And then I looked up. And smiled. The sky definitely began to glow early, and I really thought it was going to blow up in a big way. But just as the clouds really began to glow, the sun went behind another cloud beyond the horizon, and it looked like the show was over. Grimacing a bit, I folded up my broken tripod and headed back to the car, bummed that the sunrise fizzled out, but glad to be going home with at least a couple of shots. Just out of curiosity, I thought I should head up North a bit to Shaw's Cove to see what it looked like during high tide. Fisherman's Cove was out because most of it would be under water, but Shaw's should still work to get some scouting shots in, if nothing else.
I pulled my car around and muttered some more salty words at a scuba diver who stole my spot right in front of me, made a u turn....and my jaw hit the floor. While I had been finding a parking space, the sky had indeed blown up…in a huge way. I flew down the stairs to the Cove, ditching the broken tripod and began shooting like crazy. This was easily the most color I had ever seen in Laguna and the crimson red and fiery orange spilled out over the wet sand in all directions. And it just kept going! The reds eventually gave way to a brilliant golden glow giving me plenty of time to run up and down the beach and out onto the rocks. I think I clocked in around 600 shots by the time the sun went behind another cloud and I headed off, exhausted, to to Jack In The Box.
Kudos to Skyfire which knocked this one out of the park, This was a sunrise that I probably would have missed as I thought the cloud cover was going to be too deep. It was also a good reminder that every so often, those 4:30 AM wake up times actually pay off.
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I had a specific photo in mind a year ago, but getting there committed me to drive around a bit, mostly on dirt roads. Along the way I kept seeing good photos, so I'd stop and take one or two shots every few minutes with my Nikon 1. The entire set's quite good; some days I get lucky.
Here's my favorite. This old house is one of my regular photo subjects. I'm pretty sure it was still occupied when I moved to Mulliken--at least its yard was still being maintained--but it's long been abandoned. I've many photos that document its decay. It's a sad story, but an interesting set of photographs.
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The planned photo? It was a play on words. I'd tried before to capture a set of gates that opened to what had once been a meadow on Gates Road. The gates were (are) easily visible from the road, but not really in a good location for photography.
I thought I'd try again last December 27. I managed a photo, and shared it that day. Today I'd probably call it the weakest photo of the outing.
Nonetheless: Gates on Gates. Got it.
So it goes.
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This photograph is an outtake from my 2024 photo-a-day project, 366 in 2024.
Number of project photos taken: 39
Title of folder: Roxand Dirt Roads
Other photos taken on 12/27/2024: We went out to dinner at the Log Jam in Grand Ledge, where my iPhone captured three photos of the Christmas tree beside our table and two of my supper, a Reuben sandwich.
I don't really understand if this something specific to very small villages or...special to Thamanthi...but the market actually runs from something like 5AM til 10AM or so. That's it. Pretty cold and foggy during the winter.
There are so many different kinds I don't know their specific names.
They are only visible at low tide.
Whenever I notice other flickrers posting pics with specific color/theme for each day like Blue Monday, Pink Tuesday, Bokeh Wednesday etc... I always wondered... who started this tradition? Is it specific to flickr ? There
should be some reason behind it.
I personally think it kind of restricts people to shoot & post pictures with that specific color/theme in mind for each day. I 100% agree that I get to see some amazing pictures for each theme... but somehow I am not drawn into it. So here I am with my own Twilight Tuesday pic.
I hope this doesn't distract people from commenting about the actual pic...
hehe...
Location : Pearl Street Bridge over Woodall Rodgers Freeway, DALLAS, TX.
Same place from where i took this shot.
Also geotagged
P.S: Guess what? I am gonna post my buddy icon picture tomorrow :)
The first formal description of the Chinese rubythroat was by the Russian geographer Nikolay Przhevalsky in 1876. He introduced the current binomial name Calliope tschebaiewi. The specific epithet tschebaiewi is in honour of the Cossack Pamfili Tschebaeiv who accompanied Przevalsky on his travels. The Chinese rubythroat was subsequently considered as a subspecies of the Himalayan rubythroat (Calliope pectoralis). The species complex was given the English name "white-tailed rubythroat" and placed in the genus Luscinia. A large molecular phylogenetic study published in 2010 found that the Luscinia was not monophyletic. The genus was therefore split and several species including the white-tailed rubythroat were moved to the reinstated genus Calliope.Another study published in 2016 compared the mitochondrial DNA, vocalization and morphology of several Calliope pectoralis subspecies. Based on their results the authors recommended that C. p. tschebaiewi be promoted to species rank with the English name Chinese rubythroat. At the same time the English name "white-tailed rubythroat" was changed to Himalayan rubythroat.The species is monotypic.
I don't have a specific style, my style is beauty, my style is elegance, my style is "to marry" styles and make ONE. For these villas I wanted a modern, elegant decor with touches that would remind you in which country you were but still made you feel "at home".
This mantis lives to mimic ants, fire ants to be specific. The nymphs are incredibly fun to raise as they look exactly like ants, all the way down to the mandibles. As they get older, they gradually lose their bright red coloring and begin to sport green and brown markings. The mature adults are green in color and look nothing like ants. Females have small black and orange markings at the end of the wings and males have dark coloring along the entire wing.