View allAll Photos Tagged specific
Two years ago I made my first locomotive as a full Lego scale model, set to the relatively big scale of 1/16. It was an older type American Diesel-electric unit called SD40-2, made by EMD (Electro Motive Diesel). The warm response the model received encouraged me to build another one, and this time I aimed for a more modern type, also produced by EMD: The SD70ACe. This mighty machine is a six-axle, 4300- horsepower, AC-traction diesel-electric locomotive which was first introduced in 2004, and has been in production since 2005. The SD70 ACe is very representative for locomotives used by North American Railroads to transport heavy freights.
The locomotive that I replicated is owned by Union Pacific; a freight railroad that operates nearly 8,500 locomotives, from which about 700 are SD70 Ace’s, and is the largest in the United States.
This specific example is something special though. It is a so called Union Pacific "heritage unit". These are a total of six SD70Ace’s which are painted in unique commemorative schemes which are meant to designate former railroads which Union Pacific purchased or operated over former trackage. Locomotive ‘UP 1989’ is such a “Heritage Unit” and is exclusivly painted in the colors of “Denver and Rio Grande Western Railroad”, which Union Pacific acquired in 1996.
The Lego model consist of about 27.000 bricks, and was built in 4 months. It is about 143 cm in length (56,2 inch). The model was made from pictures and drawings found on the internet. It is fully detailed both, in, -and outside with modeled engine, electrical cabinets and cabin.
All decals were self-made as vector files, and printed and pre-cut at a professional company. Some retrofitted chromebricks are used.
This is also the first time I have used lighting in a model. Rob from www.brickstuff.com made it possible for me to make a realistic lighting setup without sacrificing any space for detail due to the very thin wiring, and even the ditch effect is onboard. For the same detail space reason I used the small battery boxes inlcuding switches from Brickstuff, and there are now two main switches to operate the external and cabin lights. It really adds to the realism of a build, and it will definitly not be my last work with lights mounted!
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.
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 resplendent in her Henry Dreyfuss designed two toned grey livery splits the Central era small target GRS type SA signals as she sails north up Main1 at MP 99 on modern day Amtrak's Hudson Line which opened between New York and Albany in 1851 as the Hudson River Railroad.
In 1864 the road 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.
As for these trips check out this website to learn more about what the URHS offers:
www.hudsonriverrail.com/experiences
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 October 26, 2024
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 cold clear morning sees the Norbord Inverness plant, off the A96, venting steam to great effect.
The plant produces oriented strand board (OSB), part of the organisations line in wood products, which also includes chipboard and MDF.
OSB, also known as flakeboard, sterling board and aspenite in British English, is a type of engineered lumber similar to particle board, formed by adding adhesives and then compressing layers of wood strands (flakes) in specific orientations. It was invented by Armin Elmendorf in California in 1963.
L’Asie de nuit nous offre un son et lumière… sans le son. Les lumières des villes resplendissent - on les devine même sous les nuages. Quelques éclairs au passage, et des bateaux de pêche en mer : selon Aki, les points verts sont des éclairages de navires utilisant cette couleur pour pêcher le calamar !
Asia at night with so much to see! City lights shine clearly but some cities are under clouds so their light is diffused. Lightning strikes flash through the night and those small dots are fishing boats attracting their catch. Aki tells me the green dots are specific for the plankton that squid like to eat!
Credits: ESA/NASA–T. Pesquet
439D6286
Paul Huxley’s site-specific wall drawing reveals his artistic and environmental concerns, developing narrative through abstraction, Huxley’s drawing evokes statistical measurements that emerged from studies on climate change. Its abstract form and colours signify tipping points in global warming, particularly on the earth and its animals because of the human population’s rapid growth since 1950 (from 3 billion people in 1960 to 6 billion in 1999, and a projected 9 billion in 2050).
Additionally, the drawing alludes to the rising sea levels, thereby responding to its location overlooking the Grand Canal and Venice’s problems with its rising water, which, together with rising silt levels, and subsistence are causing the city to tilt eastward up to 2 millimetres annually.
While executing the wall drawing in situ, Huxley plans to mitigate the damage to Venice’s waters that his cadmium-laden brushes could cause upon washing. He will filter the water and dry the brushes in a way that prevents the toxic chemical, so critical to artists for giving hues their vibrancy, from leaching into the water.
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
The common redshank was formally described by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his Systema Naturae under the binomial name Scolopax totanus. It is now placed with twelve other species in the genus Tringa that Linnaeus had introduced in 1758. The genus name Tringa is the New Latin name given to the green sandpiper by the Italian naturalist Ulisse Aldrovandi in 1603 based on Ancient Greek trungas, a thrush-sized, white-rumped, tail-bobbing wading bird mentioned by Aristotle. The specific totanus is from Tótano, the Italian name for this bird
Common redshanks in breeding plumage are a marbled brown color, slightly lighter below. In winter plumage they become somewhat lighter-toned and less patterned, being rather plain greyish-brown above and whitish below. They have red legs and a black-tipped red bill, and show white up the back and on the wings in flight.
The spotted redshank (T. erythropus), which breeds in the Arctic, has a longer bill and legs; it is almost entirely black in breeding plumage and very pale in winter. It is not a particularly close relative of the common redshank, but rather belongs to a high-latitude lineage of largish shanks. T. totanus on the other hand is closely related to the marsh sandpiper (T. stagnatilis), and closer still to the small wood sandpiper (T. glareola). The ancestors of the latter and the common redshank seem to have diverged around the Miocene-Pliocene boundary, about 5–6 million years ago. These three subarctic- to temperate-region species form a group of smallish shanks with have red or yellowish legs, and in breeding plumage are generally a subdued light brown above with some darker mottling, and have somewhat diffuse small brownish spots on the breast and neck.
The common redshank is a widespread breeding bird across temperate Eurasia. It is a migratory species, wintering on coasts around the Mediterranean, on the Atlantic coast of Europe from Ireland and Great Britain southwards, and in South Asia.
They are wary and noisy birds which will alert everything else with their loud piping call.
Redshanks will nest in any wetland, from damp meadows to saltmarsh, often at high densities.] They lay 3–5 eggs.
Like most waders, they feed on small invertebrates.
Green Lynx Spider captures a visiting bee ...
Brooksville, Florida
The ironic thing about this image is that for about 30 years I systematically tried to eliminate this "weed" from my property... "Beggarticks (Bidens alba), also commonly referred to as Spanish needle, is perhaps one of Florida’s most controversial wildflowers". It was such a pain ... the seeds would hitchhike on my clothes... I couldn't get rid of them... I called them... "Al's Bane"!!! A single plant can produce 3,000–6,000 seeds that are dispersed by wind, water, and most often, by becoming attached to fur or clothing. It was a fight I couldn't win...! But, I learned that ... "bidens alba is a great source of nectar (food) for pollinators, it is a host plant to certain species of butterflies and moths. Host plants are specific plants that a female butterfly chooses to lay its eggs. The caterpillars will feed on it also." (Florida Native Plant Society) So I started letting them populate certain areas... This coincided with my new focus of rewilding my property as I watched areas around me becoming monocultures...(new housing with immaculate lawns and the chemicals to maintain them ...) My ecology is so much richer for it... and lots and lots of butterflies and so many insects and birds live here now! (and, of course, I have so many more nature sources to photograph ... without leaving the farm)
by Remigius Hogenbergh,print,published 1572
Matthew Parker (6 August 1504 – 17 May 1575) was Archbishop of Canterbury from 1559 until his death in 1575. He was also an influential theologian and arguably the co-founder (with Thomas Cranmer and Richard Hooker) of Anglican theological thought.
Parker was one of the primary architects of the Thirty-Nine Articles, the defining statements of Anglican doctrine. The Parker collection of early English manuscripts, including the book of St. Augustine Gospels and Version A of the Anglo-Saxon Chronicle, was created as part of his efforts to demonstrate that the English Church was historically independent from Rome, creating one of the world's most important collections of ancient manuscripts.
The eldest son of William Parker, he was born in Norwich, in St. Saviour's parish. His mother's maiden name was Alice Monins, and she may have been related by marriage to Thomas Cranmer. When William Parker died, in about 1516, his widow married John Baker. Matthew was sent in 1522 to Corpus Christi College, Cambridge,[1] where he is said to have been contemporary with William Cecil, but Cecil was only two years old at the time. Parker graduated BA in 1525, was ordained deacon in April and priest in June 1527, and was elected fellow of Corpus in the following September. He commenced MA in 1528, and was one of the Cambridge scholars whom Thomas Wolsey wished to transplant to his newly founded "Cardinal College" at Oxford.
Parker, like Cranmer, declined the invitation. He had come under the influence of the Cambridge reformers, and after Anne Boleyn's recognition as queen he was made her chaplain. Through her, he was appointed dean of the college of secular canons at Stoke-by-Clare in 1535. Hugh Latimer wrote to him in that year urging him not to fall short of the expectations which had been formed of his ability. In 1537 he was appointed chaplain to King Henry VIII. In 1538 he was threatened with prosecution, but the Bishop of Dover, however, reported to Thomas Cromwell that Parker "hath ever been of a good judgment and set forth the Word of God after a good manner. For this he suffers some grudge." He graduated DD in that year, and in 1541 was appointed to the second prebend in the reconstituted cathedral church of Ely. In 1544, on Henry VIII's recommendation, he was elected master of Corpus Christi College, and in 1545 vice-chancellor of the university. He got into some trouble with the chancellor, Stephen Gardiner, over a ribald play, Pammachius, performed by the students, which derided the old ecclesiastical system.
On the passing of the act of parliament in 1545 enabling the king to dissolve chantries and colleges, Parker was appointed one of the commissioners for Cambridge, and their report may have saved its colleges from destruction. Stoke, however, was dissolved in the following reign, and Parker received a generous pension. He took advantage of the new reign to marry in June, 1547, before clerical marriages had been legalized by parliament and convocation, Margaret, daughter of Robert Harlestone, a Norfolk squire. During Kett's Rebellion, he preached in the rebels' camp on Mousehold Hill, without much effect, and later encouraged his secretary, Alexander Neville, to write his history of the rising.
Parker's association with Protestantism advanced with the times, and he received higher promotion under John Dudley, 1st Duke of Northumberland than under the moderate Edward Seymour, 1st Duke of Somerset. At Cambridge, he was a friend of Martin Bucer and preached Bucer's funeral sermon in 1551. In 1552 he was promoted to the rich deanery of Lincoln, and in July 1553 he supped with Northumberland at Cambridge, when the duke marched north on his hopeless campaign against the accession of Mary Tudor. As a supporter of Northumberland and a married man, under the new regime Parker was deprived of his deanery, his mastership of Corpus Christi, and his other preferments. However, he survived Mary's reign without leaving the country – a fact that probably aggravated more ardent Protestants who went into exile and idealized their fellows who were martyred by Queen Mary. Parker respected authority, and when his time came he could consistently impose authority on others. He was not eager to assume this task, and made great efforts to avoid promotion to the archbishopric of Canterbury, which Elizabeth designed for him as soon as she had succeeded to the throne.
He was elected on 1 August 1559 but, given the turbulence and executions that had preceded Elizabeth's accession, it was difficult to find the requisite four bishops willing and qualified to consecrate Parker, and not until December 19 was that ceremony performed at Lambeth by William Barlow, formerly Bishop of Bath and Wells, John Scory, formerly Bishop of Chichester, Miles Coverdale, formerly Bishop of Exeter, and John Hodgkins, Bishop of Bedford. The allegation of an indecent consecration in the Nag's Head Fable seems first to have been made by the Jesuit, Christopher Holywood, in 1604, and has since been discredited. Parker's consecration was, however, legally valid only by the plentitude of the royal supremacy; the Edwardine Ordinal, which was used, had been repealed by Mary Tudor and not re-enacted by the parliament of 1559. The Roman Catholic Church asserted that the form of consecration used was insufficient to make a bishop, and therefore represented a break in the Apostolic Succession, but the Church of England has rejected this, arguing that the form of words used made no difference to the substance or validity of the act.
Elizabeth wanted a moderate man, so she chose Parker. There was also an emotional attachment. Parker had been the favourite chaplain of Elizabeth's mother, Anne Boleyn. Before Anne was arrested in 1536, she had entrusted Elizabeth's spiritual well-being to Parker. A few days after this, Anne had been executed following charges of adultery, incest and treason. Parker also possessed all the qualifications Elizabeth expected from an archbishop except celibacy. He mistrusted popular enthusiasm, and he wrote in horror of the idea that "the people" should be the reformers of the Church. He was not an inspiring leader, and no dogma, no prayer-book, not even a tract or a hymn is associated with his name. The 56 volumes published by the Parker Society include only one by its eponymous hero, and that is a volume of correspondence. He was a disciplinarian, a scholar, a modest and moderate man of genuine piety and irreproachable morals. His historical research was exemplified in his De antiquitate ecclesiae, and his editions of Asser, Matthew Paris, Thomas Walsingham, and the compiler known as Matthew of Westminster; his liturgical skill was shown in his version of the psalter and in the occasional prayers and thanksgivings which he was called upon to compose. He left a priceless collection of manuscripts, largely collected from former monastic libraries, to his college at Cambridge. The Parker Library at Corpus Christi bears his name and houses his collection.
Parker avoided involvement in secular politics and was never admitted to Elizabeth's privy council. Ecclesiastical politics gave him considerable trouble. Some of the evangelical reformers wanted liturgical changes and at least the option not to wear certain clerical vestments, if not their complete prohibition. Early presbyterians wanted no bishops, and the conservatives opposed all these changes, often preferring to move in the opposite direction toward the practices of the Henrician church. The queen herself begrudged episcopal privilege until she eventually recognised it as one of the chief bulwarks of the royal supremacy. To Parker's consternation, the queen refused to add her imprimatur to his attempts to secure conformity, though she insisted that he achieve this goal. Thus Parker was left to stem the rising tide of Puritan feeling with little support from parliament, convocation or the Crown. The bishops' Interpretations and Further Considerations, issued in 1560, tolerated a lower vestiarian standard than was prescribed by the rubric of 1559, but it fell short of the desires of the anti-vestiarian clergy like Coverdale (one of the bishops who had consecrated Parker) who made a public display of their nonconformity in London.
The Book of Advertisements, which Parker published in 1566, to check the anti-vestiarian faction, had to appear without specific royal sanction; and the Reformatio legum ecclesiasticarum, which John Foxe published with Parker's approval, received neither royal, parliamentary nor synodical authorization. Parliament even contested the claim of the bishops to determine matters of faith. "Surely," said Parker to Peter Wentworth, "you will refer yourselves wholly to us therein." "No, by the faith I bear to God," retorted Wentworth, "we will pass nothing before we understand what it is; for that were but to make you popes. Make you popes who list, for we will make you none." Disputes about vestments had expanded into a controversy over the whole field of Church government and authority, and Parker died on May 17, 1575, lamenting that Puritan ideas of "governance" would "in conclusion undo the queen and all others that depended upon her." By his personal conduct he had set an ideal example for Anglican priests, and it was not his fault that national authority failed to crush the individualistic tendencies of the Protestant Reformation.
dawn on hill
Da Lat's specific sights are pine wood (forming the name: "City of thousands of pine trees") with twisting roads and tree marigold blossom in the winter. The city’s temperate weather stands in contrast to Vietnam's otherwise tropical climate. Mist covering the valleys almost year-round leads to its name "City of Eternal Spring".
Strange process. I had a specific idea in mind, thanks to Angelique (check out, she’s great and that’s an understatement). I wanted to use some stock image for this, just to give it a try. Couldn’t find any that would fit (not being very patient :) so I just improvised a brief session.
No textures, this time (though I love it :) I just added some mist with brushes. And light, curves, filters, etc... You know...
Model: Marie
And, by the the way, should we assume anything?
ps, triggered by a nonetheless understandable and nice comment here: I don't mean to be provocative at all. Hopefully thought provoking. It's just that, I think, we often assume things that are not for us to definitely decide about.
Tall stalks of liriope (pronounced: lih-RY-ə-pee), blooming wild, creek-side, at eventide.
Seminary Wood in Decatur Legacy Park
City of Decatur (Winnona Park), Georgia, USA.
18 August 2022
***************
▶ "Liriope muscari is a species of flowering plant from East Asia. Common names in English include big blue lilyturf, lilyturf, border grass, and monkey grass. It is invasive to North America and considered a threat to native wildlife. Being an easy plant to grow [however], it is one of the most popular garden ground-covers in the southeastern United States.
Liriope muscari typically grows 12 to 18 inches tall (30–45 cm) and features clumps of strap-like, arching, glossy, dark evergreen leaves to ½ inch wide (1.3 cm). The small, showy flowers occur on erect spikes with tiered whorls of dense, white to violet-purple flowers rising above the leaves in late summer. Flowers resemble those of grape hyacinth (Muscari), which is the origin of the specific epithet. Flowers develop into blackish berries which often persist into winter."
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
—Lens: Olympus M.45mm F1.8.
— Settings: 45 mm | 0.4 sec | ƒ/2.0 | ISO 200
— Focus bracket (11 images)
— Edit: Photoshop Elements 15, Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
There are many generic kinds of time. Each field of gravity in the
Universe has its own specific time, determined by the mass contained
in that field. There are no two points on Earth which at the same
moment of astronomical time would remain in the same relation to
the Sun, even though the practical convention of time zones imposes
consistency on all local clocks.
These thoughts formulated by Jarosław Kozłowski in 1978 amazingly
correspond with many of his installations. The artist’s obsession with
time is present both in his utterances and in specific actions. Alarm
clocks, watches, temporal manipulation—that’s a frequent motif in
his practice. He used watches for the first time in 1968 in his
environment Situation. Then they returned in the eighties when he
started smashing alarm clocks in Continuum, series of drawing
performances. During the nineties Kozłowski began to create
large-scale installations, in which he deconstructs time and space as
a basic categories of description of the world.
Time Archive is a site-specific installation, inscribed in given space.
Row of shelves is filled with clocks previously owned by real people
and indicating different times of day. Going each by their own time,
with references to their owners/users, the clocks represent personal
time or, in other words, history in its individual dimension. In this
archive, the hundreds of alarm clocks—individual meters of time—
drown out the authority of ‘monumental time’, associated with sym-
bols of power and compared to Nietzsche’s ‘monumental history’.
Indicating different hours, minutes and seconds, the clocks relativise
official measures of time and divisions into geographical zones. As a
space of experiencing time, the archive becomes a place of cultural
experiences, where the simple question about time (what time is it?)
refers to questions about the philosophical and political foundations
of the place of its presentation.
The sound of the ticking clocks is an integral part of the project. The
accumulative aesthetics of a collection of alarm clocks, each looking
differently and showing a different time, have an extension in the
ticking sounds, overlapping and merging into a drone. Despite the
proverbial silence of archives, the space of the Time Archive is
enlivened with its sounds.
The Time Archive project expands on themes tackled in many of
Jarosław Kozłowski’s earlier works, including in spectacular installations
such as Personal Files (1993) in a former archive in the Hague,
Personal Files II (1997) at the National Museum in Poznań, Time
Vacuum (1999) at the Arbäaer Museum in Reykjavik, Time Cistern
(2006) at the CCA Ujazdowski Castle in Warsaw, or Time Library (2007)
in the Kalisz Museum, previously the municipal archive. In all those
projects, time was considered in its various categories: biological,
existential, metaphysical, astronomic, institutional, and in relation to
the given place, its history, philosophy and politics.
Here's my take on last week's Perseid meteor shower, taken from Powell Lake in the Emigrant Wilderness.
Earlier that day I scouted a very specific composition to shoot the meteors, only to abort the shot after over an hour without a single shooting star falling in frame.
Much later in the evening I set up a new composition to include the Milky Way, but only caught three meteors. I decided to include faint star trails in the shot for a little extra interest. This is about 120 images stacked for the the star trails, and then I added a single image from the end of the sequence to emphasize the Milky Way. Finally, I included the three frames that caught meteors.
This isn't even close to what I had in mind when I set out to shoot the Perseids, but it was still a fun shot to work with nonetheless. Any night spent on a quiet mountain lake watching the stars is a win in my book!
PROCESSION – A religious parade which always leaves from and returns to a specific church. Processions tell the story of Jesus’ crucifixion and resurrection using elaborate floats (called andas, see below) full of iconography. More than a dozen major processions (and many smaller processions) take place day and night in Antigua during Semana Santa. We managed to attend 12 of them. The procession tradition is said to have started in Guatemala in 1524 and, today, most Semana Santa processions include two main andas. The first carries a scene from the life of Jesus. The second carries a depiction of the Virgin Mary. Each procession is named after the specific Jesus and Mary that adorn the floats (i.e. Jesús De La Merced, Jesús El Peregrino, Jesús Del Milagro). Some last for 15 hours and cover many miles.
OTTAWA - Health Canada has completed a safety review of human health products and veterinary drugs containing gentian violet and has found that exposure to these products may increase the risk of cancer. Given the seriousness of this risk, Health Canada is advising Canadians to stop using all human and veterinary drug products containing gentian violet.
Gentian violet is an antiseptic dye used to treat fungal infections. Products containing gentian violet have been used on the skin, on mucous membranes (inside the nose, mouth or vagina), on open wounds, or on the nipple of a nursing mother to treat oral thrush in infants.
Health Canada’s risk assessment of medical devices containing gentian violet found that the gentian violet is unlikely to come into direct contact with the skin. Therefore, these products do not pose an increased risk of cancer when used for a short time and in most people, and they remain on the market in Canada. However, you should not use dressings containing gentian violet for longer than six months, or if you are pregnant or nursing.
Health Canada's review was triggered by the World Health Organization's Codex Alimentarius Commission's recommendation on the potential risk of cancer associated with veterinary drug residues in foods, including gentian violet. Although the Commission's recommendations were specific to food residues, Health Canada reviewed the safety of human non-prescription drugs, veterinary drugs and medical devices containing gentian violet.
After completing two safety assessments, the Department concluded that, as with other known cancer causing substances, there is no safe level of exposure, and therefore any exposure to these drug products is a potential cause for concern.
Health Canada warns Canadians of potential cancer risk associated with gentian violet
Report a Concern
Starting date:
June 12, 2019
Type of communication:
Information Update
Subcategory:
Drugs
Source of recall:
Health Canada
Issue:
Important Safety Information
Audience:
General Public
Identification number:
RA-70179
Last updated: 2019-06-27
Chromodoris quadricolor is a species of very colourful sea slug, a dorid nudibranch, a marine opisthobranch gastropod mollusc. The specific epithet quadricolor means four-coloured, so-named because this nudibranch is yellow, white, blue and black in color.
Paul Perry - Visual Artist
Milpi - Magic Mosaics
Bundaberg Australia
Hand cut ceramic tile mosaic.
Based on image supplied by and used with permission of the Taribelang Bunda Elders.
The Taribelang lived on 4,700 km2 of territory around Bundaberg, and inland to near Walla, and north as far as Baffle Creek. Their territory also extended along the lower reaches of the Burrum River.
In Bluebirds, the blue colour is produced by the structure of the feather - there is no blue pigment. "Tiny air pockets in the barbs of feathers can scatter incoming light, resulting in a specific, non-iridescent color. Blue colors in feathers are almost always produced in this manner. Examples include the blue feathers of Bluebirds, Indigo Buntings, Blue Jay's and Steller's Jays."
www.allaboutbirds.org/guide/Mountain_Bluebird/id
www.jstor.org/discover/pgs/index?id=10.2307/4077277&i...
What a great day our group of four people had yesterday, 28 May 2017, taking part in the annual May Species Count. We travelled in just one car, which worked out well. On the 2016 May Species Count, we had been unable to find a Great Gray Owl, but I drove back to the area two days later, and found two of them. No matter how many times I see one of these owls and no matter how many hundreds/thousands of photos I've taken of them, each owl is just as exciting as the very first. So, it was a thrill yesterday to see one of these spectacular owls - seen in previous photo posted today.
Yesterday's owl was on a fence post when we first saw it. As is usually the case with these owls, it was focused on finding a Meadow Vole for a snack and in fact did catch one while I was watching. It moved to a few different fence posts in its search. Once it had caught its prey, it ate it there, down on the ground - with its back to us, of course. I was kind of hoping it would fly back up to the fence with it, but it didn't.
While I was taking photos, various people came along the road, a couple in cars, but most were cyclists out for a long ride on such a beautiful, sunny day. The owl basically ignored everyone, giving just a quick glance at us every once in a while. Their concentration never fails to leave me in awe.
I'm still waiting for the exact number of species we saw yesterday - somewhere around 75, I believe! Amazing, really. Three pairs of great eyes - plus me : ) Part of our Count covers some of my favourite roads, so it is not surprising that I enjoy it so much. Once the Count had finished, I drove a few of the roads again on my way home, mainly focusing on two pairs of Mountain Bluebirds that I had enjoyed watching last year. The male in this photo just looked happy, with his feathers being blown by the wind and looking rather comical. Needless to say, I went home feeling very happy after a long day of birding, and oh, so tired! In fact, so tired that, despite a day mostly at home yesterday, I was still so tired by the evening that I just couldn't look for and edit any photos for today : ) Most unusual for me - I usually fight tiredness, but definitely failed yesterday.
Then today, 30 May 2017, I was out for the day south of the city with my Daughter (a belated day out for my birthday and Mother's Day), to Nanton and a few roads nearby and then making our way to Frank Lake and finally ending up at the Saskatoon Farm, where we decided to have an early supper. My favourite kind of day, so thank you, Rachel, as always!!
...and best viewed large.
Good morning everyone. Just a single posting on Hug a Bug Day due to stormy weather here and the need stay off the computer as a result. We've had two thunderstorms overnight with more predicted for today, so my response to comments will be limited.
As for this damsel, I need some help from any of you experts out there as to a possible ID. As hard as I tried to find a match I was unsuccessful...at least to any degree of certainty. Appears to be a female, and a young one at that, but as to a specific species...I'm at a loss.
Thanks to flickr friend Eric, best guess so far is a blue form female Orange Bluet (Enallagma signatum).
Thank you for stopping by...and I hope you have a truly nice day. Storm free too.
Lacey
ISO400, aperture f/11, exposure .006 seconds (1/180) focal length 300mm
An early morning visit to West Wittering with some Camera club buddies paid off with some good colour and beach reflections but unfortunately there were no clouds at all.
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.
Casa da música from architect Rem Koolhaas. Porto - Portugal
Olympus XA2 + Kodak Ektachrome Extra 100 (Expired)
Amtrak's eastbound train #4, the Southwest Chief, barrels through Holbrook, AZ shortly after sunrise. A trio of venerable P42DCs provide the power on this day.
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!
Piotrkowska Street (pronounced: [pjɔtrˈkɔfska]; Polish: ulica Piotrkowska), also popularly known as Pietryna, is the main artery of Łódź, Poland, and one of the longest commercial thoroughfares in Europe, with a length of around 4.2 km. It is one of the major tourist attractions of the city. It runs longitudinally in the straight line between the Liberty Square (Plac Wolności) and the Independence Square (Plac Niepodległości).
From the very beginning this street was the central axis, around which the city grew bigger, and its development spontaneously gave the present shape to its centre. At first the city was mainly the highway, but later it changed into the city's showcase, the leisure and shopping centre, where the life of growing industrial agglomeration could be observed. The street deteriorated remarkably after World War II. Only after 1990 was it revitalized step by step and changed into a kind of pedestrian precinct. It has a function similar to a market square of old towns in other cities.
Nowadays the buildings, town-planning, institutions, restaurants, clubs and pubs situated next to this street, create its specific atmosphere, which is said to have a "cult" character reaching even outside of Łódź.[1]
There is a specific kind of magic that happens when the day refuses to leave without a final, fiery performance. Standing on the banks of the Merced, I watched the granite giants of Yosemite ignite under the alpenglow, turning the valley into a symphony of violet and Red. In moments like these, time seems to stretch as thin as the long exposure on my lens. It’s more than just a photograph; it’s the feeling of the crisp evening air, the rush of the water, and the humbling reminder of how small we are in the presence of such ancient beauty.
During a specific time of year, there is a span of a few nights during which my evening walk from work takes me past this overgrown grassy field that sits largely forgotten behind some nearby businesses. The patch of grass itself is generally not terribly noteworthy but a few times of year it grows up full of dandelions and if you walk past at night, a nearby streetlight has this lovely backlighting effect on the puffs of dandelion seeds. It is a little thing really, but something about it always catches my imagination and often I think to myself I should make a photo of the scene. This almost never happens for one reason or another. Either I don't have a camera (rare) or I don't have a tripod to put it on (much more common) or I am tired (often) or whatever. I tell myself I will get it the next night but then I either forget or by the next day the grass has been mowed down or the seeds have blown away. And this has been going on for a few years now with no images to show for this little detail I have long enjoyed. But recently I was walking by with my Pentax 67 because I was borrowing a Lensbaby and was more motivated to carry it around with me, plus I had a tripod I was carrying home from work. It was late, I was tired and hungry and then I saw this scene and remembered all the years past in which I had walked by and missed the opportunity. So I set up, fiddled around a few moments and made this exposure. I wouldn't say I am enamored of the final result (it is interesting at least) but I am glad I finally made an image. It was a good few moments to stop and photograph in.
Pentax 67
Rollei Superpan 200
Custom Ra's Al Ghul MOC I made and brought to BrickFair NJ. This wasn't based on anything specific, just kept building. Hope you like it :)
Lions do not mate at a specific time of year and the females are polyestrous. Like those of other cats, the male lion's penis has spines that point backward. During withdrawal of the penis, the spines rake the walls of the female's vagina, which may cause ovulation. A lioness may mate with more than one male when she is in heat. They normally mate after every 15-20 minutes for 2-3 days whilst on their honeymoon. 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.
King Loki of the Kilo Saba Pride is seen busy in procreation during a Photography Safari on a late evening game drive just as the sun was setting in the Maasai Mara Game Reserve, Kenya.
Traditional accounts say that, around 530 BC, Siddhartha Gautama, a young prince who saw the suffering of the world and wanted to end it, reached the forested banks of Falgu River, near the city of Gaya, India. There he sat in meditation under a peepul tree (Ficus religiosa or Sacred Fig) which later became known as the Bodhi tree. According to Buddhist scriptures, after three days and three nights, Siddharta attained enlightenment and the answers that he had sought. In that location, Mahabodhi Temple was built by Emperor Ashoka in around 260 BC.
The Buddha then spent the succeeding seven weeks at seven different spots in the vicinity meditating and considering his experience. Several specific places at the current Mahabodhi Temple relate to the traditions surrounding these seven weeks.
For Monochrome Monday here's another view of these New York Central time machines.
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 resplendent in her Henry Dreyfuss designed two toned grey livery splits the Central era small target GRS type SA signals as she sails north up Main1 at MP 99 on modern day Amtrak's Hudson Line which opened between New York and Albany in 1851 as the Hudson River Railroad.
In 1864 the road 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.
As for these trips check out this website to learn more about what the URHS offers:
www.hudsonriverrail.com/experiences
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 October 26, 2024
When “Random” Isn’t So Random — Facebook AI Gets Eerily Specific - IMRAN®
For a change of pace in my Thank You post to Top Fans, I tapped the new AI option next to Facebook’s usual vivid geometric backgrounds. I expected something generic.
Instead, from the simple prompt “Celebrating sunsets German Shepherd beach life,” the system generated an image with markings uncannily close to my German Shepherd Dog K2.
Now, sure — there are tens of thousands of GSDs with similar patterns. But there are also thousands of variations it could’ve chosen. The accuracy made me pause and wonder whether Meta’s AI wandered a little too close to my albums or posts.
Probably coincidence. Probably. Still… hmmm. I’d love to hear of others’ similar experiences.
© 2026 IMRAN®
Coeligena
From specific name Ornismya coeligena Lesson, 1833, Bronzy Inca. • (syn. Colibri) L. coeligenus heaven-born, celestial (> coelum or caelum heaven; genus offspring).
coeligena / coeligenus
L. coeligenus heaven-born, celestial (coelum or caelum heaven; genus offspring).
Nothing special about this image. It is one of hundreds, even thousands, of images I never posted... hundreds of butterflies, hundreds of Lantana...
But, it caught my eye and made me happy, so I posted it.
I like the way the butterfly is holding on the the edges of the specific bloom it wants and is about to plunge its proboscis into it.
A long time ago... time marches on... I miss those days...
Tracy Prince's Captivating World of Fashion and Femme Elegance
Welcome to Tracy Prince's enchanting realm, a mesmerizing photo blog that celebrates the artistry of fashion, beauty, and the alluring allure of femininity. With a keen eye for elegance and a passion for exploring the spectrum of style, Tracy captures the essence of glamour through her lens, bringing you a collection that transcends boundaries and defies conventions.
In Tracy's world, "high heels" are not just a fashion statement; they are an embodiment of empowerment and confidence. Whether it's the sleek lines of thigh-high boots or the classic elegance of stiletto heels, each photograph tells a story of grace and poise. Tracy explores the world of heels with an unwavering focus on details, showcasing the intricate designs that make them not just footwear but works of art.
Lingerie takes center stage in Tracy's visual symphony. Delicate fabrics, such as satin and lace, weave a tale of sensuality and sophistication. From the timeless beauty of "tan pantyhose" to the provocative allure of "black stockings," Tracy's lens captures the delicate nuances of intimate apparel. Garter belts, a timeless accessory, add a touch of vintage charm, creating a perfect harmony between classic and contemporary femininity.
Tracy embraces the art of "X-DRESS," navigating the realm of crossdressing with a respectful and inclusive lens. Her collection celebrates the diversity within the crossdressing community, showcasing individuals expressing their identity with confidence and style. Tracy's portrayal of "tranny schoolgirl," "tranny in stockings," and "tranny in pantyhose" is a testament to the beauty that emerges when personal expression meets the canvas of fashion.
"Beautiful crossdresser," "classy crossdresser," and "sexy crossdresser" are not just tags in Tracy's blog; they encapsulate the spectrum of elegance she captures. Each image resonates with a unique blend of style and individuality, breaking stereotypes and embracing the beauty that comes with embracing one's true self.
The interplay of light and fabric highlights the shimmering allure of "shiny pantyhose" and the timeless charm of "nylons crossdresser." Tracy's lens transforms each image into a narrative, where every detail contributes to the larger story of empowerment and self-discovery.
"Thigh high boots" make a bold statement in Tracy's visual narrative, symbolizing strength and confidence. Paired with "satin babe" or "nylon," these boots become a symbol of fierce femininity, challenging traditional notions of beauty and style.
Tracy's exploration of beauty is not limited to a specific gender. Whether it's a "transvestite," "tgirl," "trans," or "transgender," Tracy's lens captures the unique beauty that transcends labels. "Sexy shemale," "transexual," and "transgender beauty" become expressions of confidence and authenticity, challenging societal norms and celebrating the diversity of gender expression.
In the world of Tracy Prince, "Femme" is not just a descriptor; it's a celebration of the myriad ways individuals express their femininity. Leather, boots, and the timeless appeal of "nylon" and "Thigh High Stockings" become tools for self-expression, allowing each person to craft their unique narrative.
As Tracy navigates the intricate landscape of fashion and beauty, she brings to light the complexity and depth of personal expression. "Pantyhose high heels," "stockings high heels," "garter belt stockings high heels," and "nylons high heels" are not just combinations of clothing items; they are the building blocks of a visual symphony, a harmonious blend of textures and colors that create a stunning visual tableau.
Tracy's lens explores the realm of "fellatrix," recognizing the beauty in the art of seduction. Whether it's a provocative gaze or a subtle pose, each image captures the essence of allure and confidence. Tracy celebrates the beauty of "slutty women" and "classy crossdressers" alike, breaking down barriers and embracing the diversity of expression within the world of fashion.
In Tracy Prince's photo blog, each image is a brushstroke on the canvas of beauty and self-expression. Through her lens, the world of fashion and femme elegance becomes a celebration of diversity, individuality, and the timeless allure of personal style. Step into Tracy's captivating world, where every photograph tells a story of empowerment, confidence, and the endless possibilities that come with embracing one's true self.
I can't find any specific information about the history of this building that sits just to the south behind Cookeville's City Hall. It is a great old building and I hope that it is still being used for Veteran's services. But, the reason that I took this photograph and decided to post it to Flickr is because I learned something recently that I wanted to share. That white box at the top of the entrance stairs on the right is a drop-off box for American Flags that have become too worn or damaged to continue to be displayed. Once you drop off your flag here, it is collected and properly disposed of per U.S. flag guidelines. This is something that I've been looking into for years and finally found this location...so, if you have old, worn American flags that need to be disposed of properly, look up your local Veterans building or Veterans services location and hopefully they can help you continue to honor our flag with a proper disposal.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
Some more shots from a very pleasant time we spent with this very friendly ♀ at a site in Nottinghamshire a couple of days ago.
I'm not going to be specific with locations information anymore after I found out what happened to the ♀ Ruddy Duck I photographed over two weeks in Leicestershire.
Ever since I was a little girl I was obsessed with movies. I have a specific taste in films and tend to remember my favorite dialogue lines which I use in conversations (sometimes for the fun of the others, but mostly in rather awkward situations).
I was introduced into the world of cinema by my father who used to illegally copy his favorite films to video cassettes and could definitely be called an action film buff. Feeling privileged that in my childhood watching a film meant waiting for it either on TV or on a video cassette, I was constantly eager to watch and discuss more. Back in a day, people were longing for films as some of them were quite tricky to find. Even though I watched ‘Alien’ (1979), ‘Scarface’ (1983), and other epic movies hundreds of times, it wasn’t until the final month in a school in the year 2008 that I came across David Lynch’s films.
The first film by Lynch that I watched was my beloved ‘The Elephant Man’, which is without a doubt the least Lynch’s film one could ever imagine. I was so deeply touched by the story of the film that I decided to study the history of cinema and later use it in my photography. I always had an obsession with characters. I loved to play and pretend to be somebody else. Lynch’s characters are incredibly believable sometimes bizarre and weird, but who is not?
I've watched ‘Mulholland Drive’, ‘Blue Velvet’, ‘Lost Highway’ and of course ‘Eraserhead’. Each film is a separate experience worth writing about. Lynch is in every detail, an incredible professional. He doesn’t set the goal to be totally understood, he shows the vision and striking peculiarities of this world.
His world is dark, bizarre, perverse yet beautiful. And I want to be the part of it.
| blog
In autumn (and winter) time under specific meteorological conditions fog is being pushed across the Jura mountains
This hexagonal ice crystal showcases dendritic branching and stellar symmetry—hallmarks of atmospheric crystallography. Formed under specific humidity and temperature conditions, its beveled edges and central star-like nodes reveal the physics of phase transitions in frozen water vapor.
Full snowflake collection: Instagram.
...of the saddest death in Star Wars.
This is my first model in a LONG time that was actually built irl before it was realized digitally. I had enough spare parts at uni to make one half of the helmet. Because of this, I can actually comment on the real-world buildability, which is to say that it is actually a fairly stable and heafty beast. I tried my best to match the stud/smooth mixture of the official SW helmet sets with the smooth areas pulling focus to specific aspects of the design (the visor and the breathing tube things).
The instructions are available here on rebrickable. The red marking is a custom sticker that I will post eventually when I figure out how. I actually came up with a very nice SNOT solution but it only looked good from the front and so had to be scrapped.
Specific "riparian" crown form in Quercus robur. On the edge of the hogh steep left bank of the Volga river in Togliatti
Site-specific installation called "Glowing Core" by German artist Rebecca Horn (b.1944).
en.m.wikipedia.org/wiki/Rebecca_Horn
The name of the building is Llotja de Palma, a historic building with Gothic design, built between 1426 and 1448. The building was originally the headquarters of the School of Merchants.