All about tendrils...

Auxin is synthesized at the shoot tip and helps the cell grow longer. When a tendril comes in contact with a support, auxin stimulates faster growth of the cells on the OPPOSITE side, so the tendril forms a COIL... like a watch spring.

That's a wrap!

Windows of the Tropics, Fairchild Tropical Botanic Garden, Miami FL

www.susanfordcollins.com

Curling tendrils of Tsigaris umbrosa

Glad they showed up to render aid. Thank you AFD.

2020 Photo by Lloyd Thrap Photography

for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA OLYMPUS DIGITAL CAMERA

Found this guy at the Coglin Dam Campsite, Dryandra, WA.

Officially known as the red-capped robin, it has also been referred to as redhead, redcap, robin red-breast or red-throated robin. Kuburi is a name used in the Kimberley. Across southwestern Australia, it was known as menekedang by the local indigenous people.

Although widespread, it is uncommon in much of its range and has receded in some areas from human activity.

The position of the red-capped robin is unclear; it and its relatives are unrelated to European or American robins but appear to be an early offshoot of the songbird infraorder Passerida. The red-capped robin is a predominantly ground-feeding bird and its prey consists of insects and spiders. Although widespread, it is uncommon in much of its range and has receded in some areas from human activity.

Petroica is a genus of Australasian robins, named due to their red and pink markings. Many species in Australia have a red breast and are known colloquially as "red robins" as distinct from the "yellow robins" of the genus Eopsaltria. Two red keto-carotenoid pigments, canthaxanthin and adonirubin, are responsible for the redness in the red-capped robin's plumage. The birds are unable to synthesize these compounds themselves, and hence need to obtain them from their food. Carotenoids are costly to metabolise and are also required for use in immune function, hence birds need to be in good condition to have enough left for use in red feathers. This makes red plumage a good advertisement to prospective mates (Wikipedia).

© 2018 Photo by Lloyd Thrap Photography

for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA

Or Phenomenon....

- It was made by synthesizing three photographs -

© Marie Eve K.A.

♫♫ Metamorphosis Two - Philip Glass

玉響 - TAMAYURA -

私よ、幽かなる琅琅たる音となれ。

　　作者不詳 / Author unknown

　 - Sorry, this is not possible to English translation -

© Marie Eve K.A.

The refuge of my doubts

Wanting the significance that cause and effect

might have (we see it in little things where it is)

not seeing it in any place

important to us (it is in our lives but in ways

that deny each other) and the totality,

I suppose, is what I mean—it isn’t there—

we look around: the possibilities,

dreams and diversions, whatever else there is.

》William Bronk, The Effect of Cause Despaired

Sirius (instrumental) - The Alan Parsons Project

If you look for the Truth outside yourself,

it gets farther and farther away.

Today, walking alone, I meet it everywhere I step.

It is the same as me, yet I am not it.

Only if you understand it in this way

will you merge with the way things are.

《 Tung-Shan ... Paths of Water

I’ve been published in 15 pages in my favourite photo-magazine «Inspired Eye» Issue 105 www.theinspiredeye.net/street-photography-magazine/ In an awesome company. For the second time. Thank you so much for your support, dear Don! I’d say that judging by the publications, I’m three times better known outside Russia, than inside (now my art was honoured by 2 publications in #inspiredeye and one more – in another favourite journal, «EᴀsᴛᴇʀʟY ᴍᴀɢᴀᴢɪɴᴇ»). But that’s completely wrong. The ratio isn’t 3:1, but 3:0. You do the math. Walking inspired, wandered, dazed and confused. Celebrating with every guest, accepting congratulations.

In this big interview I said, inter alia, this (I slightly edited and severely reduced):

"I was born on April 1st, 1970, that was my first joke: I wasn’t expected that early. Maybe that was a pretty dumb joke, I was too young and dumb myself, but I’ve tried to do my best. I’m still joking and feel that the sense of humor is one of the most vital human senses.

People often are very surprised when they know about my age: they assume that I’m much younger (“I thought you’re 36 - No I’m not, but my wife is”). Maybe that’s because I did pretty wild things in my life, including ride on the steps of the train, travelling on the freight trains, hitchhiking barefoot without the backpack and ID trying to cross the border to get to 25-anniversary Woodstock festival and so on. I feel that I’m still more or less the same.

Now I’m focusing on the “photo-diary from the other side”: it seems that the way from North Venice to North Korea could be short and fast. I have the unique opportunity to show life in the country when its doors are closing. The working titles of one of these projects are “Closing Time” (Tom Waits is one of my favorite artists) and “Stolen Country”. I am up to the project about the human soul in the war. Its working title - “Some special effects of war”. There are some unexpected things.

In my photo-art I feel more and more free (freedom is one of the key things for me). I let myself to do many more “wrong” things. I’m not trying to be a “good photographer” anymore. Instead, I am learning to be me in my art. I become more intimate, more open. I developed more trust in my viewers. When I play music, especially jamming, I’m doing it extremely “wrong”: playing crosswise the rhythm, playing solo above other solos, not strictly adhering to the key, experimenting a lot. I’m somewhere in between, on the verge. That’s my favorite place. My music is raw and rough. I've been playing music for more than 30 years. And now I let myself go like that in photography, in which I’m much “younger”.

The move to more parable photography changed my visual language. The parables and fairy tales could be as deep as you could make it.

I began to synthesize the images and the words much more. The texts to my photos became equally important parts of the one whole thing. I’m the poet after all. Though now I write poetry very rarely, my photography has become more poetic.

The war had sharpened all that because of my wish to help to hasten peace and to get back our stolen, robbed, doped and raped by the same maniac and his huge mafia-like structures motherland, Russia. You’re growing fast in times like these.

In the future I’d like to become a strolling photographer. It could be much easier to live from your art if you’re looking for it not just in your hometown, region or in Moscow and Petersburg as well, but all over the world. Especially when one likes to travel as I am.

When I started my war against the war, I understood that if I couldn’t make peace inside me then I was unlikely to be able to help to restore peace anywhere else. And that’s a tricky task for me. So, I’d rather like us to hate less, to judge more delicately, especially in such complicated things as nations and peoples. It is tempting to lose colors and shades in the way you see the world as well as in your art these days. As an artist, I could suspect that something is wrong with images that lose some colors and shades, become flat and dull, overexposed, or underexposed. The war discolors the world, that’s one of its properties. I just hope that in the post-war world colors and shades will return to us.

Peace!"

The great tit (Parus major) is a passerine bird in the tit family Paridae. It is a widespread and common species throughout Europe, the Middle East, Central and Northern Asia, and parts of North Africa where it is generally resident in any sort of woodland; most great tits do not migrate except in extremely harsh winters. Until 2005 this species was lumped with numerous other subspecies. DNA studies have shown these other subspecies to be distinctive from the great tit and these have now been separated as two distinct species, the cinereous tit of southern Asia, and the Japanese tit of East Asia. The great tit remains the most widespread species in the genus Parus.

The great tit is a distinctive bird with a black head and neck, prominent white cheeks, olive upperparts and yellow underparts, with some variation amongst the numerous subspecies. It is predominantly insectivorous in the summer, but will consume a wider range of food items in the winter months, including small hibernating bats. Like all tits it is a cavity nester, usually nesting in a hole in a tree. The female lays around 12 eggs and incubates them alone, although both parents raise the chicks. In most years the pair will raise two broods. The nests may be raided by woodpeckers, squirrels and weasels and infested with fleas, and adults may be hunted by sparrowhawks. The great tit has adapted well to human changes in the environment and is a common and familiar bird in urban parks and gardens.

The great tit is large for a tit at 12.5 to 14.0 cm (4.9–5.5 in) in length, and has a distinctive appearance that makes it easy to recognise. The nominate race P. major major has a bluish-black crown, black neck, throat, bib and head, and white cheeks and ear coverts. The breast is bright lemon-yellow and there is a broad black mid-line stripe running from the bib to vent. There is a dull white spot on the neck turning to greenish yellow on the upper nape. The rest of the nape and back are green tinged with olive. The wing-coverts are green, the rest of the wing is bluish-grey with a white-wing-bar. The tail is bluish grey with white outer tips. The plumage of the female is similar to that of the male except that the colours are overall duller; the bib is less intensely black,[9] as is the line running down the belly, which is also narrower and sometimes broken. Young birds are like the female, except that they have dull olive-brown napes and necks, greyish rumps, and greyer tails, with less defined white tips.

Great tit with strongly yellow sides perched on twig

The plumage of the male is typically bright, although this varies by subspecies.

There is some variation in the subspecies. P. m. newtoni is like the nominate race but has a slightly longer bill, the mantle is slightly deeper green, there is less white on the tail tips, and the ventral mid-line stripe is broader on the belly. P. m. corsus also resembles the nominate form but has duller upperparts, less white in the tail and less yellow in the nape. P. m. mallorcae is like the nominate subspecies, but has a larger bill, greyer-blue upperparts and slightly paler underparts. P. m. ecki is like P. m. mallorcae except with bluer upperparts and paler underparts. P. m. excelsus is similar to the nominate race but has much brighter green upperparts, bright yellow underparts and no (or very little) white on the tail. P. m. aphrodite has darker, more olive-grey upperparts, and the underparts are more yellow to pale cream. P. m. niethammeri is similar to P. m. aphrodite but the upperparts are duller and less green, and the underparts are pale yellow. P. m. terrasanctae resembles the previous two subspecies but has slightly paler upperparts. P. m. blandfordi is like the nominate but with a greyer mantle and scapulars and pale yellow underparts, and P. m. karelini is intermediate between the nominate and P. m. blandfordi, and lacks white on the tail. The plumage of P. m. bokharensis is much greyer, pale creamy white to washed out grey underparts, a larger white cheep patch, a grey tail, wings, back and nape. It is also slightly smaller, with a smaller bill but longer tail. The situation is similar for the two related subspecies in the Turkestan tit group. P. m. turkestanicus is like P. m. bokharensis but with a larger bill and darker upperparts. P. m. ferghanensis is like P. m. bokharensis but with a smaller bill, darker grey on the flanks and a more yellow wash on the juvenile birds.

The colour of the male bird's breast has been shown to correlate with stronger sperm, and is one way that the male demonstrates his reproductive superiority to females. Higher levels of carotenoid increase the intensity of the yellow of the breast its colour, and also enable the sperm to better withstand the onslaught of free radicals. Carotenoids cannot be synthesized by the bird and have to be obtained from food, so a bright colour in a male demonstrates his ability to obtain good nutrition. The width of the male's ventral stripe, which varies with individual, is selected for by females, with higher quality females apparently selecting males with wider stripes.

Taken with NIKKOR S.C Auto 50mm f!.4. Synthesized from three RAW files on Photomatix Pro 5.

The world's first interchangeable lens with lenses made of fluorite Canon FL-F300mm f/5.6 has turned 50 years old — it was first put on sale in 1969. Synthetic fluorite is used not only in Canon camera lenses, but also in other company products, including lenses for broadcast cameras and telescopes.

⠀

Lenses made of fluorite - crystals of calcium fluoride (CaF2) - in combination with lenses made of optical glass help to almost completely eliminate chromatic aberrations. However, natural fluorite crystals are too small to be used in photo lenses. Canon was the first company to use the special properties of fluorite when creating a lens with which you can get bright images with accurate color reproduction. In August 1966, the Canon F Plan program was launched, aimed at developing a high-quality lens with optical elements made of fluorite.

⠀

Despite this, in an effort to develop a high-quality lens, Canon specialists successfully synthesized the first fluorite crystals in an electric furnace in March 1967, and in February 1968, the technology of mass production of synthetic fluorite crystals was introduced. At that time, fluorite could not be polished like ordinary optical glass. Therefore, Canon developed an alternative machining technology for polishing brittle material, which, however, took four times longer than the usual one. In May 1969, the first interchangeable Canon lens with lenses made of synthetic fluorite, FL-F300mm f/5.6, was released. Since then, elements made of this material have become an integral part of high-quality Canon lenses.

Оптическ

Optical elements made of fluorite significantly improve the characteristics of super-telephoto lenses, which are highly affected by the secondary spectrum due to their large focal length.

⠀

And what kind of camera do you use?

⠀

#sportsphotography #sportsphotography #fotomsk #businessphotograph #instamood #nikond800

From 4,000 feet over Rutherford County, NC.

Synthesized IRY-->RGB cross-sampled image from a single exposure. Converted camera, Asahi 35mm lens, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.

Bi-Colour, Ha - Red, OIII - Blue and synthesized Green using Noels Astro Tools.

C9.25 with f/6.3 FR, Atik 460EXM camera with 35nm Baader Ha filter and Baader OIII.

10 x Ha 1x1

9 x OIII 1x1

In 1991 the first image was taken of the halo surrounding M27. In 1992 a scientific paper was published describing this outer shell.

www.astro-photo.nl/publication/discovery-paper-halo-m27/w...

Information credit - Cloudy Nights forum.

Florida USA

Naples

Backyard

This zebra longwing was also photographed in my butterfly habitat in my backyard.

From Wikipedia - The Zebra Longwing or Zebra Heliconian (Heliconius charithonia) is a species of butterfly belonging to the subfamily Heliconiinae of the Nymphalidae. The boldly striped black and white wing pattern is aposematic, warning off predators.

The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months.

Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators. Caterpillars feed on various species of Passionflower, evading the plants' defensive trichomes by biting them off or laying silk mats over them.

I’m posting 25 variations on the theme of “industrial warehouses”, as generated in different styles by the AI text-to-image program “Midjourney”. Midjourney uses state-of-art artificial intelligence models to synthesize images based on text prompts. Given where this technology is now, it will be even more amazing 3-5 years from now. To see how different words regarding style or artist or designer influenced the generated image, I selected a single theme. I’m a supply chain guy, so warehouses seemed an intriguing choice. In this image, style = "Robert Mapplethorpe".

The Italianate style of architecture was a distinct 19th-century phase in the history of Classical architecture. In the Italianate style, the models and architectural vocabulary of 16th-century Italian Renaissance architecture, which had served as inspiration for both Palladianism and Neoclassicism, were synthesized with picturesque aesthetics. The style of architecture that was thus created, though also characterized as "Neo-Renaissance", was essentially of its own time.

NRHP

Vivacious Trees.

Konstruktive Extravaganzen klassische Einflüsse brutale Elemente mysteriöse Empfindungen befreien Phantasie expressionistische Improvisationen,

טראַנספּאָסינג ליריסיסם ס געמעל ופגעקאָכט חיבורים שטרענג פּויעריש טאָנעס באַטאָנען עקסאַקיושאַנז האַסטיק פֿאַרבן ירעגיאַלער געוויסנדיק כיוז,

vasingadzoreki impasto kukuru kanganisika nemasango zviratidzo emergent hunhu synthesized Kurohwa kujairika nevakwegura, unhu kwasharara kudanana kupenga,

Бързо изпълнение метални конволи стимулираща техника бразди пигменти красиви показания изследване на територии художествено смущаващи бързина,

exaggerating ideya kawalang-muwang pagiging malikhain katapangan tanawin dynamic utak ragged layunin textures malakas na futurista kritiko nakatagong mga landas,

ealain realm dhian fuamhairean inntinneach canabhas mothachail assimilations adhartach anatomical feachdan dùbailte Illusions volumic eòlasan,

難しい猛烈な緑の漆のハーモニー強調的な芸術恍惚な詩の印象的なリズム矛盾する極端な筆跡の激しい感情感情的な現代思考.

Steve.D.Hammond.

location : Tofuku-ji Komyo-in temple ,Kyoto city,Kyoto prefecture,Japan

Hashin-tei garden 波心庭　

created by Mirei SHIGEMORI重森三玲

location : Tofuku-ji Komyo-in temple ,Kyoto city,Kyoto prefecture,Japan

This temple was founded by Kinzan Myosho in 1391 and the garden was designed by modern landscape architect Mirei Shigemori in 1939 and called "the garden of Hashin"

The significant feature of the garden is its strong stone foundation and modern style allotment of land by moss ,especially the placement of stones attracts attention and has some meanings

We can see the triad stone arrangement at the rear of the garden ,in which the central stone symbolizes Buddhist Mount Meru,

It is so- called "Sanzon-seki "三尊石 in Japanese and in this case selectively placed on artificial moss hill and regarded as a kind of the light source from which the lights are radiating.

And the other stones represent the radiated lights itself from the Sanzon-seki stones.

So in other words ,the garden depicts the lights source and lights beams by using 75 stones, that is based on the Buddhist thought and connected with the name of the temple "Komyo" 光明[Kou or Ko 光 means the lights ,Myo 明 means bright.

Thank you for your interest and seeing my photo.

--------------------------------------------------------------------------------

Mirei Shigemori (重森三玲 Shigemori Mirei, 1896–1975) was a notable modern Japanese landscape architect and historian of Japanese gardens.

Mirei Shigemori was a garden designer who actively participated in many areas of Japanese art and design. Shigemori was born in Kayō, Jōbō District, Okayama Prefecture, and in his youth was exposed to lessons in traditional tea ceremony and flower arrangement, as well as landscape ink and wash painting. In 1917, he entered the Tokyo Fine Arts School to study nihonga, or Japanese painting, and later completed a graduate degree from the Department of Research. In the early 1920s, he tried extensively to found a school of Japanese Culture, Bunka Daigakuin to synthesize the teaching of culture, but was foiled by the 1923 Great Kantō earthquake, which forced him to move back to his hometown near Kyoto.

He also intended to create a new style of ikebana,or flower arrangement, and produced art criticism and history writings, including the Complete Works of Japanese Flower Arrangement Art published in 1930, and the New Ikebana Declaration written with Sofu Teshigahara and Bunpo Nakayama in 1933. Throughout his later gardening career, he maintained a voice in avant garde criticism of ikebana through publishing Ikebana Geijutsu magazine beginning in 1950, and through the founding of an ikebana study group called Byakutosha in 1949.

At the same time, he cultivated an interest and knowledge in traditional Japanese gardens. He co-founded the Kyoto Rinsen Kyokai with others in 1932. After the destruction caused by the Muroto typhoon in 1934, he began a survey of significant gardens in Japan. In 1938, he finished publishing the 26-volume Illustrated Book on the History of the Japanese Garden, an unprecedented and meticulous documentation of major gardens in the country which he revised in 1971, shortly before his death.

He began practicing as a garden designer in 1914 with a garden and tea room on his family’s property. His first major work was a design for the garden at Tofuku-ji Temple in 1939. He designed 240 gardens, and worked mostly in karesansui, or dry landscape gardens. Many of his gardens are on existing religious sites, but a few of his works are in cultural or commercial settings. He also collaborated with Isamu Noguchi in choosing stones for the UNESCO Garden in Paris.

- wikipedia

Canon EOS M5/EF-M22mm f/2 STM/ƒ/4.0 22.0 mm 1/60sec ISO400 / all manual

View On Black View My Recent

Luciti

In Onexposure

It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.

The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.

In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.

From 8,000 feet over Burke County, NC.

Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, #12 filter. Worked up in Pixelbender and Photoshop.

Strobist info: Crap, I forgot the power, but AB800 to subjects 2 o clock bouncing off the floor. 580ex speedlight bouncing of back of subjects head. POS monolight behind subject at at 2 o clock bouncing off seamless.

Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.

The Rosette Nebula is at the edge of a large molecular cloud in Monoceros, some 5,000 light years away. The central cavity in the Rosette Nebula, cataloged as NGC 2237, is about 50 light-years in diameter.

Details

M: HEQ5

T: Pentax 75SDHF and 0.7x Optec NexGen reducer

C: Atik 460EX mono with Baader 7nm filter

15x1200s Ha

25x300s R + flats and bias

27x300s B + flats and bias

Synthesized green channel

Greenville County, SC.

Synthesized IRG-->RGB image from a single exposure. Full-spectrum camera, Tiffen #12 filter. Worked up in Wavelength Pro and Photoshop.

Fifteen orbits of the recently launched Suomi NPP satellite provided the VIIRS instrument enough time (and longitude) to gather the pixels for this synthesized view of Earth showing the Arctic, Europe, and Asia.

Credit: NASA/GSFC/Suomi NPP

Click here to view the western hemisphere Blue Marble 2012 from Suomi NPP: www.flickr.com/photos/gsfc/6760135001

About Suomi NPP - Over the last decade NASA launched a series of satellites that offer an unparalleled view of Earth from space. That series, known collectively as NASA's Earth Observing System (EOS), has provided striking new insights into many aspects of Earth, including its clouds, oceans, vegetation, ice, and atmosphere. However, as the EOS satellites age, a new generation of Earth-observing satellites are poised to take over.

The Suomi National Polar-orbiting Partnership represents a critical first step in building this next-generation satellite system. Suomi NPP orbits the Earth about 14 times each day and observes nearly the entire surface. The NPP satellite continues key data records that are critical for climate change science. Read more here: npp.gsfc.nasa.gov/

NASA image use policy.

NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.

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Realizada con 5 tomas NEF

Procesadas en Bridge y Photoshop CS4 con Photomerge para minimizar el ruido previsto dada la obscuridad del recinto

Ajuste final en PS4

View On Black View My Recent

Luciti

In Onexposure

It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.

The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.

In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.

Taken with a "NIKKOR S.C Auto 50mm f1.4" In the Minoh Park, Osaka. Synthesized from three auto-bracketed RAW files with Photomatix Pro 5.

Graffiti on I-25 Albuquerque NM.

© 2022 2025 Photo by Lloyd Thrap Photography for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Storia del Capitano Shackleton.... la sintetizza in forma poetica Franco Battiato:

Una catastrofe psicocosmica

mi sbatte contro le mura del tempo.

Sentinella, che vedi?

Una catastrofe psicocosmica

contro le mura del tempo.

Durante la grande guerra nel Gennaio del 1915,

un forte vento spingeva grandi blocchi di ghiaccio galleggianti

imprigionando per sempre la nave dell'audace capitano Shakleton.

Su un piccolo battello, con due soli compagni,

navigò fino a raggiungere la Georgia Australe;

mentre i 22 superstiti dell'isola Elefante

sopportavano un tremendo inverno.

(Deriva, deriva, verso nord, nord-ovest.

Profondità 370 metri 72° di latitudine est).

Per sopravvivere furono costretti a uccidere i loro cani,

per sopravvivere.

Ma il 30 Agosto 1916, il leggendario capitano,

compariva a salvarli con un'altra nave.

ADRIFT

Shackleton story of Captain .... synthesizes it in a poetic Franco Battiato:

Disaster psicocosmica

it is banging against the walls of time.

Watchman, you see?

Disaster psicocosmica

against the walls of time.

During the Great War in January 1915,

a strong wind pushed large blocks of floating ice

imprisoning forever of audacious ship captain Shakleton.

On a small boat, with two companions,

Navigate to the Georgia Southern;

while the 22 survivors Elephant Island

endured a terrible winter.

(ADRIFT, ADRIFT, north, north-west.

Depth of 370 meters of latitude 72 ° east).

To survive they were forced to kill their dogs,

to survive.

But August 30, 1916, the legendary captain

appeared to save them with another ship.

Figure with the ship I copied from here:

images.google.it / imgres? www.pem.org/writabl imgurl = ...

La figura con la nave l'ho copiata da qui:

images.google.it/imgres?imgurl=http://www.pem.org/writabl...

Did anybody ever manage to find the original source where Toffler synthesizes these ideas for his famous quote...? "The illiterate of the 21st Century will not be those who cannot read or write, but those who cannot learn, unlearn and relearn."

Henderson County, NC.

Synthesized IRG-->RGB image from a single exposure. Full-spectrum camera, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.

Realizada con 5 tomas NEF

Procesadas en Bridge y Photoshop CS4 para obtener el fichero Radiance

Procesado el fichero Radiance en Photomatix Pro 3

Ajuste final en PS4

View On Black View My Recent

Luciti

In Onexposure

It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.

The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.

In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.

Synthesized IRY-->RGB image from a single exposure. Converted camera, Kuribayashi 35mm lens, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.

OLYMPUS DIGITAL CAMERA

Interesting times in Santa Fe Circa 2008

© 2020

Lloyd-Thrap-Creative-Photography

© 2020 Lloyd Thrap Photography for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Synthesized from 9 RAW photos taken in the auto-bracketing mode.

The great tit (Parus major) is a passerine bird in the tit family Paridae. It is a widespread and common species throughout Europe, the Middle East, Central and Northern Asia, and parts of North Africa where it is generally resident in any sort of woodland; most great tits do not migrate except in extremely harsh winters. Until 2005 this species was lumped with numerous other subspecies. DNA studies have shown these other subspecies to be distinctive from the great tit and these have now been separated as two distinct species, the cinereous tit of southern Asia, and the Japanese tit of East Asia. The great tit remains the most widespread species in the genus Parus.

The great tit is a distinctive bird with a black head and neck, prominent white cheeks, olive upperparts and yellow underparts, with some variation amongst the numerous subspecies. It is predominantly insectivorous in the summer, but will consume a wider range of food items in the winter months, including small hibernating bats. Like all tits it is a cavity nester, usually nesting in a hole in a tree. The female lays around 12 eggs and incubates them alone, although both parents raise the chicks. In most years the pair will raise two broods. The nests may be raided by woodpeckers, squirrels and weasels and infested with fleas, and adults may be hunted by sparrowhawks. The great tit has adapted well to human changes in the environment and is a common and familiar bird in urban parks and gardens.

The great tit is large for a tit at 12.5 to 14.0 cm (4.9–5.5 in) in length, and has a distinctive appearance that makes it easy to recognise. The nominate race P. major major has a bluish-black crown, black neck, throat, bib and head, and white cheeks and ear coverts. The breast is bright lemon-yellow and there is a broad black mid-line stripe running from the bib to vent. There is a dull white spot on the neck turning to greenish yellow on the upper nape. The rest of the nape and back are green tinged with olive. The wing-coverts are green, the rest of the wing is bluish-grey with a white-wing-bar. The tail is bluish grey with white outer tips. The plumage of the female is similar to that of the male except that the colours are overall duller; the bib is less intensely black,[9] as is the line running down the belly, which is also narrower and sometimes broken. Young birds are like the female, except that they have dull olive-brown napes and necks, greyish rumps, and greyer tails, with less defined white tips.

Great tit with strongly yellow sides perched on twig

The plumage of the male is typically bright, although this varies by subspecies.

There is some variation in the subspecies. P. m. newtoni is like the nominate race but has a slightly longer bill, the mantle is slightly deeper green, there is less white on the tail tips, and the ventral mid-line stripe is broader on the belly. P. m. corsus also resembles the nominate form but has duller upperparts, less white in the tail and less yellow in the nape. P. m. mallorcae is like the nominate subspecies, but has a larger bill, greyer-blue upperparts and slightly paler underparts. P. m. ecki is like P. m. mallorcae except with bluer upperparts and paler underparts. P. m. excelsus is similar to the nominate race but has much brighter green upperparts, bright yellow underparts and no (or very little) white on the tail. P. m. aphrodite has darker, more olive-grey upperparts, and the underparts are more yellow to pale cream. P. m. niethammeri is similar to P. m. aphrodite but the upperparts are duller and less green, and the underparts are pale yellow. P. m. terrasanctae resembles the previous two subspecies but has slightly paler upperparts. P. m. blandfordi is like the nominate but with a greyer mantle and scapulars and pale yellow underparts, and P. m. karelini is intermediate between the nominate and P. m. blandfordi, and lacks white on the tail. The plumage of P. m. bokharensis is much greyer, pale creamy white to washed out grey underparts, a larger white cheep patch, a grey tail, wings, back and nape. It is also slightly smaller, with a smaller bill but longer tail. The situation is similar for the two related subspecies in the Turkestan tit group. P. m. turkestanicus is like P. m. bokharensis but with a larger bill and darker upperparts. P. m. ferghanensis is like P. m. bokharensis but with a smaller bill, darker grey on the flanks and a more yellow wash on the juvenile birds.

The colour of the male bird's breast has been shown to correlate with stronger sperm, and is one way that the male demonstrates his reproductive superiority to females. Higher levels of carotenoid increase the intensity of the yellow of the breast its colour, and also enable the sperm to better withstand the onslaught of free radicals. Carotenoids cannot be synthesized by the bird and have to be obtained from food, so a bright colour in a male demonstrates his ability to obtain good nutrition. The width of the male's ventral stripe, which varies with individual, is selected for by females, with higher quality females apparently selecting males with wider stripes.

“Alright, listen up out there, because I’ve got a story for you. This afternoon, in our very own Hub City, a thirty-foot robot went rampaging down forty-second street. And not just any robot, mind you, but one with a Lexcorp logo stamped on it. “But Vic!” you cry, snug in your armchairs, disbelief on your lips; “Lex Luthor was a bona-fide hero for a time, and then he just disappeared! This couldn’t possibly be his work!” Well, to that I say; you may be right, But I think there’s something else going on. Who’s to say that Lex Luthor isn’t planning something bigger? That this was just a distraction to keep the likes of Big Blue occupied?

Well, if it was, I’m sure ole Lex was upset that the Man of Steel couldn’t even be bothered to show up to his robotic weenie-roast. Instead, we got the newly synthesized, child-friendly and government sanctioned Task Force X, or as they sometimes refer to themselves sardonically as "The Suicide Squad", a team who’s been proving their mettle pretty considerably lately. With surprisingly little effort and some controlled EMP blasts, our merry military band brought down that robot in just a matter of hours.

Now, what I wanna know is, are these guys just franchising the name Suicide Squad, from the now infamous band of ex-super-criminals the government was parading around? Or is there a deeper connection? Sure, their official title is Task Force X, but who’s to say that wasn’t the official title of the original Suicide Squad as well? I think there’s something deeper afoot here. Could the devious and despicable criminal Squad still be out there, running disastrous missions while this flashy and competent Squad provides cover for journalists like myself, and lull us all into a sense of false security? I’m sure you, dear watchers, would like to know as much as I do.

Well that’s all for tonight folks. Tune in tomorrow night as we dig into the mystery of why one cheesy, mostly-forgotten show from the 60’s played on every television screen in the world for eleven solid hours.

Stay safe out there viewers, and keep asking Questions.”

--Excerpt from Black and White World, hosted by Vic Sage, from September 30th, 2018

The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.

It was built from 1609 to 1616, during the rule of Ahmed I. Its Külliye contains a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.

The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.

The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque, except for the addition of the turrets on the corner domes. The court is about as large as the mosque itself and is surrounded by a continuous vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is small relative to the courtyard. The monumental but narrow gateway to the courtyard stands out architecturally from the arcade. Its semi-dome has a fine stalactite structure, crowned by a small ribbed dome on a tall tholobate.

A heavy iron chain hangs in the upper part of the court entrance on the western side. Only the sultan was allowed to enter the court of the mosque on horseback. The chain was put there, so that the sultan had to lower his head every time he entered the court to avoid being hit. This was a symbolic gesture, to ensure the humility of the ruler in the face of the divine.

The reason the architect built six minarets, hereby matching the number of minarets of the Masjid al-Haram, Grand Mosque in Mecca, is probably a misunderstanding: the Sultan directed his architect to make gold (Turkish word: altin) minarets, it was misunderstood by the architect as six (Turkish word: alti) minarets.

The six minarets were a matter of contention and a first, since four minarets were the common maximum. Only after one more minaret was added to the Grand Mosque in Mecca, was the six minarets-issue settled.

Veure / See / Ver / Voir: anyllull.cat/en/

Ramon Llull worked for a better world or, at least, for a better sense of life of the Mediterranean countries. Ramon Llull (about 1239 to 1316) was born in Majorca. He lived in a peaceful society in which moslems, jews and christians was realted and lived together.

The base of his missionary impulse was to deepen with people from other cultures and religions.

He was the precursor of ecumenism, the peaceful coexistence among religions, and he suggested reason, understood as universal and common to the humankind, as a method to convince others of the goodness of their own faith. In his books he synthesizes a Christian speech with Muslim elements (such as Al-Ghazali’s application of logic) and Hebrews (such as the use of letters for the representation of ideas, typical of the Kabala). For the Christianism of that era, his thinking, always free and independent, collects elements from the Dominican (rational tendencies) and the Franciscan (spirituality) schools.

Ramon Llull loved and believed in Christ. That’s why he had conversations with others who did not think or believe like him, offering the best of himself.

In the picture, a Illuminated manuscript, we see him discussing with a doctor of Islam because he wanted to convince jews and muslims with WORDS, in PEACE.

CATALÀ

A l'esquerra figura la bandera de Gènova dalt de la torre, que veu salpar el filòsof en vaixell l'any 1293 amb 61 anys. A la dreta, arribat a Tunis, Ramon Rull discuteix amb els doctors de l'islam, entre la torre coronada amb la bandera del país i la torre amb la bandera quatribarrada que simbolitza les instal.lacions comercials i residencials que tenien els catalans. Miniatura VIII del llibre que ens ocupa. Aquesta miniatura com les altres que figuren en el llibre són un encàrrec del deixeble Thomas Le Myésier, que "féu la primera síntesi lul.lista de tota l'obra lul.liana en l'Electorium magnum, incloent-hi sencera la Vida coetània en llatí, i en l'enomenat Electorium paruum seu Breuiculum, on encarregà dotze miniatures de gran valor artístic i documental sobre la vida de Ramon Llull que apareixen en aquest llibre (veure pàgines centrals en color)." L'esmentat Thomas Le Myésier va morir el 1336.

ENGLISH

On the left, a top the tower, appears the flag of Genoa which shows the philosopher on a sail boat in 1293 with 61 years. On the right, reached Tunis, Ramon Rull discussing with the doctors of Islam, between the tower crowned with the flag of the country and the tower with the four red stripes flag that symbolizes residential and commercial facilities that had the Catalans. This Illuminated Manuscript numbr VIII is part of a book commissioned by the disciple Thomas Le Myésier that "made the first lullist synthesis of the work in Electorium magnum, including whole the life in contemporary Latin, and the enomenat Electorium paruum his Breuiculum where twelve miniatures commissioned by great artistic and documentary about the life of Ramon Llull.

ESPAÑOL

A la izquierda, en lo alto de la torre, figura la bandera de Génova, en que se ve zarpar al filósofo en el año 1293 con 61 años. A la derecha, llegado a Túnez, Ramon Rull discute con los doctores del islam, entre la torre coronada con la bandera del país y la torre con la bandera cuatribarrada que simboliza las instalaciones comerciales y residenciales que tenían los catalanes. Miniatura VIII que -como otras- figuran en el libro por encargo del discípulo Thomas Le Myésier, que "hizo la primera síntesis lulista de toda la obra luliana en el Electorium magnum, incluyendo entera la Vida coetánea en latin, y en el enomenat Electorium paruum su Breuiculum, donde encargó doce miniaturas de gran valor artístico y documental sobre la vida de Ramón Llull que aparecen en dicho este libro.

Carl Sandburg NHS, Henderson County, NC.

Synthesized IRY-->RGB image from a single exposure. Converted camera, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.

Anno 1909, one of masterpieces of architect Eižens Laube.

Elements of National Romanticism and vertical Art Nouveau style are synthesized in the building's peculiar architectural and artistic image.

Model: Minervana .

MUA: Jennifer Clark.

a model shop studio joint.

featured on adidap.com

© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group, a modelshopstudio™ joint.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

"I've finished synthesizing the Doomsday enzymes," Luxottica's 'pet' scientist announces.

"Excellent..."

"Now, about that generous reward you promised..."

"Oh yes, Luxottica smiles coldly, "a most generous one indeed... I will let you die quickly while the rest of humankind dies painfully and slowly!"

Though actually Luxottica lied a little... it wasn't that quick, after all, that wouldn't have been as enjoyable!

© 2018 2023 Photo by Lloyd Thrap Photography

for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Facebook Lloyd-Thrap-Creative-Photography

Albuquerque photographers. Artist and good guy. DIGITAL CAMERA

Gazing into the flames to see the ashes, there is a pair of illuminated eyes. This pair partners my crimson, ashen face, all distraught and bloody and broken. I tell myself I'm okay, at least for now. But then falling around me are plumes of smoke and ashes and a sting encapsulating my lungs. It is a fire in my veins like I've never felt before. Pleading with the darkness, I feel myself slipping into the light of the fire and no longer I am afraid of disappearing, rather now I fear I shall be consumed.

Still I walk to you as a man incandescently branded underneath his skin, and I am searing yet soaring to feel your love.

---

Facebook | Tumblr | Formspring | Twitter | Model Mayhem | Journal | Instagram: @ EvanBlaiseWalsh

Still selling prints on my Facebook Page!

Also check out my new journal! It's on my tumblr but if you click the link above you can look at the tag and see everything. I'm trying to focus on writing this year a lot more and synthesize my writing with my photography. It's been really creating some good inspiration for me in my head so I think I'm sticking with it. Let me know if you have anything you want me to write about!

This time i'd like to present you a totaly different picture. It centers around the topic "Chemistry in our environment". Everyone today is surrounded by chemistry all the time. Most tools we use are out of products synthesized by chemists. But chemistry is much more: in animals, plants and - of course - humans, a huge variety of chemical processes is going on. We are like a huge reaction vessel: By assimilating substances e.g. food, water or oxygen of the air, new products are formed, energy is released, etc.

This picture which, of course, doesn't show a real laboratory system, should stand for this processes going in our environment.

check out this shot on my blog: robertjmayer.wordpress.com/2011/08/18/chemistry-in-our-en...

Explored on 28th march

please View On Black

CHROMOPLAST

It should be noted that the term "chromoplast" is occasionally utilized to include any plastid that has pigment, mostly to emphasize the contrast with the various types of leucoplasts, which are those plastids that have no pigments. In this sense, chloroplasts are a specific type of chromoplast. Still, "chromoplast" is more often used to denote those plastids with pigments other than chlorophyll.

Model: Jaclyn. More from this New "Model Shop Studio" Model.

Location: Black Market Goods Gallery, Albuquerque, New Mexico.USA.

© 2010 2025

Photo by Lloyd Thrap Photography for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted, published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

Lloyd-Thrap-Creative-Photography

© All Rights Reserved

Taken in: United States / New Mexico / Albuquerque / Upper Nob Hill (show map)

Taken on: April 28, 2010

Tags: Everybody's photos tagged with Gas Mask Girls Gas Mask Girls Everybody's photos tagged with Black Market Goods Gallery Black Market Goods Gallery Everybody's photos tagged with Art Art more »

Sets appears in: • New BMG Set • Lloyd Thrap's Public Portfolio

Groups appears in: • Experimental Dream • ART DISTRICT more »

Camera: Olympus E-510, f/10.0, 1/100 sec, 15mm, ISO 100 (more info)

The boldly striped black and white wing pattern is aposematic, warning off predators.

The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months.

Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators.

Location: Vlindorado, Netherlands.

Argentina, Buenos Aires: views from plaza San MCABA - Ciudad Autonoma de Buenos Aires

Is it possible to synthesize the soul of a city through photographs of its buildings? The work of Michele Molinari heads in that direction, overlooking the Buenos Aires of historic monuments and focusing on the common dwellings that stud the skyline of the porteña city. They are boundary lines by day and by night, suburban intersections trying to spur on the vertical expansion of the city. Molinari’s interesting experiment is to go back to the same places after a period of time to crystalize the changes and witness the immanence of certain corners of the urban fabric. – A. Trabucco

How emotional it is to admire Buenos Aires at dusk. The passers-by are hurrying along the sidewalks and distractedly look at the camera lens. With curious or perplexed glances. […] The essence of the obscurity is easier to enjoy in the quieter neighborhoods. […] The sense of calm even appears to reach the historic center in one of the few photos of monumental Buenos Aires included in the book. The circle closes. Every splintered scrap of the urban fabric is recomposed under the protective wing of the night. – A. Mauri

CABA - Ciudad Autonoma de Buenos Aires is a photobook. Photographs and essay by Michele Molinari, more essays by Andrea Mauri and Alessandro Trabucco. [essays are in English, Spanish and Italian]

CABA comes in 2 printed editions by Blurb, Pocket Edition [7x7in, 18x18cm, 132 pages, Standard Photo paper, Flexible High-Gloss Laminated cover, 106 color photos] and Deluxe Edition [8x10in, 20x25cm, 134 pages, ProLine Pearl Photo paper, Hardcover with Dust Jacket, 107 color photos], and one Digital Edition by Apple iBooks that features 107 + 7 bonus color photos.

CABA won Bronze Award at TIFA2020 Book/Documentary

Find it here: michelemolinari.info/2020/07/25/caba/