View allAll Photos Tagged synthesizing
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.
Henderson County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Full-spectrum camera, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.
I am not accustomed to this filter and was thus somewhat unsure what palette to shoot for. What you see is a guess.
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.
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.
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.
Lloyd-Thrap-Creative-Photography
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.
"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
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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.
I pace a burning wood and prevent myself from falling away, reminding myself that the dead are dead and that I will not rise again if I succumb to the conflagration. Fusillades from blazing branches drop, my heart and my head are pounding but my walk is strong. I walk boldly into the fire, with the knowledge that a burn is just a burn, and that all things heal, and that time will pass and I shall appear just the same in no time at all.
But as I feel the life sprinting from my limbs it dawns on me that even when these old wounds heal over and you no longer can tell, I still am encumbered by the memory of their power. My clothes are still burnt, my feet are still calloused, my heart is still leaping, for once I walk through the flames I am forever branded on the inside, forever marked with the hatred that lies in these scars.
I gave it all to you, my love, my patience, my hate, my anger, my desire, my blood, my sweat, my counsel, my courage. It was loving you that cast me into these peregrine woods--yet still to you I march, with the passion of a million sunrises burning. For you I will bear the inferno, for you I embark on the great journey, for my life is fleeting and yet you are the sky, ever stalwart and constant and truer than anything I have ever known. I stand resilient; I am broken, torn and charred.
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
Chromoplasts are plastids responsible for pigment synthesis and storage. They, like all other plastids (including chloroplasts and leucoplasts), are organelles found in specific photosynthetic eukaryotic species.
Chromoplasts in the traditional sense are found in coloured organs of plants such as fruit and floral petals, to which they give their distinctive colors. This is always associated with a massive increase in the accumulation of carotenoid pigments. The conversion of chloroplasts to chromoplasts in ripening tomato fruit is a classic example.
Chromoplasts synthesize and store pigments such as orange carotene, yellow xanthophylls and various other red pigments; as such, their color varies depending on what pigment they contain. The probable main evolutionary role of chromoplasts is to act as an attractant for pollinating animals (e.g. insects) or for seed dispersal via the eating of colored fruits. They allow the accumulation of large quantities of water-insoluble compounds in otherwise watery parts of plants. In chloroplasts, some carotenoids are also used as accessory pigments in photosynthesis, where they act to increase the efficiency of chlorophyll in harvesting light energy. When leaves change color in autumn, it is due to the loss of green chlorophyll unmasking these carotenoids that are already present in the leaf. In this case, relatively little new carotenoids are produced. Therefore, the change in plastid pigments associated with leaf senescence is somewhat different from the active conversion to chromoplasts observed in fruit and flowers.
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/
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.
Park County, WY.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
Himeji.
Synthesized IRG-->RGB image from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
Park County, WY.
Synthesized IRG-->RGB cross-sampled exposure from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
© 2018 2019 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
A showstopping shrub that transforms any space into a tropical getaway, angel's trumpet boasts huge, pendulous blooms that perfume the air in the evening. With its unique trumpet-shape flowers and quick-growing nature, this exotic beauty offers a multitude of reasons to give it a try in your own garden, although like many ornamental plants, all parts of Brugmansia can be toxic. All 7 species are listed as Extinct in the Wild by the IUCN Red List.
In modern medicine, important alkaloids such as scopolamine, hyoscyamine, and atropine, found in Brugmansia and other related members of Solanaceae, have proven medical value for their spasmolytic, anti-asthmatic, anticholinergic, narcotic and anesthetic properties, although many of these alkaloids, or their equivalents, are now artificially synthesized
Brugmansia 'Fruit Salad' is a lovely mix of colors: blush pink, bright yellows, peach and corals. It is truly an unusual angel.
Note: for a better understanding of Damian Wayne in the DCSG I suggest you go read Supremedalekdunn’s Batman: Knight of Gotham #48-59 (this issue will be a synthesized version of KoG #59 from Robin’s perspective). Or if you just want to read something amazing, because that entire volume is really something special.
Tim noticed that the Batcave felt colder than usual. Perhaps it was the fact that Bruce Wayne’s child, whom he did not know he had, was occupying the containment cell. Or perhaps, it was the way Bruce said,
“Ra’s will come for the boy.” Alfred had placed Damian Wayne’s Crimson Knight suit inside of a display case, which he, Tim, and Bruce now stared at.
“We can beat him Bruce. We might be outnumbered. We might even be outgunned. But when has that ever stopped us?” Tim was reaching. In truth, the League of Assassins had always terrified him. Sparring with Bruce was a challenge enough, but to fight dozens of his former peers always sounded like a challenge too great for himself. Not to mention fighting the Demon’s Head himself, Ra’s al Ghul.
“It hasn’t.” Alfred replied on Bruce’s behalf, as the latter stared deeply into the eyes of the Crimson Knight suit.
“We’ll do it how we always do Bruce. Together.” Tim’s words seemed to snap Bruce out of his trance, as the Batman replied,
“Together.”
————————————————————————————————
Bruce left the cave in the resulting minutes, leaving his cowl on a vacant terminal. Tim approached the terminal and slumped against it, sliding to the ground where he sat looking around the enormous cave surrounding him. He looked around the cave he had called home for the past several years before he heard a voice in his ear,
“Tim?” Panicking, Tim realized that he had left his earpiece in.
“Hey Steph.” He responded.
“What’s going on?” Thinking of which way to best sum up the story of Damian, Tim sarcastically answered,
“An insane, drugged-up version of Batman attacked our city and now an ancient order of ninjas are coming to destroy everything.”
“The League of Assassins?” Stephanie asked on the other line.
“How’d you know-?”
“Love conspiracies. Everyone’s got a hobby, right? I mean, I’ve got this new one now, and you’ve had yours for a while…” Stephanie went silent, then asked, “So how bad is it? I mean, there’ve only been rumors…”
“Think one hundred Batmans killing people and burning down buildings.”
“So, not that bad.” Stephanie’s sarcasm prompted a laugh from Tim who said,
“I’m glad you’re back Steph.” While Stephanie simply replied,
“Glad to be back.”
————————————————————————————————
End of Volume 2
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.
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.
Abstract Digital creation from photo.
© 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
Lloyd-Thrap-Creative-Photography
© All Rights Reserved
Photographed from a boat in the Pantanal, Brazil
Please click twice on the image to view at largest size.
For years prior to our trip to the Pantanal, my wife loved seeing capybaras in the zoo...so naturally, she hoped to see them in their native habitat. Consequently, on the first day of our excursion, she asked our excellent guide, Zappa, if we would see any capybaras during our trip. He replied very seriously that he would *try* to locate them but could make no promises because they were very shy and hard to spot. Well, of course, he was only kidding because we saw capybaras everywhere we went. This one looked very relaxed...but I'm sure was keeping alert for Jaguars or other predators which have a taste for capybaras.
Thanks your visits and comments!
===============
From Wikipedia: The capybara[note 1] or greater capybara (Hydrochoerus hydrochaeris) is a giant cavy rodent native to South America. It is the largest living rodent and a member of the genus Hydrochoerus. The only other extant member is the lesser capybara (Hydrochoerus isthmius). Its close relatives include guinea pigs and rock cavies, and it is more distantly related to the agouti, the chinchilla, and the nutria. The capybara inhabits savannas and dense forests, and lives near bodies of water. It is a highly social species and can be found in groups as large as 100 individuals, but usually live in groups of 10–20 individuals. The capybara is hunted for its meat and hide and also for grease from its thick fatty skin. It is not considered a threatened species.
Ecology:
Capybaras are semiaquatic mammals found throughout all countries of South America except Chile. They live in densely forested areas near bodies of water, such as lakes, rivers, swamps, ponds, and marshes, as well as flooded savannah and along rivers in the tropical rainforest. They are superb swimmers and can hold their breath underwater for up to five minutes at a time. Capybara have flourished in cattle ranches. They roam in home ranges averaging 10 hectares (25 acres) in high-density populations.
Many escapees from captivity can also be found in similar watery habitats around the world. Sightings are fairly common in Florida, although a breeding population has not yet been confirmed. In 2011, one specimen was spotted on the Central Coast of California. These escaped populations occur in areas where prehistoric capybaras inhabited; late Pleistocene capybaras inhabited Florida and Hydrochoerus hesperotiganites in California and Hydrochoerus gaylordi in Grenada, and feral capybaras in North America may actually fill the ecological niche of the Pleistocene species.
Diet and predation: Capybaras are herbivores, grazing mainly on grasses and aquatic plants, as well as fruit and tree bark. They are very selective feeders and feed on the leaves of one species and disregard other species surrounding it. They eat a greater variety of plants during the dry season, as fewer plants are available. While they eat grass during the wet season, they have to switch to more abundant reeds during the dry season. Plants that capybaras eat during the summer lose their nutritional value in the winter, so they are not consumed at that time. The capybara's jaw hinge is not perpendicular, so they chew food by grinding back-and-forth rather than side-to-side. Capybaras are autocoprophagous, meaning they eat their own feces as a source of bacterial gut flora, to help digest the cellulose in the grass that forms their normal diet, and to extract the maximum protein and vitamins from their food. They also regurgitate food to masticate again, similar to cud-chewing by cattle. As is the case with other rodents, the front teeth of capybaras grow continually to compensate for the constant wear from eating grasses; their cheek teeth also grow continuously.
Like its relative the guinea pig, the capybara does not have the capacity to synthesize vitamin C, and capybaras not supplemented with vitamin C in captivity have been reported to develop gum disease as a sign of scurvy.
They can have a lifespan of 8–10 years, but tend to live less than four years in the wild due to predation from jaguars, pumas, ocelots, eagles, and caimans. The capybara is also the preferred prey of the green anaconda.
4F3A3598fFlkr
Shot by Sony A7M4
Lens : Voigtlander 50mmf1.2 for sky
Sony 1635 GM For Mountain
synthesized by Photoshop
This Milwaukee night scene immediately reminded me of an old science fiction movie, Silent Running, in which a domed horticultural spaceship is loaded with the last of earth's plant life. But not to worry. Faced with nature gone extinct and the brink of humanity’s own destruction, mankind found its salvation in and a taste for everything synthetic– in the consistency and GMO-like dependability that synthetic plants provide over the natural. The greenhouse, with its now unnecessary cargo of chaotic nature, was ordered to be blown up. It instead ended up running silently amuck in space, with its human crew dead, thanks to one of the crew members.
Don't blame artificial intelligence that suddenly reached sentience. Don't blame cute little robots, although they are there too. Nope. This is a dystopian tale about man and his choices. It may also be about madness from long outings in space. In the theme of man versus nature, it projects the eventual outcome of man winning not just the battle but also the entire war. And in doing so, losing.
That was a movie from 1972, guys and gals. At the time the story's assumptions seemed preposterous and unfathomable to me. I mean, how can flowers, corn, and plants be replaced, augmented, or synthesized? Not any more.
(This is actually a night photograph of one of the biodomes at the Mitchell Park Horticulture Conservatory in Milwaukee, Wisconsin.)
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is one of several mosques known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. The Sultan Ahmed Mosque has become one of the greatest tourist attractions of Istanbul.
After the humiliating Peace of Zsitvatorok and the unfavourable result of the wars with Persia, Sultan Ahmed I decided to build a large mosque in Istanbul to placate Allah. This would be the first imperial mosque in more than forty years. Whereas his predecessors had paid for their mosques with their war booty, Sultan Ahmed I had to withdraw the funds from the treasury, because he had not won any notable victories. This provoked the anger of the ulema, the Muslim legal scholars.
The mosque was to be built on the site of the palace of the Byzantine emperors, facing the Hagia Sophia (at that time the most venerated mosque in Istanbul) and the hippodrome, a site of great symbolic significance. Large parts of the southern side of the mosque rest on the foundations, the vaults and the undercrofts of the Great Palace. Several palaces, already built on the same spot, had to be bought (at considerable price) and pulled down, especially the palace of Sokollu Mehmet Paşa, and large parts of the Sphendone (curved tribune with U-shaped structure of the hippodrome).
Construction of the mosque started in August 1609 when the sultan himself came to break the first sod. It was his intention that this would become the first mosque of his empire. He appointed his royal architect Sedefhar Mehmet Ağa, a pupil and senior assistant of the famous architect Sinan as the architect in charge of the construction. The organization of the work was described in meticulous detail in eight volumes, now in the library of the Topkapı Palace. The opening ceremonies were held in 1617 (although the gate of the mosque records 1616) and the sultan was able to pray in the royal box (hünkâr mahfil). But the building wasn't finished yet in this last year of his reign, as the last accounts were signed by his successor Mustafa I.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of Ottoman mosque development. It is the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour, but the interior lacks his creative thinking.
Mehmet Paşa used large quantities of materials for the construction, in particular stone and marble, draining away supplies for other important works. The layout of the mosque is irregular, as the architect had to take into account the existing constraints of the site. Its major façade, serving as the entrance, faces the hippodrome. The architect based his plan on the Ṣehzade Mosque (1543-1548) in Istanbul, the first major large-scale work of Sinan, with the same square-based symmetrical quatrefoil plan and a spacious forecourt. This prayer hall is topped by an ascending system of domes and semi-domes, each supported by three exedrae, culminating in the huge encompassing central dome, which is 23.5 meters in diameter and 43 meters high at its central point. The domes are supported by four massive piers that recall those of the Selimiye Mosque in Edirne, another masterpiece of Sinan. It is obvious that Mehmet Paşa was overcautious by taking this inflated margin of safety, damaging the elegant proportions of the dome by their oppressive size. These "elephant feet" consist of multiple convex marble grooves at their base, while the upper half is painted, separated from the base by an inscriptive band with gilded words. Seen from the court, the profile of the mosque becomes a smooth succession of domes and semi-domes. The overall effect of the exterior on the visitor is one of perfect visual harmony, leading the eye up to the peak of the central dome.
The façade of the spacious forecourt was built in the same manner as the façade 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, rather monotonous, vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is rather small in contrast with the dimensions of 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 rather small ribbed dome on a tall drum.
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 in order not to get hit. This was done as a symbolic gesture, to ensure the humility of the ruler in the face of the divine.
The Sultan Ahmed Mosque is one of the two mosques in Turkey that has six minarets, the other is in Adana. When the number of minarets was revealed, the Sultan was criticized for presumption, since this was, at the time, the same number as at the mosque of the Ka'aba in Mecca. He overcame this problem by paying for a seventh minaret at the Mecca mosque.
Four minarets stand at the corners of the mosque. Each of these fluted, pencil-shaped minarets has three balconies (ṣerefe) with stalactite corbels, while the two others at the end of the forecourt only have two balconies.
Until recently the muezzin or prayer-caller had to climb a narrow spiral staircase five times a day to announce the call to prayer. Today a public address system is used, and the call can be heard across the old part of the city, echoed by other mosques in the vicinity. Large crowds of both Turks and tourists gather at sunset in the park facing the mosque to hear the call to evening prayers, as the sun sets and the mosque is brilliantly illuminated by coloured floodlights.
Our visit to Museo de Arte Moderno continues in the outdoor sculpture garden. The garden has approximately 70 pieces.
10 of 15.
The garden features a collection of 20th and 21st-century sculptures by Mexican artists.
Juan Soriano’s bronze Pájaro de dos caras was made 1999-2000.
Juan Soriano is a self-taught artist who's work moves between figuration and abstraction, the met-aphorical and the fantastic.
In the 1990s, Soriano began to work with large-scale sculpture, synthesizing formal experimentations with painting and other mediums such
as drawing, tapestry, enamel, and serigraphy.
The sculpture entitled Pájaro de dos caras(Bird with two faces) is evocative of Janus, the god of gateways in Roman mythology.
On Lloyd Thrap Creative Photography's profile
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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.
OLYMPUS DIGITAL CAMERA
The reasons I like particular photographic subjects and styles, is a complex discussion and definitely too deep for today, but generally it’s my aim to seek out and record the landscape that offers something positive, dramatic, interesting, or dare I say it beautiful. Every image I personally value must maintain and stimulate my own attention span longer than the fleeting moment. It must offer me something to enquire further, look a little harder, it must grow on me and if placed on my wall at home, be enjoyed beyond the initial wows have subsided. Please don’t misinterpret this statement. I’m not saying every image I make does this, I’m very lucky if I come away with one a month that I’m truly happy with. But this generalist definition guides not only my editing for others to see, but it influences my future creative choices. What subjects I gravitate towards, what locations, what and which projects I pursue with vigour.
Now as I’m sure you will all no doubt already be aware that this philosophy isn’t uncommon amongst other landscape photographers and I recently read a very well written artist statement by Peter Bridgwood, which mentioned amongst other things that “I'm a fine-art photographer, which means I create images for my own satisfaction.” Now I don’t generally disagree with this and Pete is a very talented and thoughtful photographer that I’m sure has not said this statement lightly. But I If I consider this statement in a little more depth in relation to my own work and I’m honest with myself, I personally just don’t do this for myself. I am guided and influenced by many things from feedback, work I’m exposed to and in subtle unfathomable ways, to the choice of supermarket parking spot. That said, It ‘is’ my intention, to not only to enjoy the work I produce, but to keep visually enquiring, learning and changing.
That said, you will not be surprised to hear me say that personally it’s a little more complex and if I’m truly honest, my ego needs massaging so that others respect my journey. This is embarrassing to admit, but I do consider the photographic audience wider than myself in the creative choices I make. Again this ‘thing’ has complex psychological reasons, but I’m sure my animation background and its relationship with nurturing the audiences sentiments, play their part in the understanding the target audience that shapes my photographic content.
Again, please don’t misinterpret my motivations; I’m not saying I chase the Wow. The audience I desire is a small one, but one of my peers, one that will understand my motivations and hopefully inspire and develop inspiration, symbiotically. I think it not to insensitive of me to make the observation that I see this happening with respected other pro photographers. How can we not be influenced by others? But this inspiration does come with a complicated balancing act. Too far one side and is curtains with Michael Kenna square black white demise! Tip the other side and fall into the blades of Peter lik’s helicopter and be shredded into photographic history all over Pariah Canyon. But keep on the wire; keep learning how to move forward. Yes you will wobble occasionally, but as long as the wire is tethered to something solid like a lone tree, I’m sure the future will be good!
Anyway nobody said that this game is easy, and we must all follow our own path. The trick is, well for me, is to keep developing, keep experimenting, keep trying to synthesize my inspirations and keep trying to be myself. Anyway, today I was deciding the choices for that annual LPOY and considering the amazing year that Tony has had, it has inspired me to have another crack! What struck me was how one year is a nice amount of time to reflect on your work and choosing a set helps you see just how you have developed in the year. Personally I’m happier than I thought I was with my work over the year and I will cross my fingers with thousands of others to see if anybody else agrees with my choices. Have a look here if you’re interested to see what you think.
Anyway turning my attention to this image for a moment: The location is a massive body of water called Bassenthwaite Lake and the mountain you see here is Skiddaw, a really big mountain not far from Keswick, but it looks rather small juxtaposed against the foreboding lake. For me the image and place has a really open harsh mood and the heavy clouds pertaining to the harsh conditions in those peaks. I’ve always experienced a slightly humbling experience here, I’m not sure if it’s because it’s just so wide open, but it does leave me feeling just a tad exposed. We were there looking for the ospreys one evening last month and I spent my time doing what I often do whilst the kids and Mrs. took cover in the bird hide not far from this location.
One last thing, Tony Spencer and I have two places left for our long weekend Cornish seascape workshop this August (5th 6th and 7th) and if you fancy coming along please get in touch...
PLEASE, no multi invitations, glitters or self promotion in your comments. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know. Thanks
No pictures are allowed in the Sistine Chapel, they just appeared in the camera..... (I have to upload 3 sets)
One of the most famous places in the world, the Sistine Chapel is the site where the conclave for the election of the popes and other solemn pontifical ceremonies are held. Built between 1475 and 1481, the chapel takes its name from Pope Sixtus IV, who commissioned it.
The frescoes on the long walls illustrate parallel events in the Lives of Moses and Christ and constitute a complex of extraordinary interest executed between 1481 and 1483 by Perugino, Botticelli, Cosimo Rosselli and Domenico Ghirlandaio, with their respective groups of assistants, who included Pinturicchio, Piero di Cosimo and others; later Luca Signorelli also joined the group.
The barrel-vaulted ceiling is entirely covered by the famous frescoes which Michelangelo painted between 1508 and 1512 for Julius II. The original design was only to have represented the Apostles, but was modified at the artist's insistence to encompass an enormously complex iconographic theme which may be synthesized as the representation of mankind waiting for the coming of the Messiah. More than twenty years later, Michelangelo was summoned back by Paul III (1534-49) to paint the Last Judgement on the wall behind the altar. He worked on it from 1536 to 1541.
The nearby and fast-moving star, Barnard’s Star in Ophiuchus, captured in a wide field of view about 6° wide taking in nearby IC 4665, a large open cluster above Beta Ophiuchi, aka Cebalrai.
Barnard’s Star, as discovered by EE Barnard in 1916, has a large “proper motion” across the sky of 10.4 arc seconds per year, among the largest known, in part because of its proximity of only 6 light years away, making it the closest single star to our solar system (Alpha Centauri is closer but is a multiple star system). Its rapid motion causes it to move 1/4 of a degree in a human lifetime.
However, its rapid motion is also because it is plunging through the local solar neighbourhood from the galactic halo where it was born. It does not belong to our local spiral arm and is an intruder from afar. The red dwarf star also has a very low metallicity, meaning it lacks elements heavier than helium, again evidence for its place of origin and old age, as it was born before many of the heavier elements were synthesized in later generations of stars like our Sun. An innocuous looking star with a curious tale to tell!
It was tough to identify the star at first because the digital (SkySafari) and print atlases (such as Millennium Star Atlas) showed the nearby stars and patterns fine, as in the photo, but not the star in question. Why? Because Barnard’s Star had moved north since the data for those atlases, even the digital ones, was compiled. They were plotting the star farther south but there was nothing at that spot on my photo. (Starry Night did seem to plot it for its current, not past position.)
Even so, Barnard’s Star, while rated as magnitude 9.5, is faint (as you can see) and not an obvious sight at all in the eyepiece in a visual look earlier this night with the 105mm refractor. It did not look red visually and does not look red on the photo, unlike the mag. 6.7 star toward the centre of the frame (HD 162648) which does look quite red. I would have expected Barnard’s to be similar, being a red dwarf. But not so. It is too faint, or simply not red enough despite its temperature of 3200 K.
This is a stack of 18 x 2-minute exposures with the Borg 7mm f/4 astrographic refractor and Canon 6D MkII at ISO 800. Taken August 8, 2019 from home just as and after local moonset.
Finally took the plunge to a dedicated cooled CMOS astrophotography camera and couldn't be more thrilled with this first photo. Narrowband imaging and cooled sensors completely open up the door to whats possible through light pollution.
Here's the North American Nebula and most of the Pelican Nebula (NGC7000 and IC5070) in the Constellation Cygnus from the front porch of our house in both the Hubble color palette and more natural HOS palette (second photo). This is a large area of emission nebulosity stretching about 2.5 degrees east of the prominent star Deneb. This area is highly studied due to its large amount of active star formation, and named for its obvious relation to the North American Continent and Pelican, althought I tend to see a hand trying to grab a rabbit who's smiling since he just evaded capture 😁. Total integration time of about 7.5hrs taken with a nearly full moon.
Image specs:
Zwo ASI294MC color camera, Meade 70mm Quadruplet APO, Skywatcher EQ6-R mount, Orion 50mm guidescope and Starshoot Autoguider.
30 x 400" Ha (red) Frames (3hrs,20min) Zwo 7nm ha filter.
30 Darks, 35 flats, 35 dark flats.
17 x 900" Oiii (blue) Frames (4hrs) Zwo 7nm oiii filter.
30 Darks, 40 flats, 40 dark flats.
Green channel synthesized using the LRGB layer tools in Startools.
Captured using APT, stacked in DSS, processed in Startools, final refinements in Lightroom CC.
July 11, 2011 ·
Saturday, July 9 was a really special night bringing together a beautiful medley of performers & artists for this memorable summer event. Featuring Paris a GoGo Burlesque Performers.Created By Kelly Fernandez, Music by the Infamous Nick Fury, Atom Ortiz, Jungle One and Triple S.E.C.! Belly dance by Megan Martyn. Amazing live art & vending by Kaylas Face and Body Art as well as The Talking Fountain Gallery, Boutique and Artistic Epicenter. Photos by Lloyd Thrap Creative Photography — with Megan Martyn and Kirsten Darlin.
©2011 2020 Photo by Lloyd Thrap Photography
for Halo Media Group
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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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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.
© 2018 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.
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OLYMPUS OM-D E-M1, KERN MACRO-SWITAR RX 26mm F1.1
synthesized in photoshop
recommend see original size
© 2012 2025 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 Photographer and good guy.
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.
Within human experience, time and space are inextricably entangled.
Together they form the basis of our everyday life, and moreover, link
it to the very beginning of life and thus existence itself, that is to the
origin of the evolution of the universe from a singularity, the big
bang. It is this interdependence of the two concepts and their initial
genesis that I focus on in my artistic practice.
The expansive installation Perception of the Stendhal Syndrome rep-
resents my conception to approach existential questions through the
means of aesthetic experience. By means of developing a specific set
of techniques, I aim to overcome the limits of the medium of painting
and to expand it by the category of time.
With this work, I hope to engage the visitor on all levels,
instantaneously: Perception of the Stendhal Syndrome comprises one
of my large-scale white-on-black paintings from the series
Gene&Ethics – Master Prism (1,80 x 2,80 m) and a custom-made,
sculptural magnifying glass, measuring 1,58 m in height, which is
hung from the ceiling at distance to the canvas. Each visitor will
perceive a completely unique series of images when approaching the
work, as every slightest move generates an entirely new impression.
The installation thus aims to provide an experience of my work that
simultaneously allows for a macro perspective and micro perspective
of the painting, thereby revealing my different painting techniques,
which are the result of a long-term synthesizing process of
conceptual practices and technical-chemical explorations.
I have been experimenting with the constitutive elements of painting,
that is the quality of the paint, its support, as well as a range of
unconventional painting techniques, to attain this effect. Through the
interplay between the medium, the timing and my body, physically
moving around a canvas on the floor, I seek to derive a specific fluid
and organic quality in my paintings.
The literally puzzling and elusive nature of the experience of
approaching Gene&Ethics – Master Prism while looking through a
magnifying glass, lies at the center of my interest: each beholder is
forced to reverberate his/her own position in regard to the work and
within the actual space, instinctively. At the beginning of every
philosophical reflection stands the question of the point of view. With
this installation, I would like to take an explicit stance towards this
issue, as it is each individual human being that stands at the center
of the art: My work only exists when being experienced!
However, it not only deals with perception, on the contrary, with the
strategy of providing sensual experiences, I seek to sharpen the
senses for societal and environmental issues. I have drawn inspiration
from sculptors, such as Anish Kapoor and Tony Cragg, but also the
architect Frank Gehry, who are all known for providing unique spatial
experiences that trigger reflections about one’s existence.
The installation thus literally reaches out, in order to encompass the
viewer on a bodily, psychological and self-reflexive level. By way of
providing this engaging experience, I try to raise the viewers’
awareness of space-time, opening up the possibility to relate this
perception to the ‘bigger picture’ of our existence.
Kesklinn
Architectural photography
#patternsofthecity #texturesoflive
This architecture, with its networks of tubes and the lookit has of being an expo or world's fair building, with its (calculated?) fragility deterringany traditional mentality or monumentality, overtly proclaims that our time will neveragain be that of duration, that our only temporality is that of the accelerated cycle and ofrecycling, that of the circuit and of the transit of fluids. Our only culture in the end is thatof hydrocarbons, that of refining, cracking, breaking cultural molecules and of theirrecombination into synthesized products.
Jean Baudrillard /
"Simulacra et simulation"
The One Penny Portal
Many don't believe in ghosts
Many don't believe they are ghosts
But they exist
And continue to consume the future
Through hatred, anger and destruction
Synthesizing the truth in our minds
Purchasing our identity
Until all originality is replaced
And the replica successfully re-emerges
Read more: www.jjfbbennett.com/2020/06/from-one-penny-to-utopia.html
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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.
Henderson County, NC.
Synthesized IRG-->RGB image from a single exposure. Full-spectrum camera, 525LP dichroic filter. Worked up in Pixelbender and Photoshop.
Model: Aliice Black.
Demon Doll by: Salem Julia Murillo
Location BMG Gallery, Nob Hill District, Albuquerque, New Mexico. USA
Lloyd-Thrap-Creative-Photography
© 2011 2019 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.
A hand fan is an instrument and a fashion accessory designed so that with a rhythmic and variable play of the wrist, air can be moved and cooling is facilitated when in a hot environment.
HISTORY: The umbel or parasol and the flabellum, a large fixed fan with a long handle, are considered precedents in Egypt —at least since the 19th dynasty— and in Asia of the modest and functional folding fan and its western variants.
Already in the tomb of Tutankhamun, two fans with precious metal handles were deposited as part of the pharaoh's trousseau.
An essential object in Chinese and Japanese cultures, both in ceremonies and in theater, which synthesizes the fantasy of these peoples in the different types of fans.
In China, the origin of the rigid fan dates back to 2697 BC. C., with the emperor Hsiem Yuan.
LANGUAGE AND SECRET CODES: Progressively a complicated language of codes was developed, according to the movement and position of the fans.
Thus, for example, quickly fanning oneself looking into your eyes translated as "I love you madly", but if it was done slowly, the message was very different: "I am married and you are indifferent to me".
Opening the fan and showing it was equivalent to: “you can wait for me”.
Holding it with both hands advised a cruel “you better forget me”.
If a woman dropped her fan in front of a man, the passionate message was "I belong to you".
If she supported him open on her chest at the level of the heart: "I love you."
If she covered her face with the open fan: "Follow me when I go."
If she rested it on her right cheek it was equivalent to a "yes", but if she rested it on her left it was a resounding and cruel "no". Source: Wikipedia.
Photo taken in Pozuelo de Alarcón, Madrid, Spain.
SEIS COLORIDOS ABANICOS AGRUPADOS Y VISTOS DE PERFIL, 2023
Un abanico de mano es un instrumento y un complemento de moda ideado para que con un juego de muñeca rítmico y variable se pueda mover aire y facilitar la refrigeración cuando se está en un ambiente caluroso.
HISTORIA: La umbela o quitasol y el flabellum, gran abanico fijo de largo mango, se consideran precedentes en Egipto —al menos desde la dinastía XIX— y en Asia del modesto y funcional abanico plegable y sus variantes occidentales.
Ya en la tumba de Tutankamón se depositaron, como parte del ajuar del faraón, dos abanicos con mango de metales preciosos.
Objeto esencial en las culturas china y japonesa, tanto en ceremonias como en el teatro, que sintetiza la fantasía de estos pueblos en los diferentes tipos de abanico.
En China, el origen del abanico rígido se sitúa hacia 2697 a. C., con el emperador Hsiem Yuan.
LENGUAJE Y CÓDIGOS SECRETOS: Progresivamente se llegó a desarrollar un complicado lenguaje de códigos, según el movimiento y posición de los abanicos.
Así, por ejemplo, abanicarse rápidamente mirándote a los ojos se traducía como “te amo con locura”, pero si se hacía lentamente, el mensaje era muy distinto: “estoy casada y me eres indiferente”.
Abrir el abanico y mostrarlo equivalía a un: “puedes esperarme”.
Sujetarlo con las dos manos aconsejaba un cruel “es mejor que me olvides”.
Si una mujer dejaba caer su abanico delante de un hombre, el mensaje era apasionado "te pertenezco".
Si lo apoyaba abierto sobre el pecho a la altura del corazón: “te amo”.
Si se cubría la cara con el abanico abierto: “Sígueme cuando me vaya”.
Si lo apoyaba en la mejilla derecha equivalía a un “sí”, pero si lo apoyaba sobre la izquierda era un “no” rotundo y cruel. Fuente: Wikipedia.
Foto tomada en Pozuelo de Alarcón, Madrid, España.
Name: Vivian Hollins
Alias: Isotope
Abilities: Can control catalyzing of chemicals and can change atomic structure of elements (Example: Turning oxygen into H2O)
Origin: Vivian was a chemistry major working at a local university, studying the effects of changing atomic structure and what effects the changes would have to elements within the periodic table. She was attempting to discover a new element, and in her progress, she had synthesized some form of gas no one had seen before. Unfortunately, the gas was virulent, and wouldn’t remain contained. Vivian would wind up inhaling the gas and receiving her abilities thanks to it. She used these new powers to negate the effects of the gas, turning it into simple oxygen. Radar Man had known of her previously thanks to the both of them working in the same university, and the new hero known as Isotope quickly joined with him for the creation of the Brigade.
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). 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. Like many other mosques, it also comprises 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 design of the Sultan Ahmed Mosque 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 has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
WISH YOU A GREAT AND HAPPY SUNDAY MY FRIENDS XOXOXO
@Thanks for all nice friendship,coments and faves .They mean a lot to me and make me happy
PS: Im better thanks and catching slowly