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INES VAN MEGEN-THIJSSEN PHOTOGRAPHY
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I've posted this building several times before, but not from this perspective. I decided to do a Dutch angle here and discovered the balconies look totally different this way. If you look on the left and right sides, you'll see the walls tilting.
I've been offline for a couple of days so am way behind on commenting....
Happy Sunday!
I'll die way before Methuselah
So I'll fight sleep with ammonia
And every morning, with eyes all red
I'll miss them for all the tears they shed
But I'm actually good
Can't help it if we're tilted
I'm actually good
Can't help it if we
I'm actually good
Can't help it if we're tilted
I'm actually good
Can't help it if we're tilted
I miss prosthesis and mended souls
Trample over beauty while singing their thoughts
I match them with my euphoria
When they said, "Je suis plus folle que toi"
Nous et la man on est de sortie
Pire qu'une simple moitié
On compte à demi-demi
Pile sur un des bas côtés
Comme des origamis
Le bras tendu paraît cassé
Tout n'est qu'épis et éclis
Ces enfants bizarres
Crachés dehors comme par hasard
Cachant l'effort dans le griffoir
Et une creepy song en étendard
Qui fait:
I'm doing my face
With magic marker
I'm in my right place
Don't be a downer
I'm doing my face
With magic marker
I'm in my right place
Don't be a downer
Explore Front Page (#25), 5/7/09
Taken at Kinderdijk, a UNESCO World Heritage site in the Netherlands, at the end of a very dark and rainy day. The sun popped out for a few minutes (at 6:30 p.m.) and this was the best I could do under the conditions. The image is straight -- it's the windmill that "tilts". If in the Netherlands, this is "must-visit" place to see nineteen 250-year-old plus windmills all in one great location. View On Black
A southbound 'L' train approaches Addison Station in Chicago's Lakeview neighborhood.
Nikon D5100, Tamron 18-270, ISO 640, f/6.3, 270mm, 1/2500s
A rat saunters along a city sidewalk in Chicago’s Loop.
Nikon D5100, Tamron 18-270, ISO 1600, f/6.3, 270mm, 1/320s
Bird photography sounds peaceful. You picture me quietly communing with nature, sipping coffee while majestic creatures flutter by, posing politely like they’re in a Disney movie. That’s a lie. The truth involves hauling lawn chairs, tripods, and a camera bag that weighs more than a third grader across the desert before sunrise—all to sit motionless next to a glorified livestock trough filled with water I wouldn’t let my enemies drink.
This cattle tank, which I have gentrified into a “desert oasis” (by tossing in a stick), is now a fine-dining establishment for birds. The stick is important. I found it on the ground, which makes it natural, and I chose one with bark and lichen because birds don’t like muddy feet—and I like a pretty perch.
Birds don’t just fly in, though. First, they land about twenty-five feet away in what I call the staging area, where they scope things out and decide if it’s safe to drink. Just as I know birds come here for water, they know hawks come here for birds. If it seems risky, they vanish into the brush to post angry tweets about predator privilege.
This time, an American Robin decided to play along. He glided down to the branch, dipped his beak into the water, then raised his head to swallow—because robins, like most birds, can’t gulp. They rely on gravity to get the water down. No swallow muscles. No peristalsis. Just tip and pray.
As he tilted his head back, water spilled from his beak. I fired off a burst of photos. In this frame, he’s in perfect profile, water spilling from his bill, with a few droplets stopped in mid-air and a few reached the surface, sending delicate ripples across the pond.
His reflection was beautiful and haunting, like a bird pondering the mysteries of hydration—or maybe just wondering why some guy shoved a branch in his drinking fountain.
In the desert, water is liquid gold. To birds, cattle tanks are survival. To me, they’re proof that lugging heavy gear into the wilderness to photograph a robin mid-sip is a perfectly reasonable way to spend retirement.
Especially if you're trying to avoid housework.
He lifts his head to the sky—a gravity feed,
’Cause evolution said, “Nah—gulping’s not a need.
I am I, Don Quixote
The Lord of La Mancha
My destiny calls and I go
And the wild winds of fortune
Will carry me onward
Oh, whithersoever they blow
Whithersoever they blow
Onward to glory I go!
Ein altes Fachwerkhaus in der historischen Altstadt von Lauenburg / A historical half-timbered house in the old city of Lauenburg/Elbe
Henry Cowell Redwoods State Park
Felton, California
This memorial bench caught my eye. Tilting from the tree roots perhaps?
Happy Bench Monday
Flat surfaces not always are boring :)
As they say the limiting factor is not the gear or subject, it is imagination of the photographer.
Geologically, the rocks surrounding the amphitheater are representative of the Fountain Formation. Originally the place was known as the "Garden of the Angels" (1870s-1906), and then as "Garden of the Titans" during the Walker years (1906–1928). The park, however, had always been known by the folk name of "Red Rocks", which became its formal name when Denver acquired it in 1928. The amphitheater's rocks are named "Creation Rock" on the north, "Ship Rock" on the south, and "Stage Rock" to the east. Red Rocks Amphitheatre was designed by Denver architect Burnham Hoyt.