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Bodysuit lingerie bodyshaper lace translucent see-through
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Male Crocodile Monitor Lizard being hand fed chicken drumsticks and protecting its eyes with its nictitating membrane. The nictitating membrane (from Latin nictare, to blink) is a transparent or translucent third eyelid present in some animals that can be drawn across the eye from the medial canthus for protection and to moisten it while maintaining vision.
About Semuc Champey, Guatemala
Semuc Champey is a natural monument in the department of Alta Verapaz, Guatemala, near the Q'eqchi' Maya town of Lanquín. It consists of a natural 300 m limestone bridge, under which passes the Cahabón River. Atop the bridge is a series of stepped, turquoise pools, a popular swimming attraction. Although it can be difficult to get to, Semuc is becoming more and more popular with travelers.
I finished my sister's birthday present! :)
I made her a vintage handkerchief dress to match her eyelids. I also handpainted 3 of her eye chips. This was my first attempt at a semi open mouth, it was fun! ♥
username : "Rafa Puerta Photo",
title : "Translucent",
content url : "https://www.flickr.com/photos/lovehate/3007389554/"
Translucent/reflective glass panel and metal frame construction of a National Gallery of Art (NGA) skylight (crystal) as viewed from the floor of the concourse entryway connecting the East and West galleries. The NGA is located in Washington, DC between 3rd and 9th Streets, NW, at Constitution. Photo taken on 16 September 2023.
Photographer of Interest: Deborah Luster. Her "posed portraits" are stark, direct and powerful. Most subjects look directly at you and are posed in front of a dark background. Each seems to demand that you see who they are. This is especially true in Passion Play, where each is dressed in character, which is somewhat ironic. Her captions, while short, contribute to a understanding of the person. Each individual was photographed, presumably because they wanted to be, and for the purpose -- as stated above -- of having others actually "see" them.
More importantly, the readings as a group ask the question of what is a documentary photograph? Is is a "mechanical reproduction of reality," or is it a staged representation that more clearly presents a reality that the photographer is attempting to convey?
Progress. Ex 1(A) introduced the design aesthetic of the Pei crystals and their location and context. Ex 1(B) provides a closer view of construction, scale and visitor interaction. Ex 1(B) photos thus provide additional information that completes the view of this art.
The sun was shining brightly, and illuminating these leaves for a quite interesting effect from underneath
Портлендская ваза (сторона со сценой 2), ок. 01-25 гг. н. э. - амфора из полупрозрачного темного кобальтово-синего и непрозрачного белого камейного стекла. Вероятно, изготовлена в Италии
☆📀
Photographer: Jastrow.
Location: The British Museum, London, UK.
DESCRIPTION
Amphora in translucent dark cobalt blue and opaque white cameo glass. The cylindrical neck widens out to a sloping shoulder and ovoid body, whose squatness is emphasized by the lack of a foot. Everted mouth with rounded rim which is cut very unevenly on the upper side so that it is not horizontal; below this the neck curves out smoothly to the carination of the shoulder. Handles from the centre of the neck to the shoulder. The disc base (1945.9-27.2) is discussed separately. A separate Registration Number (1948.10-18.1) was assigned to approximately forty small fragments, most of which were incorporated during the most recent restoration.
Broken and mended; the bottom is missing, and the underside of the vessel has been roughly trimmed and the edge left grozed, perhaps in antiquity. Slight iridescence in patches all over the inside of the vessel, slight pitting on exterior and red streaks and bubbles in the blue glass. Grinding all over the inside of the vessel, probably achieved by a filling of grit. The white design may have been reworked after its rediscovery in the sixteenth century.
The inside of the rim is decorated with asymmetrical grooves either side of a ridge. The handles are vertically ridged on the outside and cut in v-shaped wedge sections. Figured design carved in the white glass, divided into two portions by a bearded and perhaps horned head below the lower attachment of each handle. One group of four persons shows a young man emerging from a rustic shrine behind which grows a shrub. His right arm held behind him clasps his cloak that is draped around the pillar of the shrine; his left arm stretched before him clasps the right arm of a half-draped woman seated on the ground turning back towards him and caressing a serpent-like creature that rises up towards her face. Eros flies to the right, above the woman, holding a bow in the left hand, a torch in his right. To the right stands a bearded man resting his chin on his right arm that itself rests on his right bent knee, the foot supported by a ledge below a tree that spreads out its branches; behind him is another tree. On the other side, at the extreme left, is a rectangular column beside which is a young man seated to the left on a rock shown in a series of steps with his head turned back towards a half-draped girl reclining to the right on the same rock with her right arm raised up to her head that is turned back to look towards the floor behind her; from her left hand hangs a burning torch. To her right, seated to the right on another rock and looking back towards the scene, sits another half-draped girl holding a sceptre in her left hand. The scene is closed by the shrub that grows from the back of the rustic shrine described above