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Photo of Turtle Lake captured via Minolta MD Rokkor-X 85mm F/1.7 lens. Spokane Indian Reservation. Selkirk Mountains Range. Okanogan-Colville Xeric Valleys and Foothills section within the Northern Rockies Region. Inland Northwest. Stevens County, Washington. Late September 2020.
Exposure Time: 2 sec. * ISO Speed: ISO-100 * Aperture: F/22 * Bracketing: None * Color Temperature: 6000 K * Film Plug-In: Fuji Provia 100F * Filter: Hoya HMC CIR-PL (⌀55mm) * Elevation: 2,484 feet above sea-level
With all thy getting, get understanding. Stained glass in the Great Mausoleum in Glendale, California.
Realms Beyond Understanding
I am drifting into the realms beyond my understanding.
Beyond the shadows of my former self.
Blogger: www.jjfbbennett.com/2024/01/realms-beyond-understanding.html
On Wednesday I visited Glencoe for the first time; yes really! I mean, I've posted a photos from almost exactly this spot in the sky before from my first visit to the area a couple of years ago, but I'd never flown west of here, and I'd never, even on the ground, actually travelled through or set foot in Glen Coe, which starts in the distance on the right of this shot.
That morning, I drove from Kintail, through Fort William and Ballachulish, and looked up in awe for the first time, completely understanding the reputaton the glen has. In another first, I walked my first - short - section of the West Highland Way, up the Devil's Staircase to get to my chosen launch at the east end of the Anoch Eagach ridge. I actually completely overestimated the height of the climb, and was up in no time, well before 11, whch in daylight savings is quite early to be on a launch, seeing as the sun isn't going to reach the zenith till after 1pm, but even at that early hour I could feel the first promising puffs of anabatic airflow wafting up the hill.
By 1145, I was ready and completely relaxed rom being able to take so long to prepare, and couldn't really justify standing on the hillside any longer, so, with my back to the wind, I waited for the start of the next regular cyce of air rolling up the hill, and with a wee pull my wing rose over my head. A jab on the brakes slowed the wing as it reached its apex, allowing me a quick glance over it before turning and stepping in to the sky with it. In the air I realised that regardless of what promising signs I had felt on the hillside, the day was very much just getting started in thermic terms, and so I desperately turned figure-of-eight patterns over any spots where a tiny bubble of air gave me a few metres of altitude, and slowly tracked west along the ridge towards slopes which faced more directly in the morning sun, and potentially more directly in to any prevailing wind, all raising my chances of hooking that first good climb to get me above the height of the Anoch Eagach ridge.
15 minutes later, I was barely more than a kilometre along the ridge and still no higher than where I'd lanched from, but at least I wasn't lower, so the day - and my skills - had just enough potency to sustain me in the air. As I pushed round the corner of A' Chailleach, looking down on the Pass of Glencoe, the day started to give me a little more altitude, and finally I soared above the height of the Anoch Eagach, but still low enough that I had a great view of all the people who were out traversing the ridge. Now things got a litte easier, as flying above the ridge I was better placed to catch the combined energy of thermals rising up either side of the ridge. Soaring to the west end of the ridge was simple, but the return journey even easier. Forty -eight minutes to traverse the ridge from east to west, and a mere nineteen minutes to get back.
My original intention had been to fly north towards Ben Nevis, but the sky looked very dirty - literaly - a sign that there was a stonger inversion, which may make my soaring life harder. So instead I opted to get to know the classic hiking of Glencoe better, first crossing the watershed of Glencoe to fly south along Buachaille Etive Beag ridge, then pushing east, nipping on to the south end of the Buachaille Etive Mor ridge. Soaring north along the east side of the ridge, I was perplexed to cover 3km of sun-baked ridge completely devoid of thermals, all the while watching the ridge loom ever further above me as I burned altitude. At the midway point, pushing in to the bowl north of Stob na Doire, my fortunes changed, first just a bit of ridge lift that let me soar back and forth, slowly climbing to the snowy north-east face, and waving to a few hikers who were approaching the peak from the saddle to the north and had stopped to take photos of me.
Then I found what may have been thermals, but the air was so full of spring attitude that I clung on to them just long enough to get above Stob Dearg and glide back out to the glen and snap this shot over my shoulder. All up, I covered by air what I guess would be three exceptionally scenic day hikes in some of Scotland's A-list scenery. There have been worse days to be in the air!
Lacul Morii-Bucharest city-Vivitar 28mm F2
*Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
* I have seen a large part of the most popular or devoted photographers' photographs over time and of course I can say that most of them have speculated on different situations, angles of photography, shadows, different brightness, feelings, human tragedies, all kinds of paradoxical situations that of course make them noticed. I do not want to bring any name into question for the simple reason that each photographic artist has a unique value. However, I regard the photographic art as a simple spectator that is difficult to be convince most of the times. I contemplate the creation of God and every time I photograph I do not forget how grateful we should be for all the beauty that our Creator gave it to us! People who forget this do nothing but hate themselves and the world they live in and photography is nothing but a mirror of this beautiful or crooked world.(Horia Stanicel)
*Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
*Am văzut o mare parte a fotografiilor celor mai populari sau consacrați artiști fotografi de-a lungul timpului și desigur pot spune că majoritatea dintre ei au speculat diversele situații,unghiuri de fotografiere, umbre, luminozitati diferite,sentimente,tragedii umane chiar,tot felul de situații paradoxale care desigur să-i facă remarcați.Nu vreau să aduc vreun nume în discuție pentru simplul motiv că fiecare artist fotograf are o valoare unică. Totuși eu privesc arta fotografică ca un simplu spectator greu de convins de cele mai multe ori.Eu contemplu creația lui Dumnezeu și de fiecare dată când fotografiez nu uit cât de recunoscători ar trebui să fim pentru toată frumusețea pe care Creatorul nostru ne-a daruit-o! Oamenii care uită aceasta nu fac decât să se urâțească pe ei înșiși dar și lumea în care trăiesc iar fotografia nu este decât o oglindă a acestei lumi frumoase sau urâțite.
(Horia Stanicel)
*Working Towards a Better World
We have a serious global water shortage we should all know a little bit more about the statistics here are some helpful links:
Global Water Statistics - charitywater.org
www.charitywater.org/whywater/?utm_medium=ppc&utm_sou...
Action Against Hunger
www.actionagainsthunger.org/world-water-day-2014?gclid=CK...
UN Water
“Life Underground” is a permanent public artwork created in 2001 by American sculptor Tom Otterness for the 14th Street - Eighth Avenue station of the NYC Subway. The installation is a series of whimsical miniature bronze sculptures depicting cartoon like characters showing people and animals in various situations, and additional abstract sculptures, which are dispersed throughout the station platforms and passageways. The sculptor said the subject of the work is "the impossibility of understanding life in New York” and describes the arrangement of the individual pieces as being “scattered in little surprises”
Excerpt from the Information Board:
Made between 1998 and 2005, the Prototype series earned Jungen international recognition and acclaim for his ability to reimagine everyday goods. To make each of these works, the artist dismantled several pairs of Nike Air Jordans - highly coveted sneakers since their introduction in 1984 - paying careful attention to their design and colour scheme. He then imaginatively sewed the pieces together to create sculptures that reference Northwest Coast masks - a wry response to the way Indigenous motifs have been commercialized through civic designs in Vancouver. In total, this series has twenty-three sculptures, a nod to the shoe's namesake, basketball great Michael Jordan, whose jersey number was "23" for most of his career.
Meet my F.R.I.E.N.D. Fábio Smith
Fábio has been really understanding of my shortcomings, which has meant a lot to me! We did lots of different and great photos together, but being a music lover myself, I decided to go with this one!!
From the National Academies Press free ebook Learning and Understanding (2002), Principle 1.
Image licensed under Creative Commons by coriordan: www.flickr.com/photos/coriordan/104287381/
I don't know the name of this HYBYCOZO sculpture. It seems to be the masterpiece of the installation. It is in a special area that is restricted during the day. Any correction will be appreciated. I especially love it at night with the lights and shadows. I'm calling it Three Rings until I learn it's name. [edit] I think it is titled Inner Orbit [end edit]
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
One of the highest tides of the year.
Looking toward Morro Bay State Park Campground and the Morro Bay Sand Spit, Morro Bay, CA
Tides have been higher than "predicted tides" recently and my understanding is that this is due to warmer seawater temperature.
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
Petoskey, Michigan. The guy who owns this beauty owns several others from the same era. My understanding is that he restores them himself. It must be difficult to decide which one to drive on any given day.
June 8. My attempt at a formal, straightforward portrait.
I can believe I've done this for 365 days, but I have a hard time understanding how a year could have passed in the interim.
Thanks for tuning in.
"Ms. Understood"
©2006 kelly angard
seek first to understand, then to be understood...
Stephen Covey
i've found myself contemplating the many aspects and problems of communication lately, both verbal and written. Communication is the main artery in which to connect with another human being, which is in itself, innate...and what we desire and fear the most.
To speak and be spoken to...to hear and be heard. The latter is so much harder to do...
© All Rights Reserved - Black Diamond Images
My understanding is that this building houses a historic collection of transportation vehicles which were at various times managed by the former Yellowstone Park Transportation Company and its subsequent iterations.
As the building is not considered suitable for public visitation access to the collection is currently closed until such time as a purpose built facility to house the collection can be built.
This historic building was built here in Gardiner in 1925 but YPT began very early in the park's life and from what I can find out may have wound up operation in 1979?
I've been unable to find out much about either the building or the YPT so any information is welcomed.
Interestingly when I look on Flickr's map I can't locate this building, at least, I can't locate a building with a chimney stack and can't see it on Google Maps either. I've added it to the Flickr map though but only in the rough vicinity of where I photographed it.
www.nps.gov/yell/learn/historyculture/historicvehicle.htm
www.loc.gov/resource/hhh.mt0321.photos/?sp=1
All USA Trip 2018 Images HERE
All rights reserved © fairuz 2012
Biggest human mistake : Listen half , understanding quarter , telling double
Few months to go ~
160910..
Lacul Morii-Bucharest city-Carl Zeiss Flecktogon 35mm F2,4
*Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
* I have seen a large part of the most popular or devoted photographers' photographs over time and of course I can say that most of them have speculated on different situations, angles of photography, shadows, different brightness, feelings, human tragedies, all kinds of paradoxical situations that of course make them noticed. I do not want to bring any name into question for the simple reason that each photographic artist has a unique value. However, I regard the photographic art as a simple spectator that is difficult to be convince most of the times. I contemplate the creation of God and every time I photograph I do not forget how grateful we should be for all the beauty that our Creator gave it to us! People who forget this do nothing but hate themselves and the world they live in and photography is nothing but a mirror of this beautiful or crooked world.(Horia Stanicel)
*Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
*Am văzut o mare parte a fotografiilor celor mai populari sau consacrați artiști fotografi de-a lungul timpului și desigur pot spune că majoritatea dintre ei au speculat diversele situații,unghiuri de fotografiere, umbre, luminozitati diferite,sentimente,tragedii umane chiar,tot felul de situații paradoxale care desigur să-i facă remarcați.Nu vreau să aduc vreun nume în discuție pentru simplul motiv că fiecare artist fotograf are o valoare unică. Totuși eu privesc arta fotografică ca un simplu spectator greu de convins de cele mai multe ori.Eu contemplu creația lui Dumnezeu și de fiecare dată când fotografiez nu uit cât de recunoscători ar trebui să fim pentru toată frumusețea pe care Creatorul nostru ne-a daruit-o! Oamenii care uită aceasta nu fac decât să se urâțească pe ei înșiși dar și lumea în care trăiesc iar fotografia nu este decât o oglindă a acestei lumi frumoase sau urâțite.
(Horia Stanicel)
Title inspired by The Darkness' song 'Get Your Hands Off of My Woman' which was tooting away in my head while I was doing this shoot
“Life Underground” is a permanent public artwork created in 2001 by American sculptor Tom Otterness for the 14th Street - Eighth Avenue station of the NYC Subway. The installation is a series of whimsical miniature bronze sculptures depicting cartoon like characters showing people and animals in various situations, and additional abstract sculptures, which are dispersed throughout the station platforms and passageways. The sculptor said the subject of the work is "the impossibility of understanding life in New York” and describes the arrangement of the individual pieces as being “scattered in little surprises”
Dedicated to careth@2012 (Carlin - www.flickr.com/photos/c_desouza/) to thank her for her understanding
- Vagues lisses
Dr. Jennifer Doudna stands at the intersection of biology and history, a scientist whose discoveries have irrevocably altered the course of human understanding. Her pioneering work on CRISPR gene editing has not only transformed molecular biology but has also raised profound ethical and philosophical questions about the very fabric of life. A Nobel laureate, she navigates these frontiers with both precision and an acute awareness of the weight of her discoveries. Her scientific vision is tempered by an almost preternatural sense of responsibility.
I photographed Doudna twice. The first time was on July 7, 2021, at the Innovative Genomics Institute (IGI) during the height of the COVID-19 pandemic. The world outside was shrouded in fog, a thick marine layer that wrapped around Berkeley’s hills, rendering everything indistinct and softened. Inside, the normally bustling institute was eerily quiet. There were no students gathering in the hallways, no hurried footsteps of researchers moving between lab stations. It was a fitting setting for a scientist whose work feels as though it has emerged from the mist of scientific uncertainty to reveal something dazzlingly clear.
In that empty space, Doudna’s presence was striking. She moved with the quiet intensity of someone accustomed to deep thought, her mind constantly engaged in the grand puzzle of molecular biology. The discovery she had helped bring to light, CRISPR-Cas9, had given scientists an unprecedented ability to edit genes with ease and precision. For the first time in human history, we had the capacity to rewrite the very code of life. With CRISPR, the genome was no longer a fixed text but an editable manuscript, full of potential revisions and possibilities.
The implications were staggering. Within just a few years, researchers had already begun using CRISPR to correct genetic diseases in animal models, paving the way for future human therapies. In agriculture, scientists were engineering crops resistant to drought and disease, potentially revolutionizing global food security. Yet for all its promise, CRISPR was also a technology fraught with ethical and societal concerns. The ability to alter DNA brought with it the specter of unintended consequences: off-target effects, genetic inequalities, and the possibility of enhancement rather than just therapy.
Doudna was acutely aware of these challenges. She has often spoken of the moment when, after her team’s initial breakthroughs, she awoke from a dream in which someone had asked her to explain CRISPR to Adolf Hitler. The dream unsettled her—not because the science was flawed, but because its power could so easily be misused. Unlike many scientists, she did not shy away from this realization. Instead, she became one of the most vocal advocates for ethical guidelines and called for global discussions on how gene editing should be regulated.
The second time I photographed her was at her home. It was a more personal setting, where she stood alongside her husband, biochemist Jamie Cate. This session would result in her official Nobel portrait, an image meant to capture not only the scientist but the thinker—the human being at the center of one of biology’s most consequential breakthroughs. In this environment, away from the sterility of the lab, Doudna was quick to smile, yet just as quick to consider the larger implications of her work. CRISPR, in her mind, was not simply a tool of innovation. It was a force that demanded careful stewardship.
Few scientists can move so effortlessly between the precise world of molecular biology and the broad, messy conversations of bioethics, governance, and human destiny. But Doudna is one of them. She understands that the future of gene editing is not simply about what science can achieve, but about what it should achieve. This balance between the limitless potential of discovery and the necessity of caution defines her approach.
Even as CRISPR is being explored as a treatment for sickle cell disease, blindness, and certain cancers, she remains focused on ensuring that this technology does not outpace our ability to control it. She has advocated for a moratorium on heritable human genome editing, recognizing that the decision to alter the genetic blueprint of future generations is one that cannot be made lightly. The world may be racing toward a new era of genetic medicine. But if Doudna has her way, it will not be reckless.
Her legacy is still unfolding, but one truth is already apparent. The world she is shaping will look very different from the one she inherited. And as science advances, her voice will remain one of its most thoughtful, deliberate, and necessary guides. She is a scientist of precision, yes. But more importantly, she is a scientist of conscience.