View allAll Photos Tagged visually
While visiting my sisters in Atlanta I searched for areas of the city less sterilized by all things new and shiny. It seemed everywhere we went looked pretty much like the place we'd just left. This is not to indict Atlanta - most cities have taken on a homogeneous appearance. You can get on a freeway and travel miles and get off an exit and all the chain stores are there to greet you again. Everything is flattened out visually so that very little is surprising for the most part.
I discovered this abandoned warehouse left to seed. The derelict windows and doorless entry ways sprayed over with tagging graffiti was a texture hound's delight. I took pics left and right. When I got home I thought of sandwiching over the images with vintage photo booth portraits from the forties.
I liked the results so much I decided to return the next week for more. When I arrived the entire structure had been leveled and there was nothing but some remaining rubble. I found it ironic that the one spot I'd found of interest had been obliterated almost right after I found it.
Perhaps these faces that peeked through the windows like ghosts haunting the place were more of a portent than I had known.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
To watch how I captured this shot watch my vlog: youtu.be/oTfXQDYF1h4
For one reason or another I’ve never got around to shooting landscape images of Rapeseed, even though this has been very high on my photography wish list for some time. I finally managed to put that right last week when I had to opportunity to visit a nearby field and shoot some shots on a beautiful sunny spring day. The location was pretty surreal with bright vivid yellow is every direction and stunning wispy clouds spread perfectly across the deep blue sky. Visually stunning but surprisingly difficult to photograph, with this shot I purposefully wanted to capture a minimal scene free from distractions.
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Sunrise, over Angkor Wat.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
The Ford Eifel is a car manufactured by Ford Germany between 1935 and 1940. It initially complemented and then replaced the Ford Köln. It was itself replaced by the Ford Taunus. Between 1937 and 1939 it was also assembled in Hungary and Denmark. The Eifel was derived from the Ford Model C (Europe) 1934 platform.
The model was named after the Eifel mountain range in western Germany. 61,495 Ford Eifels were produced in Germany. The car's popularity in Germany increased after a minor facelift in 1937, which coincided with an extension of the variety of body styles on offer, and which visually distanced the look of the car a little from its British origins, replacing the earlier car's spoked wheels with modern steel wheels and applying the eye catching wrap-around front grill, which was becoming a feature of German Fords in the later 1930's.
Source: www.louwmanmuseum.nl
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Dutch entrepreneur Frans van Haren has a classic car collection that has won prizes at prestigious national and international competitions. Since 2017, he has been presenting his impressive car collection to a wider audience in the futuristic-looking, former furniture showroom 'Metropole' in Druten, the Netherlands.
The collection includes some four hundred cars, trucks and motorcycles, making it almost the largest car museum in the Netherlands.
Metropole Museum
Druten, the Netherlands.
SBZ Unterschleißheim (Sehbehinderten- und Blinden-Zentrum Südbayern)
Center for the Blind and Visually Impaired
The visually-stunning James B. Hunt Jr. library on the campus of North Carolina State University, my grad-school alma mater
March Point. Padilla Bay/Fidalgo Bay.
"The Washington population of the Black Oystercatcher is estimated to be roughly 400 birds. This number is probably not significantly different from the historical population, as these birds require fairly specialized habitat, which is not evenly distributed. Oystercatchers are highly vulnerable to human disturbance, oil spills, and pollution of the intertidal zone. Numbers of Black Oystercatchers on the outer coast may be higher than in the past, in part due to decreased human disturbance resulting from lighthouse automation. Numbers in inland areas, however, have declined in response to increased human activity. The Northern Pacific Coast Regional Shorebird Management Plan has identified the Black Oystercatcher as a regional species of high concern."
"The Black Oystercatcher is restricted in its range, never straying far from shores, in particular favoring rocky shorelines. It has been suggested that this bird is seen mostly on coastal stretches which have some quieter embayments, such as jetty protected areas. It forages in the intertidal zone, feeding on marine invertebrates, particularly molluscs such as mussels, limpets and chitons. It will also take crabs, isopods and barnacles. It hunts through the intertidal area, searching for food visually, often so close to the water's edge it has to fly up to avoid crashing surf. It uses its strong bill to dislodge food and pry shells open."
Visually a descendent of the SP1 Striker, but sized more like the Galactic Peacekeeper.
I'm still not totally sure about that cagelike take on the prisoner transport pod, but it mostly works.
And I actually managed semi-retractable undercarriage.
The visually monotonous Alexander's (renamed as Vidzemes, popularly called Matīsa) Market was opened in 1902. With one of the pavilions for the meat trade, which was the first and largest indoor market hall in Riga at that time, and the other hall for the sale of other products, the Alexander Market became the first market in the city with well-equipped pavilions at that time. The Alexander Market was the only market that allowed the sale of fresh meat all year round. The architect of the Alexander Market complex was the second city architect of Riga, Reinhold Schmaeling (1840-1917).
Sadly not a patch on previous times I've been. Visually less of everything across the board. It's clear reenactors, stall holders, vintage vehicles etc., have given it a miss in advance.
The event organisers [Pike and Shot] say 80% of the groups let them down. Cant blame the groups for the mass exodus. You're the organisers, they have supported this event for over 10 years. The fault is on your doorstep.
I was watching and listening to the fella firing up the Rolls Royce engine. He was furious to put it mildly (as seen in my video). He received a call to start it earlier than scheduled. He had to! He did with reluctance and was subsequently drowning out the singers nearby. When he challenged the staff about it they were not so sympathetic. Awful for him. To his credit he apologised to the small crowd of what happened that he was instructed to start the engine early. So for me, this was a live example of the organisers causing unrest as the event unfolded.
Having been to several 1940s events this year, this was the bottom of the pile. When I spoke with quite a few visitors and stall holders etc., they were expecting so much more, as in the past.
Singer: Miss Trixie Holiday
The other singer, not in this video, was Ricky Hunter. Decided not to include him in my video because he spent way too much time looking at his phone, playlist, drinking water, while singing, rather than entertain the crowd. He was a last minute guest singer anyway. He had not been invited for over 5 years.
Entrance fee was £10! (reduced to £4 very late on into the second day). No concessions. No signposting to the event. No map or itinerary. Limited parking. A bare bones event. Purely the fault of the organisers and Rufford Abbey Estate collectively.
Without Prejudice.
Visually a descendent of the SP1 Striker, but sized more like the Galactic Peacekeeper.
I'm still not totally sure about that cagelike take on the prisoner transport pod, but it mostly works.
And I actually managed semi-retractable undercarriage.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
Built on a visually important junction on the corner of Foregate Street and overlooked by Chester's famous clock.
Built in 1921 for the Manchester and Liverpool District Bank Ltd. it is a late example of the black and white revival which in turn was part of the wider Tudor Revival that had been fashionable since the middle of the 19th century. Not simply a pastiche, the building is timber-framed and beautifully finished inside and out.
Wikipedia: "Once the capital of Scotland, Stirling is visually dominated by Stirling Castle". Also: "he who holds Stirling, holds Scotland"
First let me say, this widefield perspective does ZERO justice to the actual totality seen visually on scene. The actual totally eclipsed Sun dominates the sky - and one's rapt gaze - in a way not evidenced by this puny depiction here. So OK, just so you know that.
I went to Solartown in Madras, OR to catch the eclipse, opting for the "Daytripper" overnight parking, mainly because I hadn't made any other viable plan. And it was, literally, a farm turned into a parking lot with some 6000 vehicles (an estimate I heard) packed together. When you're a landscape photographer, a parking lot is NOT where you want to be shooting. So before heading into Solartown early Sunday morning, I scouted around and found this site adorned with several gnarly trees on a back road amidst otherwise flat and featureless farmland. As for Solartown, I sweated it out all day Sunday and slept there Sunday night but couldn't wait to escape the throngs, which I did before 6 a.m. on eclipse day (after waiting in line behind 25 people to use the porta-potty at 5:30 a.m! Yeah, TMI.).
For this shot, I took an exposure every three minutes with a solar filter on a zoom lens set at 35mm. Then, of course, I took off the filter during totality and shot a couple sets of five different auto-bracketed exposures covering a wide range of shutter speeds, to make sure I got one or more with proper exposure (since it's hard to know the proper exposure for a totally eclipsed Sun in advance). The shot of the totally eclipsed Sun with the foreground was a 2-second exposure. Then I layered in the 25 other Sun shots (1/500th second each) in Photoshop with a quick stacking method. I opted not to do the "other side" of the sequence after totality, because to do that I would have had to use a shorter focal length, maybe 24mm or 28mm, to fit it all in, and the solar disks would have been even tinier.
I'm amazed I even had the presence of mind to work the camera during totality at all. Because when I glanced up and caught the surreal sight of the first diamond ring, it took a team of wild horses, as it were, to tear my gaze away and get to work! What a gorgeous, spine tingling spectacle.
And well worth the nearly 7-hour drive from Madras back to Bend. Which normally takes less than 1 hour.
Visually, this composition reminds me of a magic wand. It's a fitting metaphor, perhaps, because a total eclipse certainly does cast a wondrous spell on all who witness it.
This picture was taken kind of as a spur-of-the-moment thing. I was setting up the crayons in the background for a different picture, and a friend of mine came into the lounge and started to build the "lincoln log" crayon tower that you see here. I liked the way that everything looked from this angle - so here's a picture :-)
I think that this is one of the most visually interesting pictures that I have ever taken. I am very pleased with the way that it turned out.
Click here for a behind-the-scenes look at this picture!
(December 2, 2007: This picture was featured in an entry of Marion Boddy-Evans' Painting Blog at About.com)
(August 3, 2009: This picture was featured in a blog post titled "Where Do Good Ideas Come From?" on Ewan McIntosh's blog)
#DSC01083
Commentary.
Hever Castle began as a country house in 1270.
Later, in the 15th. Century, whilst in need of repair,
it was converted to a Manor House owned by Geoffery Boleyn.
He had a Tudor House built within its walls.
His grandson inherited the estate from his brother in 1505.
One of his children was Anne Boleyn, future wife of Henry V111.
When Anne’s father died the property came into the possession of the King.
In subsequent centuries the estate was owned by wealthy family after wealthy family.
With its connections to Royal History the venue attracts huge numbers of visitors, all year, from all over the world.
The grounds are truly splendid. There is a Yew Maze and Water Maze, gardens and lakes, as well as the moat around the castle itself.
In summer, jousting and archery displays entertain the visitors.
There is a children’s Adventure Playground, an Italianate Garden, rose gardens, herb garden, and fine examples of hedge and bush topiary, as well as three restaurants.
The setting is adorned by a plethora of superb mature trees,
both coniferous and deciduous.
I would bargain that few visitors would be disappointed
by so many visually inspiring sights.
Well… here is a seven-image panorama that will probably get very little attention here on Flickr… it’s not as visually exciting as a sunrise (or sunset) Vertorama… and this particular subject has been shot so many times that it’s absolutely impossible to find an original composition!!
This is “Morant’s Curve”… made famous by Nicholas Morant… who was employed by the Canadian Pacific Railways as their “special photographer”. Over his 50 year career, Nicholas took many thousands of photos from all over Canada… not just of trains… but of anything else in Canadian Pacific's corporate field of endeavour. One of his favourite locations for taking photographs was the S-curve on the CPR main line just east of Lake Louise. He took so many photos at this site that it soon became known to railroaders on the CPR as “Morant's Curve”.
Our small group arrived at this location shortly after lunch… hoping to get some decent photos of the train as it passed. There was only one guy at the viewpoint when we arrived… a dedicated “train-spotter” from the UK… who admitted that he’d been waiting for at least 45 minutes without seeing any trains passing by! I chatted to him for a few minutes while I was setting up my camera and tripod… but he’d had enough of waiting… and pretty soon he gave up and drove off.
The one thing that is inevitable when a group of photographers are gathered around their tripods and taking photos of something… is that every single passing car will stop and look at what you are all shooting! Within ten minutes of our stopping here… we had attracted a fairly decent crowd… everyone with their cameras out… and hoping that we knew something that they didn’t. The most popular question that I was asked that day was… “do you know what time the next train will arrive?” LOL… we didn’t have a clue… we were trying to be as patient as possible… while sweating copiously in the hot midday sun (I can’t really speak for everyone else… but I was sweating like a pig)!!
I was really in panorama-mode that day… I’d only just figured out exactly how to assemble and calibrate my new (Panosaurus) panoramic head… and I was ready to finally put it to the test! But then it suddenly dawned on me… duh… how will I manage to take a panorama of a moving train?? Unless I manage to capture the entire train in one single frame… I’d never catch it in the same position in successive frames… so my pano would be ruined! This called for a change of plan… so I waited for some nice light… snapped the seven images for this pano (without the train)… and then packed away my pano-head again. So now I was focused on shooting this as a Vertorama… waiting for the train to enter the foreground for the first image… and then capturing the mountains and sky afterwards as the second image. After waiting for well over an hour... we finally heard the sound of an approaching train! We all jumped to attention, switched on our cameras… and waited for the perfect moment! I managed to get at least twenty shots of the train as it passed by… and then I quickly recomposed and shot the sky image too. Yeah… all that waiting paid off in the end… we finally got the shots that we were hoping to get!!
However… when I returned home from Canada and started processing my photos… I noticed that the light in the panorama that I’d shot earlier… looked very similar to the light that we had while the train was passing! I also noticed that the focal length of my panorama shots was exactly the same focal length that I’d used for my Vertorama images! That made me wonder whether it would be possible for me to cut the train out from the Vertorama image and paste it into the stitched panorama? As you can see… my plan worked a treat… everything fitted together perfectly!!
There are plenty of details in this panorama... I can really recommend viewing it large.
Nikon D300, Sigma 18-200mm at 36mm, aperture of f14, with a 1/200th second exposure.
“The artist is the confidant of nature, flowers carry on dialogues with him through the graceful bending of their stems and the harmoniously tinted nuances of their blossoms. Every flower has a cordial word which nature directs towards him.”
Castlerigg Stone Circle is one of the most visually impressive prehistoric monuments in Britain, and is the most visited stone circle in Cumbria. Every year thousands of people visit it to look, photograph, draw and wonder why and when and by whom it was built. The stone circle is on the level top of a low hill with views across to Skiddaw, Blencathra and Lonscale Fell.
I was hoping for a glorious morning, but i had lots of clouds around 5am in the morning and for a moment i thought that luck was not on my side. But seeing first light coming from the clouds i thought about doing long exposures, putting more drama in the fast moving clouds with this as result.
Enjoy...
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Technical Details;
Camera; Canon EOS 1Ds mkIII
Lens; Canon 24-70mm 2.8L USM
Exposure; 10 sec
Aperture; f22
Filter; Singh-Ray Vari-ND + Lee Hard Edge 0.6 Grad
ISO; 50 RAW
Tripod; Gitzo 3541L
Ballhead; RRS BH-55 with B2 AS II clamp
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Image is under Copyright by Henk Meijer.
Contact me by email if you want to buy or use my photographs.
Visually Impaired - Color Blind
Using LomoChrome film to raise awareness of the visually impaired. RZ67 - turquoise
The monolith that visually best sums up Cape Kiwanda and Pacific City. It’s iconic, but it shouldn’t be confused with the Haystack Rock at Cannon Beach to the north.
Often, as you approach Pacific City on 101 just before the junction to town, you can see this rock in the distance, appearing as if it floats in the air.
One story has it that the original name of the rock was Chief Kiawanda Rock, named after the head of the local tribe - actually called the Nestugga (as opposed to Nestucca, which stuck to various area landmarks).
The most visually striking building in the 200 block of E. Front St. is this Victorian Romanesque-style structure designed by Bloomington architect George Miller and completed in 1886. For seventy years the building was the home of the Higgins, Jung and Kleinau Monument Co.
Designed by Bloomington architect George H. Miller in Victorian Romanesque-style, the building was constructed for Civil War veteran Hamer J. Higgins. The name "H. J. Higgins & Co. Marble Works" is clearly visible above the center bay of second-story windows.317
Visually, I was pleased at how the lines of the most prominent iceberg followed the coastline from this point of view.
Not visually spectacular, but after three months travelling in South America, with its fair share of stray dogs, this place was quite a surprise.
It's a park in Central Lima that is a sanctuary for stray cats. Volunteers feed the cats and they can be adopted. They all seem pretty happy with the deal.
This lenticular galaxy are located about 80 million lightyears away in the Hydra constellation, visually near M83. At the top of the frame there is a big star (7.7 Magnitude) that has been masked in order to not pay attention to it, because there are hundreds of tiny galaxies disposed in chains, groups, lines, and patterns around all the field of view. Maybe I will make a bigger effort to get a more beautiful image with a much more expensive optics (and bigger telescope) and from a darker sky, but for me today it's ok from my backyard -suburban skies'- observatory and affortable taiwanese scope.
LRGB 8 hours, GSO RC 30 cms, STF8300-AO/8. 12 min subframes. Poor seeing. Process in basic Photoshop. Comments welcome...
La galaxia lenticular NGC5078 a unos 80 millones de años luz, en la constelación de Hydra, cerca visualmente de M83. Arriba en el borde de la foto hay una estrella enorme (visualmente magnitud 7.7) que ha sido enmascarada para no ponerle atención, ya que hay cientos de pequeñas galaxias distribuidas en cadenas, agrupaciones y linealmente por todo el campo visual. Tal vez en el futuro haré otro esfuerzo mayor con esta fotografía empleando un telescopio mucho más caro y grande y tomándola desde un cielo oscuro, pero para mí está bien por ahora desde mi observatorio casero con cielos sólo suburbanos y usando un telescopio baratito taiwanés.
Exposición LRGB 8 hrs total, 12 minutos subframes, GSO RC 30 cms, cámara STF8300/AO-8.
Seeing pobre. Procesado básico en Photoshop solamente.
Comentarios bienvenidos...
Visually the most stunning of Lothian's 30 open-top buses is 249 - SJ66LKO in its advert for Edinburgh's landmarks.
34/52 Choose your favourite poem and try to represent a line of it visually.
I don't have a favorite poem, but I do love music and the lyrics to some of my favorite songs are close to my heart. One of my favourites is Crush, by the Dave Matthews Band. When I saw Glen, sitting at the edge of lake, taking in the beauty of our surroundings, I was filled with so much love for him. It was his idea to drive to the mountains after work and have dinner beside the lake in the mountains. It was a romantic evening, just the two of us. The lyrics are written from a man to a woman, but the sentiment is the same either way.
"Crush"
Crazy how it feels tonight
Crazy how you make it all alright love
You crush me with the things you do
I do for you anything too
Sitting smoking feeling high
In this moment it feels so right
Lovely lady
I am at your feet
God I want you so badly
I wonder this
Could tomorrow be
So wondrous as you there sleeping
Let's go drive 'till morning comes
Watch the sunrise to fill our souls up
Drink some wine 'till we get drunk
It's crazy I'm thinking
Just knowing that the world is round
Here I'm dancing on the ground
Am I right side up or upside down
Is this real or am I dreaming
Lovely lady
Let me drink you please
I won't spill a drop I promise you
Lying under this spell you cast on me
Each moment
The more I love you
Crush me
Come on
It's crazy I'm thinking
Just knowing that the world is round
Here I'm dancing on the ground
Am I right side up or upside down
Is it real or am I dreaming
Lovely lady
I will treat you sweetly
Adore you I mean you crush me
It's times like these
When my faith I feel
And I know how I love you
Come on
Lady
It's crazy I'm thinking
Just as long as you're around
And here I'll be dancing on the ground
Am I right side up or upside down
To each other we'll be facing
By love we'll beat back the pain we've found
You know
I mean to tell you all the things I've been thinking deep inside
My friend
With each moment the more I love you
Crush me
Come on
So much you have given love
That I would give you back again and again
Meaning I'll hold you
And please let me always
Well hello Flickr, it's been awhile. A combination of work and travelling has encouraged me to take a bit of a break from Flickr for a while, which I have approached with mixed feelings. On one hand the pressure caused by constantly producing work makes me feel like I should do something with it, on the other hand being busy enough to not have the appropriate amount of time I would like to put into making posts on here causes me to balk at the practice of just throwing images up for the sake of posting. But I'm going to try to work myself back into the habit, which means posting along with some degree of writing, because it is the two together that I honestly enjoy. Sidenote: I have a week off coming up in October and while I intend to use some of that for day trips to see some fall color, I also intend to use some of it to sit down and work on a more tangible photo project (wishing myself luck).
Anyway, I just returned from a trip to Singapore. It all sort of came together obliquely. Southeast Asia has been a goal of mine for a couple of years now, but I expected it to be Japan. Tokyo and Kyoto are still top of my list, but I recently had a museum in Singapore reach out and request the exhibition of four of my images for inclusion in a larger exhibit on the intersection of humankind and technology. So when a planned trip to Japan was rescheduled, Singapore became a destination of opportunity.
I'll write more about Singapore in a later post or four, but for this one I wanted to talk a bit more about bridges. Going into a foreign city is always tough. It is not so much the foreign aspect as it is the unfamiliar nature of the new location. And tough in the sense that I think as a photographer it is always tricky to go into somewhere you are not familiar with and be able to speak with your own personal voice. It is easy to go somewhere and make the standard touristy photos. All you need for that is a few hours on Google or Instagram to find your locations. That type of photography is easy, and can be fun in the sense that the spots photographers gravitate toward are cliche for good reason. Find the right location, wait for some good light, and you have the formula for quick and nice photos, even if they tend to be a bit generic in variety and not necessarily indicative of your own personal voice.
But the alternative, making photos that are more unique to you, is also much more difficult. Generally to do so you need either time to get to know the area you are visiting so that you can speak with more familiarity, you need to do your research not just on locations but everything you need to know such as culture, history, etc so that you can speak with greater insight and authority, or you need to go into that location with a specific topic with which you have spent time working and developing. For me, that has been bridges. While my knowledge of Singapore's bridges is surface level only, and I will supplement that with further research, my familiarity in photographing bridges all over the world gives me a foundation to build on even when I am in an unfamiliar city. It definitely helps me to look at even oft-photographed bridges, such as the Helix Bridge in Singapore, in a variety of ways.
When I first started this bridge project in my hometown of Portland, Oregon about a decade ago I never expected that one of its benefits would be this notion I could carry with me as I traveled, giving me a direct when the newness of the area left me feeling a bit visually overwhelmed.
On a different, but still related note, I did not take my Hasselblad with me on this trip. For reasons I'll not bother explaining I chose instead to use my Pentax 6x7, a decision I am not regretting at all. I love that camera. But all my bridge work has been done on my Hasselblad, thus it is all square. I actually intend to keep it that way, so I had to compose my images imagining a square viewfinder with the intent to crop down later. I found this really difficult to do since I compose so intuitively with the scene through the viewfinder. I really push back against the notion of having "extra" stuff in the frame I am exposing that I am going to crop out later. Weirdly enough, if I had just taped in a square mask in the finder itself, it would have solved this mental problem for me. But I had not expected to struggle with this so much. I am kind of meticulous in my framing and not being able to see exactly where the edges of my imagined square frame would be threw me a bit. This image is one example. I shot it with the intent to crop it square, but I still composed it to fit the 6x7 frame. I am curious to see how well it crops down and whether such a crop bugs me. We shall see.
Anyway, Singapore is a cool city and one I would definitely recommend to anyone wanting to head to Southeast Asia. It is an easy city to travel in and through. Super safe and clean. Photogenic. Hot, but photogenic. My exhibit comes down on the 20th, so if you are reading this and heading in that direction soon, you'll likely miss it. But it apparently will be getting a second run starting in December or January. So if you are passing through Singapore early next year, look up the Red Dot Design Museum (it's right down in the waterfront area right next to Marina Bay).
Pentax 6x7
Kodak TMax or Tri-X
Castlerigg Stone Circle, Lake District, Cumbria
Some backgound information:
Castlerigg Stone Circle near Keswick is one of the most visually impressive prehistoric monuments in Britain. The plateau of Chestnut Hill, on which the monument stands, forms the raised centre of a natural amphitheatre created by the surrounding fells. From within the circle it is possible to see some of the highest peaks in Cumbria: Helvellyn, Skiddaw, Grasmoor and Blencathra.
The stones are of a local metamorphic slate, set in a flattened circle, measuring 32.6m at its widest and 29.5m at its narrowest. The heaviest stone has been estimated to weigh around 16 tons and the tallest stone measures approximately 2.3m high. The circle was probably constructed around 3200 BC (Late Neolithic/Early Bronze Age), making it one of the earliest stone circles in Britain.
Current thinking has linked Castlerigg with the Neolithic Langdale axe industry in the nearby Langdale fells, with the circle acting as a meeting place where these axes were traded or exchanged. Ritually deposited stone axes are frequently found all over Britain, suggesting that their use went far beyond their mundane practical capabilities. Because of this, any exchange or trading of stone axes may not have been possible without first taking part in a ritual or ceremony. Castlerigg stone circle could have been the space in which these rituals and ceremonies were enacted.
This visually frenetic kitchen is another Armstrong linoleum ad. Published in 1948 in American Home magazine, it offers some of the design excesses that typify the Post WWII period. Still, even with too much rapid eye movement, there are lots of useful ideas for organizing 21st century kitchens.
I wanted to travel to Morocco by boat in order to experiment visually the continent change from Europa to Africa. Only on land travelling make the passenger really feel the distance and the cultural evolution all along the way. Since I had previously visited Sevilla, Malaga was for me an obvious starting point for a short Morocco trip. Then I would go to gibraltar, Tarifa and take the boat for Tangier, my first Morocco city. The trip lasted 3 weeks until I reach south of Atlas Mountain Range, just before the desert.
The conclusion of my travel is that I could not recognize any Moroccan people anymore since I could realize that from north to south, and depending of the mountain side landscape, geography and people are totally different.
I do lots of kinds of photography that never show up on Flickr. There is actually quite a narrow range of types of photography that are generally appreciated here. Specialty or specialized stuff is not well received, So be it.
From time to time -- not so often -- I like to just show different things. This is a Quaker Oats switch engine, given a bit of processing treatment. Some like this sort of thing, many don't. I do.
Every year, 15th October is celebrated around the world as White Cane Safety Day. The day celebrates all the achievements of blind and visually impaired people. It also raises awareness about blindness and vision loss among people.
Description of the photo:
The photo depicts a drawing of a foldable white cane with the words "White Cane Safety Day" written above the cane in Braille.
Keep the comments clean! No banners, awards or invitations, please!
entrance to a visually sumptuous staircase at the art gallery of ontario. i remember the day the gehry unveiled the prototypes to Toronto; I was in the audience for the media release. Frank explained how significant the building had been in his own life, and that his contribution to it was meant make the journey of investigating art represented in its new structure and gallery layouts.
The stair feature was both the first sign of this that would greet you as you enter the proscenium and "look up at this crazy stairway".
Years later, from this view in particular it makes give the sense of leaving one's existing horizons for new ideas or adventures.
Suffolk Sportscars is dedicated to production of the visually exact reproduction of the legendary Jaguar SS100. It is a true and pure Jaguar, fully recognised and accepted by all the Jaguar car clubs around the world.
The Jaguar SS100 was originally designed in 1935 by William Lyons, the founder of Jaguar Cars Limited. You will find a history of the Jaguar SS100 within this section.
The Jaguar SS100 is one of the most important cars ever produced in England. It marked the high point of English sports car design before the start of World War 2. When the leading motoring writers of Europe selected their choice of the 100 most important cars of the 20th century, they included the legendary Jaguar SS100. As only 314 were ever made this is certainly an achievement. Every serious book about sports cars includes articles and photographs of the Jaguar SS100. This landmark car acted as the mainspring for the development of the remarkable lineage of post war Jaguar sports cars.
We have now made well over 200 of our Suffolk SS100 Jaguar reproductions and are well on our way to achieving my ambition to make as many as William Lyons. We hope that this website will give you the confidence in our products and that you may take the opportunity to come and visit us at Woodbridge. I can tell you that even after 20 years of making the SS100, I still get a smile and goosebumps whenever I'm ready to go for a drive. The overall shape and stying of the car is evocative of the golden age of great pre-war sports cars.
Now we combine all the superb visuality of the car with modern brakes, steering, power and safety to meet the demand of today's driver.
Visually Oregon City seems either too dark or too bright, e.g. here the new lights on the bridge made the river seem very dark visually, but photographically it balanced out very nicely. Click here to view other images in this Study Series. From a fun night in Oregon City with the PDXNightowls. NB18369
Wolves can communicate visually through a wide variety of expressions and moods ranging from subtle signals, such as a slight shift in weight, to more obvious ones, such as rolling on their backs to indicate complete submission.[82]
* Dominance – A dominant wolf stands stiff legged and tall. The ears are erect and forward, and the hackles bristle slightly. Often the tail is held vertically and curled toward the back. This display asserts the wolf's rank to others in the pack. A dominant wolf may stare at a submissive one, pin it to the ground, "ride up" on its shoulders, or even stand on its hind legs.
* Submission (active) – During active submission, the entire body is lowered, and the lips and ears are drawn back. Sometimes active submission is accompanied by muzzle licking, or the rapid thrusting out of the tongue and lowering of the hindquarters. The tail is placed down, or halfway or fully between the legs, and the muzzle often points up to the more dominant animal. The back may be partly arched as the submissive wolf humbles itself to its superior; a more arched back and more tucked tail indicate a greater level of submission.
* Submission (passive) – Passive submission is more intense than active submission. The wolf rolls on its back and exposes its vulnerable throat and underside. The paws are drawn into the body. This posture is often accompanied by whimpering.
* Anger – An angry wolf's ears are erect, and its fur bristles. The lips may curl up or pull back, and the incisors are displayed. The wolf may also arch its back, lash out, or snarl.
* Fear – A frightened wolf attempts to make itself look small and less conspicuous; the ears flatten against the head, and the tail may be tucked between the legs, as with a submissive wolf. There may also be whimpering or barks of fear, and the wolf may arch its back.
* Defensive – A defensive wolf flattens its ears against its head.
* Aggression – An aggressive wolf snarls and its fur bristles. The wolf may crouch, ready to attack if necessary.
* Suspicion – Pulling back of the ears shows a wolf is suspicious. The wolf also narrows its eyes. The tail of a wolf that senses danger points straight out, parallel to the ground.
* Relaxation – A relaxed wolf's tail points straight down, and the wolf may rest sphinx-like or on its side. The wolf may also wag its tail. The further down the tail droops, the more relaxed the wolf is.
* Tension – An aroused wolf's tail points straight out, and the wolf may crouch as if ready to spring.
* Happiness – As dogs do, a wolf may wag its tail if in a joyful mood. The tongue may roll out of the mouth.
* Hunting – A wolf that is hunting is tensed, and therefore the tail is horizontal and straight.
* Playfulness – A playful wolf holds its tail high and wags it. The wolf may frolic and dance around, or bow by placing the front of its body down to the ground, while holding the rear high, sometimes wagged. This resembles the playful behavior of domestic dogs.