View allAll Photos Tagged visually
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.
SBZ Unterschleißheim (Sehbehinderten- und Blinden-Zentrum Südbayern)
Center for the Blind and Visually Impaired
Take advantage of strawberry season by making this no bake Strawberry Cheesecake, a luscious, layered dessert that combines creamy cheesecake goodness with the sweet and tangy flavor of fresh strawberries. It’s a visually stunning treat that requires no baking, making it perfect for those warm days or when you’re craving a delightful dessert without the fuss of turning on the oven.
For this recipe, please go to:
creativeelegancecatering.blogspot.com/2025/08/no-bake-str...
For over 1900 delicious recipes and mouthwatering food images, please go to:
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This photographic story was made on the occasion of the "Laurel and Sacred Oils festival" which took place this year 2022 on Easter Monday in the Sicilian town of Forza D'Agrò (in the province of Messina), after a long stop due to the Covid-19 pandemic; this is a traditional event that has taken place for centuries with changes that have come about over the years, in fact once the population of Forza D'Agrò went in procession to the Norman monastery of Saints Peter and Paul where the Holy Oils were kept: this church is located in the village of Casalvecchio Siculo (Forza D'Agrò and Casalvecchio Siculo are located on two mountains, the two villages are visible to each other, since in ancient times this represented a very fast means to be able to communicate visually between them, in case of raids by Saracen pirates), this church was built by the Normans, it was originally located on the opposite side of where it is now located, this is because a flood of the Agrò river had endangered this structure, which had also been sacked by the Arabs, it was decided to secure it, it was completely dismantled, and then rebuilt, on the opposite side and further up from the river bed); the feast then took place when Roger II, called the Norman, granted the abbot Cerasino the possibility of rebuilding this abbey (diploma of donation of 1117), but not only ... the monks of this abbey were, again by Roger II, equipped with some fixed income, and even the complete ownership of an entire village, the current Forza D'Agrò, was given to them, with absolute power of the monks over the things and people of the village. Then, the Sacred Oils were brought from this Abbey to the church of San Michele Arcangelo (today a ruin) which is located in a district of Forza D'Agrò, with the population who used to adorn themselves for this procession with colored silk ribbons, to which over time, laurel branches were added, also carried by devotees in procession. The festival is essentially based on three strongly symbolic elements, the laurel, the Holy Oil, and the "cuddure". "The laurel" represents the "victory of Christ over Death", in fact the festival takes place on the "Day of the Angel, during the Easter period", a day that recalls that the Resurrection of Christ took place; laurel is a strongly symbolic and fragrant plant, it is used in this context, for elaborate compositions that adorn "the banners", they can be small because they are made by children, up to very large and high (difficult to hold up when there is wind due to the strong "sail effect" they cause), are made with load-bearing structures made of cane or wood, which serve to hold the fabrics on which they are sewn one by one, laurel leaves, creating drawings of a religious nature, banners that participate in a competition for the best realization (each banner in fact carries a number, as a reference for the voting jury); "Holy Oil", an element used for anointing the sick and invoking their healing, represents "redemption from sin" and "spiritual healing", is carried in procession, also a symbol of the Holy Spirit who embraces the body and soul of man and that refers to Christ, "the Anointed"; finally "the cuddure" (they are small circular loaves, with naturally leavened intertwined and dough, on which a symbol is imprinted), and they symbolize "prosperity", but also "charity", and that is why the brothers of the SS. Trinity distribute them to the people present at the feast as a sign of gift. This year, however, due to the restrictions of Covid-19, the "cuddure" did not take place, the "blessing of the Holy Oils" was performed in the Mother Church, and not in the characteristic square in the center of the town , while the procession was made along a short route, and not along the traditional route which, after having crossed the center of the town, then circumscribes it along its entire periphery. As explained above, this festival is also called "'a festa d'u d'auru" (the laurel feast), or "' the feast of cudduredde" (the feast of small donut-shaped loaves); the "banners awarding" will close this characteristic feast, to the great joy of all those who participated.
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Questo racconto fotografico, è stato realizzato in occasione della “festa dell’Alloro e degli Oli Sacri” che si è svolta quest’anno 2022 il giorno del Lunedì dell’Angelo nel paese siciliano di Forza D’Agrò (in provincia di Messina), dopo un lungo stop a causa della pandemia da Covid-19; è questo un evento tradizionale che si svolge da secoli con delle modifiche che sono venute a crearsi negli anni, infatti un tempo la popolazione di Forza D’Agrò andava in processione fino al monastero normanno dei Santi Pietro e Paolo ove erano custoditi gli Oli Santi: tale chiesa si trova nel paese di Casalvecchio Siculo (Forza D’Agrò e Casalvecchio Siculo si trovano su due monti, i due paesi sono visibili l’un l’altro, poiché anticamente questo rappresentava un mezzo rapidissimo per poter comunicare visivamente tra loro, in caso di scorribande di pirati saraceni), tale chiesa fu costruita dai Normanni, essa originariamente si trovava sul versante opposto rispetto a dove è situata ora, questo perchè una piena del fiume d’Agrò aveva messo in pericolo tale struttura, ma essa era anche stata saccheggiata dagli Arabi, si decise così di metterla in sicurezza, fu smontata completamente, per poi essere riedificata, sul versante opposto e più distante in alto rispetto al letto del fiume); la festa quindi ebbe luogo quando Ruggero II, detto il Normanno, concesse all’abate Cerasino la possibilità di riedificare tale abazia (diploma di donazione del 1117), ma non solo…i monaci di tale abazia furono, sempre da Ruggero II, dotati di alcuni redditi fissi, ed addirittura venne data a loro la completa proprietà di un intero villaggio, l’attuale Forza D’Agrò, con assoluto potere dei monaci su cose e persone del villaggio. Quindi, gli Oli Sacri venivano portati da tale Abazia alla chiesa di San Michele Arcangelo (oggi un rudere) che si trova in una contrada di Forza D’Agrò, con la popolazione che anticamente usava adornarsi per tale processione con nastri di seta colorati, ai quali col tempo, sono andati ad aggiungersi i rami di alloro, portati anche questi dai devoti in processione. La festa si basa essenzialmente su tre elementi fortemente simbolici, l’alloro, l’Olio Santo, e le “cuddure”. “L’alloro” rappresenta la “vittoria del Cristo sulla Morte”, infatti la festa si svolge il “Giorno dell’Angelo” durante il periodo Pasquale, giorno che rievoca che è avvenuta la Resurrezione del Cristo; l’alloro è una pianta fortemente simbolica e profumata, essa viene utilizzata in questo contesto, per elaborate composizioni che adornano “gli stendardi”, i quali sono dei drappi-vessilli, possono essere di piccole dimensioni perché realizzati dai bambini, fino a molto grandi ed alti (difficili da reggere quando c’è vento per il forte “effetto vela” che essi causano), sono realizzati con delle strutture portanti fatte di canna o di legno, che servono a reggere le stoffe sulle quali vengono cucite una ad una, le foglie di alloro, realizzando dei disegni di carattere religioso, stendardi che partecipano ad una gara per la migliore realizzazione (ogni stendardo infatti porta un numero, come riferimento per la giuria votante); “l’Olio Santo” è un elemento usato per l’unzione dei malati ed invocarne la guarigione, rappresenta la “redenzione dal peccato” e la “guarigione spirituale”, viene portato in processione (insieme a delle foglie di alloro), anch’esso simbolo dello Spirito Santo che abbraccia corpo ed anima dell’uomo e che rimanda a Cristo, “l’Unto”; infine “le cuddure” (sono dei piccoli pani di forma circolare, con la pasta lievitata naturalmente ed intrecciata, su cui è impresso un simbolo), esse simboleggiano la “prosperità”, ma anche la “carità”, è per questo che i confrati della SS. Trinità li distribuiscono alle persone presenti alla festa in segno di dono. Quest’anno però, a causa delle restrizioni causate dal Covid-19, le “cuddure” non si sono fatte, la “benedizione degli Oli Santi” è stata eseguita nella Chiesa Madre, e non nella caratteristica piazza che si trova nel centro del paese, mentre la processione è stata fatta lungo un breve percorso, e non lungo il percorso tradizionale, molto più lungo, che dopo aver attraversato il centro del paese, poi lo circoscrive lungo tutta la sua periferia. Per quanto esposto prima, tale festa viene chiamata anche "a’ festa d'u d'auru" (la festa dell'alloro), oppure "a’ festa di cudduredde" (la festa dei piccoli pani a forma di ciambella); la "premiazione degli stendardi" chiude questa caratteristica festa, tra la grandissima gioia di tutti coloro che vi hanno partecipato.
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.
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.
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.
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.
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.
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
“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.”
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 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).
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
Of the many productions of Tchaikovsky's Nutcracker I have seen throughout the years, few are more visually striking than this one recently staged at the Rome Opera House.
In a theatrical design full of charming detail, seasonal coziness and fairytale magic, one lovely scene has the families posing for a group shot in front of the Christmas tree.
The sets were created by Andrea Miglio, the costumes by Gianluca Falaschi, lighting by Valerio Tiberi and the video projections by Igor Renzetti and Lorenzo Bruno. The overall production and choreography is by Paul Chalmer.
Seen at the Teatro dell'Opera di Roma, 22 December 2024. Artists of the Ballet of the Teatro dell'Opera di Roma.
© 2024 Marc Haegeman. All Rights Reserved.
Visually, I was pleased at how the lines of the most prominent iceberg followed the coastline from this point of view.
This was quite unexpected. Honestly one of the most visually striking cars I've encountered, such a unique presence.
Visually the most stunning of Lothian's 30 open-top buses is 249 - SJ66LKO in its advert for Edinburgh's landmarks.
Sometimes I compose photos visually through the viewfinder. Other times I go more by instinct, moving about until it just feels right. Such was the case here. I found myself in some low ground and when I looked up toward the stones, I just knew this was the photo.
A relaxing and visually attractive way to walk from a car park down to the Seafront.
Dappled light coming through the trees, the sound of the adjoining stream and a well maintained path.
Filey is between Scarborough and Bridlington on the East Coast of Yorkshire but is more refined and relaxing than either of those two.
This ravine would be called a Chine if down south or on the Isle of Wight.
Australian GT Endurance race, first of the season at Phillip Island Grand Prix Circuit, a beautiful weekend, I got very lucky with weather ( my first visit, and I will be back) Visually stunning, apparently great for bikes (Moto GP) but for racing cars; passing can be difficult.
Tree branches and fall leaves encrusted in ice. On Dec. 22, 2013, much of Northeastern North America was hit with a massive ice storm that created a lot of destruction and hardship. The crystalline coating of ice that formed on the tree branches and other vegetation was visually very beautiful and photogenic, inspiring me to go out into our local forest to capture some of this beauty. Here is one of the images, the eleventh in this set.
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
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.
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.
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.
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.
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.
Rather understated visually, but I like these distant galaxy fields, especially considering this is taken through an 8" scope (ie, these are pretty far and faint fuzzies...).
Constellation: Perseus (Per) · Contains: IC 312 · NGC 1259 · NGC 1260 · NGC 1264 · NGC 1265 · NGC 1267 · NGC 1268 · NGC 1270 · NGC 1271 · NGC 1272 · NGC 1273 · NGC 1274 · NGC 1275 · NGC 1277 · NGC 1278 · NGC 1281 · NGC 1282 · NGC 1283 · NGC 1293 · NGC 1294 · Perseus A
Imaging telescopes or lenses: Meade Starfinder 8
Imaging cameras: ZWO ASI1600 cooled mono
Mounts: Losmandy GM-8
Guiding telescopes or lenses: Svbony 60mm guidescope
Guiding cameras: ZWO ASI120MM
Software: Nighttime Imaging ‘N’ Astronomy · Open Guiding PHD2 Guiding · Astro Pixel Processor · Adobe Photoshop CS4 Photoshop CS4
Accessory: GSO 2" Coma Corrector · Baader MPCC coma corrector · OnStep GoTo Controller · Rigel Systems Focuser
Dates:Aug. 27, 2021
Frames: 274x75" (5h 42' 30")
Integration: 5h 42' 30"
Avg. Moon age: 19.64 days
Avg. Moon phase: 75.48%
Basic astrometry details
Astrometry.net job: 4935903
Resolution: 2342x1742
Data source: Backyard
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!
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."
As visually complicated as the ABANDONED CADILLAC photo might appear, it really was a fairly simple setup, right on my kitchen table.
[ here's the finished photo:]
www.flickr.com/photos/24796741@N05/7028272255/in/photostr...
I've had that bridge model for some time and wanted to use it in a different way.
After I placed it on the "road surface" the whole scene fell into place because the piers of the structure seemed to make a stronger statement than the iron works.
After that decision, It was a just a question of what era to represent.
When lighting the set, it was immediately clear that a dramatic over head source was the way to go. The pattern of the girders falling on the automobiles defined the story.
An interesting aspect of that lighting was it created an odd flattening of the background; there was no sense depth, even though the backdrop was over 3 feet away.
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