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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).
There is something quite visually appealing about the Philip's railway system maps for British Railways; yes, there can be a fair amount of station name 'clashes' but overall they give a good sense of the network, in this case revised to March 1954, and how it 'sat' in the topographic landscape. This particular version appears in the 1954 issue of the "Passenger Train Facilities" booklet for the Region and it shows the many lines allowing for some early closures but before the swathe of abandonments that the next decade would see. The only downside of such a map is the slight downplaying of other Region's services; in some areas these were quite important yet here, as if they were competing companies, they can be a little understated!
Later versions of the map show the 'Great Northern' and 'Great Eastern' lines in separate colours - after the central shackles of the BTC were lifted a little - and another feature is that the lines in east London and Essex transferred to the Central line of London Transport still appear here with stations still open for parcels and freight; operation of such trains in between Central line trains were at the time still to be seen. This is seen in one of two district insets; London and Sheffield.
Visually, I was pleased at how the lines of the most prominent iceberg followed the coastline from this point of view.
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).
IN ENGLISH BELOW THE LINE
Aquí podeu veure comparades l'origen i l'evolució (casi) final de la Leica classica, la de format M39 (és a dir, els models I, II i III). Dic casi, perque la de sobre és una Leica IIIf del 1956, i encara sortí el model IIIg fins el 1960. La Leica I model A de baix data del 1929, però és pràcticament identica a les produides el 1925. Com podeu veure, canvià el color, s'hi sumà el telèmetre i la conexió de flaix, però els controls es mantingueren pràcticament iguals.
Aquesta és la càmera que va fixar i definir el format de 35mm i el posà al centre del món, essent encara el patró (full frame) per a totes les cameres que es fabriquen 100 anys després. Fins i tot la distribució generica dels control ja va quedar en gran part fixada per aquest primer model.
Estic parlant obviament de la Leica I, model A, començada a fabricar a Wetzlar el 1925; també es coneix com a Leica A. Com molts sabreu, el primer prototip (Ur-Leica) fou del 1913, creat per Oskar Barnack per a l'empresa de microscopis Ernst Leitz. Però la Gran Guerra ho parà tot i no fou fins el 1923 que els models de pre-serie s'ultimaren (Leica Null-Series). Finalment, Leitz, tot i la crisi, s'arriscà a llençar al mercat aquesta "camera en miniatura", i canvià el món de la fotografía.
La Leica I model A es diferencia visualment de la resta de Leicas pel anomenat "pal de hoquei", peça frontal que bloqueja l'enfoc a infinit. A la part superior hi ha la maneta d'avançament, el disparador, la palanca de desembragament per poder rebobinar, el selector de vel·locitats, el visor i la maneta de rebobinat. Aquesta disposició de comandaments serà copiada fins l'extenuació i esdevindrà l'estandart fins i tot avui en dia.
Aquest exemplar és la segona i més antiga Leica I (A) que tinc. Això es nota en detalls com el disparador en forma de xampinyó, o el avançador de rodet més baix. Amb el número de serie 14926, data del 1929, i funciona perfectament, amb l’excepció que no pot rebobinar. Vaig descobrir que l’interior està en molt bon estat, però que li manca una peça que desembraga el mecanisme per poder rebobinar. Així i tot, pot fer fotos de gran qualitat, amb la salvetat que cal treure el rodet a les fosques. L'objectiu és l'usual en les Leica I, el Leitz Elmar f3.5 / 50mm plegable (que facilita molt poder-la portar a la butxaca). Aquestes Leica inicials tenien un objectiu fixe, i no es podia canviar. Es tracta del Elmar original, sense escala de profunditat de camp, el que fa l’enfoc una mica més dificil. Per sort, es pot adjuntar a la càmera un telèmetre extern de la propia Leitz, com el FODIS/FODUA o el FOFER.
www.l-camera-forum.com/leica-wiki.en/index.php/Leica_I_(model_A)
www.cameraquest.com/leicaa.htm
www.shutterbug.com/content/leica-i-camera-change-photography
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Here's a comparison of an early (bottom) and late (top) Leica LTM cameras, showing similarities and differences in three decades of evolution (and a World War between). The Leica I (A) was made in 1929 (but those made in 1925 are quite similar), and the Leica IIIf was made in 1956. Color changed, features were added, but the basic controls remained in place.
This is the camera which set and defined the 35mm format, put it in the center of the World, still being the pattern (full frame) for all cameras 100 years later. Even the generic distribution of the controls was already largely fixed by this first model.
I'm obviously talking about the Leica I, model A, which was manufactured in Wetzlar from 1925; also known as Leica A. As you may know, the first prototype (Ur-Leica) was from 1913, created by Oskar Barnack for the Ernst Leitz microscope company. But the Great War delayed all development, and it was not until 1923 that the pre-series models were produced (Leica Null-Series). Finally, despite the crisis, Leitz took the risk of launching this "miniature camera" on the market, changing the world of photography.
The Leica I model A differs visually from the rest of Leicas by the so-called "hockey stick", a front piece that blocks the focus at infinite. At the top plate are the advance lever, trigger, release lever for rewinding, speed selector, viewfinder and rewind handle. This control layout will be copied multiple times (notably by Nikon in the S and F series) and will become the standard even today.
This Leica I (A) is in fact my second one of this early model, and was made in 1929, due to it’s serial number being the 14926. It has several early model details, like the “mushroom” button or short advance lever. The camera works well, but can’t be rewinded. I discovered that it lacks a part that disengages the mechanism so it could be rewinded (so it has to be done in the dark). The lens is the usual for the Leica I, the folding Leitz Elmar f3.5 / 50mm (which makes it very easy to carry it in your pocket). These initial Leica had a fixed lens, and they could not be changed. In this case it is the original Elmar, without depth-of-field scale, making focusing more difficult. A detachable vertical rangefinder could be mounted on the cold shoe, like Leit’z own FODIS/FODUA or the later FOFER.
www.l-camera-forum.com/leica-wiki.en/index.php/Leica_I_(model_A)
www.cameraquest.com/leicaa.htm
www.earlyphotography.co.uk/site/entry_C234.html
www.shutterbug.com/content/leica-i-camera-change-photography
Dawns with the team ransom .... too late... I like the double solar systems, similar to Tatooine...they are visually very attractive.
Okay! My thoughts on Endgame! Here we go! Spoiler Alert, I didn’t like it that much but then I thought about it and I liked it a little more I think? ...I don’t know I just like thinking about movies and stuff and yeah. Here’s what I’m thinking about...
But really. Spoilers from here.
Okay!
I feel like this might be an obvious place to start, but it felt to me like it was unnecessarily long! There was so much that could have been cut for time, not to mention how the pacing was off the rails for the first two acts. You could go from dramatic sad scenes of rehab, to Paul Rudd in a storage unit, to Hipster Hulk taking selfies right after Black Widow sadly eats a sandwich. Those scenes on their own fit pretty well, but back to back just felt a bit messy in my opinion.
And messy just might be the best way I could describe Endgame I think. It was a fun enjoyable messy time. But also by contrast, if it was an event comic, I think I would have found it very neat and tidy. My comic fan brain and my college writer’s brain are clashing and it’s weird :P
Nick Mason of The Weekly Planet described his movie experience in a very similar way that I experienced it:
“The theatre was like the wild west! People were moving around and texting and making nose and it could be distracting.” And I felt that at times. I had this vide that most people were getting bored with a lot of the extended exposition. Myself included.
I have no idea how people could have gone to see this five or six times though. Like oh my gosh it was nearly a four hour process for me to get to the theatre, watch the movie, then get back home… man. I’m still so tired. Almost a four days later and I’m still exhausted just thinking about it! :P
This movie, in a nutshell, suffers from the same problems that the final Hobbit movie had. Most of the “Thanos and The Gem’s” story was over by by the time the movie started. Where as Infinity War was about Thanos as a character, this movie was about reuniting the A-Team, getting the gems, then fighting the big bad guy... and that’s about it. There’s a lot of stuff that was chucked into those three things, but like I don’t feel like it ALL needed to be in there. It was a lot of pouting or reminiscing on story we’ve already seen, then a big super cool battle that blew my socks off!
But like, the humor wasn’t quite right in more places than any other Marvel movie so far. It felt like DC humor, and that’s saying something. Squeezing in humor always breaks the drama and it did just that nearly every time. Basically any scene Thor was in, he broke the tension, but I’m gonna come back to than in a minute.
Most of the 2012 New York battle was really fun, but I can’t help but wonder what happened to Loki and the tesarract...
Think about it, if he got it and escaped back in 2012 after the battle, then the events going forward would be veeeery different, surely. Even if Cap did return the stone as a not-cube to the 70s where they finally ended up plucking it, Loki would still end up having it 2012 and escape with it right? Those events in 2012 still took place because it had to have been in the 70s to have been in 2012 for 2019 Tony to drop it.
The movie never comes back to it either. Like if he got the tesseract, then he wouldn’t be in jail in Thor 2 The Dark Thor. Then from there it’s safe to assume that Thor would have been killed by Doctor Who The Elf. Then with Thor gone, Age of Ultron would have had a very different outcome, then going even further to say that the events of Raganarok would have never taken place with Surtur, and in tandem leaving Hulk in space forever.
It feels kind of important to just not address after the fact. Or am I looking to deeply into this? :P
Speaking of Thor... (here we go)
I didn’t like Thor! In fact I don’t think anybody liked what they did with Thor! (at least no one I’ve talked with liked Thor)
He was probably my least favorite part of the movie, which at times pulled me out of the drama and tension of scenes, and overall just felt poorly handled and trashy for a few cheap gags. It’s 2019 and we’re still making fun of fat people? Come on! Laaaaame! Get some new material!
You could have something like Thor being aware he let himself go. He could have a little chub that makes him just look kinda average and he hates it, but he still looks like a hunky Asgardian in most senses.
That’s the joke right there! A slight imperfection to a human, but a big deal to a Norse God. Not a shitty fat suit through the ENTIRE MOVIE! WHO THOUGHT THAT WAS A GOOD IDEA?! EVEN THE STUPID BEARD BRAID OH MY GOD I HATED IT!
I mean part of his charm is that he’s a dummy, but he can back himself by his own brawn and bravery and share it with others. When you take that away from him for cheap jokes, he’s borderline dislikable. I mean think about that kick-ass scene in Ragnarock where Zeppelin is playing as he rocks up on the rainbow bridge!
Now think of Endgame Thor in a hoodie.
See?
Man, what a disappointment.
But on the other side of the coin...
Captain America was perfect! He’s one of the few comic book characters to have a solid character arc through every single one of his movies. He’s never wavered or changed (unlike Thor for example, or the forgotten PTSD Tony)
Cap being worthy of Mjolnir was a bit corny to see on screen but it fit the character and was really exciting in the moment. I mean it isn’t the first time he’s wielded it anyway so I’m not mad about it, but I saw it coming from a mile away and I think that’s why I didn’t like it in hindsight, but it was still really fun and he used it in fun new ways of combat that Thor never did! That moment in the theater though was really fun! :P
But really, Steve’s final arc was the best send off for a Movie Superhero I’ve ever scene! Possibly even better than Logan! For one, it gives future writers room for more stories between then and now, but his final moments with Peggy were fantastic and I certainly teared up for them :)
On a totally different topic, I found it almost too convenient that 2014 Nebula had the ability to develop reverse memories...? Being in the same time as your past self won’t fuse your memory even if you’re a cyborg, right? It didn’t happen to anyone else, so why only her? And why doesn’t it go both ways simultaneously instead of hours later, when it’s mere seconds before they’re about to leave with the stone?
Because of drama that’s why.
Also, maybe this is just my opinions kicking around again, but 2014 Thanos flying into the quantum realm to time travel, and just getting the gems by blowing up the compound really felt like it undermines the entire journey he took in the last film. It felt like he had no depth as a character and was basically Steppenwolf. His whole resource management thing was out the window for just a big ole’ “I just want everyone to like me and if they don’t I’ll just dust em!”
But also like… that wasn’t the character we all watched in IW anyway, so yeah. Maybe I just expected a little more from him, that’s all.
Along with that thought, I felt like the scene with the Soul Stone, Nat, and Hawkeye felt repetitive. Watching Clint and Natasha debate felt quite same-y from Infinity War’s very similar scene. The first time seeing it, it was visually impressive and shocking to see Red Skull again after being missing from like ten movies; but this time it just felt like it took up too much time for something that we had already gone over before. All we needed to know was who was going to sacrifice themselves in the end.
(But that scene when the full team gets back together and start to celebrating, then they realise Natasha is gone… Oh man what a good scene!)
Also I personally think that it should have been Hawkeye that died, but we needed him to be around for his family because Black Widow never got her own backstory or family or even her own film to cling to so yeah. I get it.
Also also, if it was five years later Ned would have been out of high school by now, right? Or did he get snapped too? If so (more than likely because he was the same age and not five years older like Cassy), no time would have passed for him like none had passed for Peter... So why the reunion hug? I need more information for it scene to have emotional gravity!
Aaaghhhh! I almost forgot to talk about Danvers!
Captain Marvel was a nothing character! She showed up at the beginning to be like “Hey I know who Thanos is too but like I’m kinda too busy to fully care so byeeee”
Then three hours later without popping in, benefiting the plot, or contributing to anything in the overarching story, she just shows up and solves all their problems by blowing up the big triangle ship; then she doesn’t even speak to anybody after the battle! I mean why even have her in the movie at all?
Okay sorry... things I like... Staying positive about a movie full of action figures… *deep breath*
The 1970s were pretty fun, Howard was nice, the classic Antman Helmet was cool, Peggy’s scene was heartbreaking.
I like that Gwyneth Paltrow was reading a book on compost. (If you get it, than you get it)
Hipster hulk was weird... But I mean there was a good message behind it, to learn to live with yourself and all that, but his overall vibe was odd. Also why waste like five minutes on the selfie scene? Like it was awkward for the characters and it was awkward watching it and this movie was so long! Why dwell on it for so long?
But that end battle was incredible and I keep coming back to it! The action was incredible! It blew my mind at how cool it all was! But like yeah Danvers at the end felt just a bit too cliche and killed the vibe towards the end.
Yeah... I don’t know man. I've got a lot of thoughts.
I mean for instance, what are the consequences of bringing back half the population after five years of absence? Ecosystems have changed, weather has changed, life in general has changed from the mass population exodus! You can’t just go from 3.5 billion people after five years then back to 7 billion. It just wouldn’t be the same. Think of bringing back say, a pilot of an airplane that killed people that didn’t die in the snap. Or like members of international governments returning to power. Food production and consumption, along with trade and stocks. Or little things like single parents with kids. Prison Establishments. Hospitals. Educational facilities… Gaaaahhh!
...Spider-Man’s next movie is gonna have a lot to answer for.
But really, I did quite like it. Yet at the same time, I didn’t.
So yeah.
...Thaaat’s, the tooth.
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If you wanna see how I photographed this shot, or how I built this little set up, be sure to check out all the details on my Patreon! :)
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Patreon: andrewcookston
Instagram: a.cookston.photography
Twitter: @acookston_photo
Japan was big into the prototypes. The All Japan Sports Prototype Championship ran along side and sometimes part of the FIA Group C series. Factory works teams from Nissan, Toyota and Mazda mixed it up with the best of the international teams.
This Trust livery was run in chassis #127’s last race at Fuji 1988 as a throwback to the team’s 956 (and was later applied to one of the last 962’s, chassis 166 in 1991).
The trans-black panel for the door and side window is used to make way for a fig's shoulders. This area will need a sticker with driver names, flags, as well as an angled edge to visually correct the tilted roof build. A sticker for surface design like this isn't much different than the whole-roof treatment on the recent SC 919 set, so I don't feel too bad about it. Also will get a few stickers for the big sponsor type details.
► █░▓ ≈≈≈≈≈≈≈≈≈≈≈≈ MILK POWDER FACTORY here visually partly blocked by the inland cruiser 'Viking Magni'. This passenger ship, ferry and cruise ship is sailing under the flag of Switzerland and is now in Germany, under way to Budapest. Her draught is 1,7 m. I noticed few passengers here, in spite of a warm day.
Most ships here use the other side (closer to me) when going upstream, but my hunch is that she's going to pick up her passengers in Arkelstad harbour and therefore getting ready on that side of the river. This stretch of the northern shore which she'a here blocking belongs to "Vreugdenhil Dairy Foods" (Nestlé) milk powder factory, with many a container ready for shipping. I would love to see it so close by from the river. Here it looks as if the factory stands on the upper deck of the cruiser.
The passengers on this cruiser belong to the generation that hardly knew about the milk powder. Now at the turn of XXI's century second quarter it has become a real quest to find a product without it in grocery stores. I do my best.
Lumix G90 / Lumix 12-35 mm f/2.8. —At 26mm (52mm full frame equivalent) and f/4.0 aperture priority. Shutter speed of 1/1300 sec. This is a sooc jpeg edited in Apple Photos 10.0, uncropped (4×3 format) and exported as 16-bit tiff. 'Green Gap' Smooth filter (~10%) in Flickr's online photo editor
~SHORTCUTS~ ...→Press [F11] and [L] key to engage Full Screen (Light box) mode with black background ↔ Press the same key or [Esc] to return... →Press [F] to "Like" (Fave)... →Press [C] to comment.
File name: P1033440.tiff
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
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.
3 · 52
Theme: "Movement"
Movement is life, life is constantly changing, contantly moving.
Visually inspired by this image by Brooke Shaden.
This is the third image for the project Teleidoscope. In case you're interested, here's the link to the group on facebook ;)
facebook · website · 500px · deviantART · Instagram · Twitter
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Tema: "Movimiento"
El movimiento es la vida, la vida está en constante cambio, en constante movimiento.
Visualmente inspirada por esta imagen de Brooke Shaden.
Esta es la tercera imagen para el proyecto Teleidoscope. Por si os interesa el proyecto, aquí está el link al grupo en facebook ;)
facebook · página web · 500px · deviantART · Instagram · Twitter
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.
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.
Visually the most stunning of Lothian's 30 open-top buses is 249 - SJ66LKO in its advert for Edinburgh's landmarks.
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.
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.
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
Code named ADO67 this was visually similar to the Austin 1800 (ADO17), but where that car drove the front wheels this larger car was rear wheel drive.
2019 Basingstoke Festival of Transport
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.
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."
NGC 7822 Question Mark Nebula is a striking and visually captivating emission nebula in the constellation Cepheus, located approximately 2,900 light-years away. The complex encompasses the emission region designated Sharpless 171 and the young cluster of stars named Berkeley 59.
This vibrant and colorful region forms part of the larger star-forming complex called the Cepheus Flare. In this grand area, the dynamic interplay of radiation emanating from young, hot stars illuminates the surrounding gas and dust. The youngest portions of this complex are only a few million years old - very young by stellar standards!
The complex also includes one of the hottest stars discovered within one kpc of the Sun, namely BD+66 1673, which is an eclipsing binary system consisting of an O5V that exhibits a surface temperature of nearly 45,000 K and a luminosity about 100,000 times that of the Sun! The star is one of the primary sources illuminating the nebula and shaping the complex's formations.
The nebula showcases intricate and fascinating structures, including dark dust lanes intertwined with glowing pockets of ionized hydrogen, making it an endlessly intriguing subject for astrophotography enthusiasts.
The nebula gets its name from the shape when seen in a very wide field of view. The region covered by this image is a close-up that focuses on the void in the larger mass of the nebula at the top of the image. More detailed framing info will shared later on.
Telescope: Redcat 51 GenIII FL-250 FR4.9
Imaging Cameras: Player One – Poseidon-C Pro
Mounts: Pegasus Astro NYX-101
Filters: Astronomik L-1 UV-IR 2”, Askar Colour Magic 2" Duo-Narrowband 6nm D Package
Accessories: Pegasus Astro FocusCube3
Guiding Telescope: 32mm UniGuide Scope
Guiding Cameras: Player One Sedna-M
Frames: UV/IR 179×300″ (gain: 120.00, offset 25) f/4.9 -10°C (Stars only)
Ha/OIII 383×300″ (gain: 120.00, offset 25) f/5.6 -10°C
OIII/Sii 401×300″ (gain: 120.00, offset 25) f/5.6 -10°C
Integration: 65Hr 20min
Darks: 16
Flats: 16
Flat Darks: 16
Dark-Sky Scale: 6.00
Software: N.I.N.A., PHD2, PixInsight, BXT, NXT
Jimmy and I took a trip up to the National Aquarium in Baltimore today. This snake is visually stunning.
Hardcore Potography ...
;-) ...
This is Fionna Banner’s floor to ceiling Arse Woman in Wonderland. I think it is about sex.
I like this picture because it’s a wall full of typography. Red / pink typography ! ;-) ...
Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based.
In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work.
She first became known for her “wordscapes” – often heroically proportioned works that capture in her own words films, from war blockbusters to porn. She often works with the “nude”, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends.
She is the Royal Academy’s Professor of Perspective.
Banner has made a number of works that translate narratives from popular culture to fine art. Typically she uses text to describe scenes or entire plots from such genres as war films, action films and pornography in exact detail. In each instance her descriptions are factual accounts of the dialogue and narrative with subtle personal inflections. The large scale text works are presented on paper and the same text is often rendered in different ways including marker pen, acrylic paint, pencil or screenprints, written by hand or printed in upper or lower case fonts and in different colour combinations of paper and ink.
The scale of the works makes it difficult to read them as linear narratives. In reference to Arsewoman in Wonderland, 2001, which Banner presented at Tate Britain for Turner Prize 2002, Michael Archer explained:
As with Banner’s other text pieces, the small point size of the font relative to the vast area of the overall work together with the closeness of the lines makes it all but impossible simply to read the text ... from beginning to end.
The eye jumps from one point to the next within the work’s field, each time falling on another description. ... But before the shape of any incident can be fully understood by reading the description to its conclusion, a blink, a line break or some other factor has disturbed and fractured the visual experience, sending the eye off elsewhere.
Arsewoman in Wonderland was also presented at the 2. BERLIN BIENNALE.
If there were a pornographic typeface, what would it look like? Fiona Banner likely considered this question when she made Arsewoman in Wonderland (AWIW) (2001). The artwork is a written transcription of Banner’s experience of watching the on-screen action of a pornographic movie directed by American porn star Tiffany Mynx.
The movie has no dialogue and little plot. Watching Mynx’s Asswoman in Wonderland repeatedly Banner transcribed the film’s action as she saw it unfold, later screen-printing the text onto billboard-size paper. Installed within a gallery, the artwork is usually hung flush to the wall with the corners of the paper unfurling from several feet above the audience’s sightline to near the floor .
The written language is bold in its appearance: loud and visually repetitive. The words are hot pink. If you step back, the sea of text becomes unintelligible due to the scale and spacing at which Banner has set the type. A banality of excess, an assault on the visual sense, the Gill Sans Bold typeface presents an onslaught of sex and words. The result is not a crescendo; it is a fake-moaning drone of white noise.
With her bad-girl gesture of wallpapering naughty words in the gallery space, the words provoke, but do they need to be read from start to finish for the work to have effect? Or does the image created by the text, and the fleeting snippets of dirty language that one may catch in a passing glance, contain the intended result of Banner’s use of text as a medium ?
ƒ/6.3
120.0 mm
1/125
250
_NYC5194_pa2
A pulsar wind nebula seen from Chandra the x-ray observatory. This is an old favorite, often called The Hand of God for its appearance as a big human hand. In reality, however, it's just a kind of crazy nebula shaped by whatever insanity this neutron star is inflicting upon its surroundings.
Even after summing up all of the cumulative data from various observations over the years, the image still has a rather low S/N ratio. It seemed visually harsh, but at the same time, I often prefer the noise over heavy smoothing. This time I overlaid my smoothing group to 60% opacity over the unsmoothed image, which leaves a good hint at the S/N ratio while calming down the coarseness in texture a bit.
Anyway, it's a fascinating object, and I wish there were more nearby pulsars out there for us to look at, but I'm glad there aren't any too close.
More information and various other resources are available at the Chandra website, for anyone who may be interested.
Data from the following ten Observation IDs were used to create this image: 754, 3833, 3834, 4384, 5534, 5535, 5562, 6116, 6117, 9138
Red: .30-.95 keV
Green: .95-2.87 keV
Blue: 2.87-7.00 keV
North is up.
Once every five years the tiles on the Sydney Opera House are visually inspected for cracks and weathering. I was fortunate enough to pass by as this was going on.
2021 remaster
A visually striking collection of interstellar gas and dust is the focus of this week's Hubble Picture of the Week. Named RCW 7, the nebula is located just over 5300 light-years from Earth in the constellation Puppis.
Nebulae are areas of space that are rich in the raw material needed to form new stars. Under the influence of gravity, parts of these molecular clouds collapse until they coalesce into protostars, surrounded by spinning discs of leftover gas and dust. In the case of RCW 7, the protostars forming here are particularly massive, giving off strongly ionising radiation and fierce stellar winds that have transformed it into what is known as a H II region.
H II regions are filled with hydrogen ions — where H I refers to a normal hydrogen atom, H II is hydrogen that has lost its electron. The ultraviolet radiation from the massive protostars excites the hydrogen, causing it to emit light and giving this nebula its soft pinkish glow. Here Hubble is studying a particular massive protostellar binary named IRAS 07299-1651, still in its glowing cocoon of gas in the curling clouds towards the top of the nebula. To expose this star and its siblings, this image was captured using the Wide Field Camera 3 in near-infrared light. The massive protostars here are brightest in ultraviolet light, but they emit plenty of infrared light which can pass through much of the gas and dust around them and be seen by Hubble. Many of the other, larger-looking stars in this image are not part of the nebula, but sit between it and our Solar System.
The creation of an H II region marks the beginning of the end for a molecular cloud. Over only a few million years, the radiation and winds from the massive stars gradually disperse the gas — even more so as the most massive stars come to the end of their lives in supernova explosions. Only a fraction of the gas will be incorporated into new stars in this nebula, with the rest being spread throughout the galaxy to eventually form new molecular clouds.
[Image Description: Clouds of gas and dust with many stars. The clouds form a flat blue background towards the bottom, and become more thick and smoky towards the top. They are lit on one side by stars in the nebula. A thick arc of gas and dust reaches around from the top, where it is brightly lit by many stars in and around it, to the bottom where it is dark and obscuring. Other large stars lie between the clouds and the viewer.]
Credit: ESA/Hubble & NASA, J. Tan (Chalmers University & University of Virginia), R. Fedriani (Institute for Astrophysics of Andalusia)
CC BY 4.0 INT
“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.”
Globe amaranth (Gomphrena globosa L.)
Description
Family: Amaranthaceae
Growth form: Annual herb with upright to slightly arching stems
Inflorescence: Dense, spherical flower heads (≈2–4 cm diameter) composed primarily of papery, magenta to purple bracts.
True flowers: Tiny, star-like, pale yellow to cream florets that emerge intermittently between the bracts—clearly visible in the image.
Leaves: Opposite, ovate to lanceolate, softly hairy (pubescent), entire margins.
Stems: Slender, green, noticeably pubescent.
Texture & color: The bracts have a dry, almost crystalline sheen that holds color well, even when dried.
Habitat & Distribution
Native to: Central America (widely cultivated worldwide)
Typical habitat: Gardens, borders, containers; prefers full sun and well-drained soil
Climate tolerance: Heat- and drought-tolerant once established
Flowering
Season: Late spring through fall
Pollination: Attracts small bees and butterflies; florets open sequentially
Notes Relevant to the Photo
The saturated magenta bracts dominate visually, while the minute yellow florets provide fine detail and scale—excellent for macro work.
Shallow depth of field isolates the inflorescence, emphasizing the layered, rosette-like structure of the bracts.
The pubescence on stem and leaves is visible, helping confirm Gomphrena rather than similar “everlasting” genera.
You might have noticed from earlier posts that Mrs Jefferson & Isaiah appear clumsy while feeding MJI-16.
The good news is baby is thriving.
But Isaiah is missing a L eye, and Mrs J is blind in her L eye. For a temporary period, AEF volunteers are dropping food nearby...being careful to not let baby see them.
Dollywood Eagle Cam.
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!
This AI-generated image is a perfect example of what architects call "starchitecture" - a building so visually dramatic it becomes a landmark before the first brick is even laid. While a Santiago Calatrava-inspired mall would undoubtedly be a "bionic" masterpiece of white steel and soaring ribs, the question of its sensibility is a complicated one. In the current 2026 retail climate, we aren’t seeing the "death of the mall" so much as a great bifurcation. The middle-market malls you grew up with are indeed shuttering at record rates, but high-end, "destination" malls are actually seeing a resurgence.
The financial viability of such a project hinges on the fact that retail has shifted from a commodity business to an experience economy. People no longer drive to a physical location just to buy a pair of jeans they could order via an AI concierge in three seconds; they go for the "theatrical" environment. A Calatrava-style structure - much like his Oculus in New York or the City of Arts and Sciences in Valencia - functions more like a secular cathedral or a museum than a store. In 2026, premier "Class A" malls that lean into this immersive, high-art aesthetic are reporting visit gains, while "zombie malls" with generic designs are being converted into medical offices or apartments.
However, the "built anywhere" part of your premise is where the sensibility starts to crumble. A state-of-the-art, neofuturistic mall is incredibly expensive to build and maintain. The skeletal, organic forms Calatrava is known for require specialized engineering and high-grade materials that drive up the "rent-per-square-foot" to levels only ultra-luxury brands can afford. If you drop this masterpiece in a mid-sized suburb with average household incomes, it becomes a "white elephant" - a beautiful structure that can't generate enough revenue to cover its own air conditioning and debt service.
There is also the "anywhere" fallacy regarding cultural context. Part of the reason malls are struggling globally is that consumers are craving authenticity and local connection. A "spaceship" mall that looks the same in Dubai as it does in Dallas often fails to build a long-term community bond. The most successful new developments in 2026 are moving away from the "sealed box" model and toward biophilic, open-air designs that integrate with the local environment. A Calatrava design is stunning, but if it feels like an alien vessel landed in a parking lot, it risks becoming a tourist curiosity rather than a functional piece of the city's social fabric.
Ultimately, building a mall like this is only sensible if it isn't just a mall. To survive today’s financial headwinds, such a project must be a mixed-use hub - integrating luxury housing, high-end dining, and perhaps a transit link. If the goal is purely to sell clothes, it’s a financial ghost ship in the making. But if the goal is to create a cultural destination where "shopping" is just a side effect of "being there," it might just be one of the few types of physical retail that still makes sense.
While visually, you might find this jarring, to me this is actually what I saw today. Not the blown out sky I got from a tradional shot.
Located 7200 light years away, the Wizard nebula, surrounds developing open star cluster NGC 7380. Visually, the interplay of stars, gas, and dust has created a shape that appears to some like a fictional medieval sorcerer. The active star forming region spans 100 about light years, making it appear larger than the angular extent of the Moon. The Wizard Nebula can be located with a small telescope toward the constellation of the King of Aethiopia (Cepheus). Although the nebula may last only a few million years, some of the stars being formed may outlive our Sun.
Images taken last night (14-9-17) from my back garden, Leeds UK.
Work in Progress - 14/09/17:-
10 x 3min H-Alpha Images
7 x 3min R
7 x 3min G
7 x 3min B
Only a total of 1.55 Hours Imaging
Equipment:-
Skywatcher 200P 8" Reflector Scope
ATIK 314L+ CCD Mono Camera
Baader Ha, R, G, B Filters
Guiding via Orion Star Shoot 70mm & CCD & PHD2
Imaging: MaximDL
Processing: Pixinsight 1.8.5
"The whole world, as we experience it visually, comes to us through the mystic realm of color." - Hans Hofmann
I may have mentioned once or twice that I love colours!!!, my favourite are red, purple and pinks and shades thereof. I noticed the ends of these sitting on my desk at work, I loved not only the colours, but the hexagonal shapes.
I know that coloured pencils are not a usual find on a desk in my profession, but I often get called in to work when I have the kids with me and for the 20-30 minutes I end up there it keeps them very happy as they just love to colour :-)
Monty Python & the Holy Grail (1975) - "What's your favourite colour?" quote by Bridgekeeper in conversation with Sir Lancelot and Galahad.
Der Azaleen- und Rhododendronpark Kromlau ist ein ca. 200 ha großer Landschaftspark im Ortsteil Kromlau der Gemeinde Gablenz im Landkreis Görlitz. Er gilt als die größte Rhododendren-Freilandanlage in Deutschland und ist bei freiem Eintritt immer geöffnet. 1842 erwarb der Großgrundbesitzer Friedrich Hermann Rötschke das Gut Kromlau. Ab 1844, mit den ersten Anpflanzungen einheimischer und fremdländischer Gehölze in diesem Gut, stellte Rötschke fast die Hälfte seines Besitzes zur Gestaltung des Parks zur Verfügung. Es wurden Basaltsteine mit Ochsenkarren aus verschiedenen Steinbrüchen der Sächsischen Schweiz und Böhmen herbeigeholt. Aus den sechskantigen Basaltstelen entstanden Höhlen, Grotten und Pyramiden, der Richterstuhl, die Orgel, Himmel und Hölle, im Wasser und zu Lande. 1875 tauschte Friedrich Herrmann Rötschke sein Rittergut gegen Bauplätze in Wilmersdorf bei Berlin ein. Das Kromlauer Schloss hatte von hier an sieben Besitzer in vierzehn Jahren. 1889 erwarb Graf von und zu Egloffstein-Arklitten das Rittergut und beauftragte ab 1893 den Gartenbauinspektor Georg Eichler mit der Parkpflege. Dieser begann neben den bisherigen Baum- und Strauchgewächsen in größerem Umfang Rhododendren und Freiland-Azaleen anzupflanzen. Sie sollten zu einem harmonisch abgerundeten Erscheinungsbild der Parkanlage beitragen. Außerdem legten die Gartengestalter in den Moorsenken eigens zum Verkauf bestimmte Blumenzüchtungen an, die einen einträglichen Nebenverdienst erbrachten und der Entwicklung des Parks zugutekamen.
Nach dem Zweiten Weltkrieg wurde der Kromlauer Park aufgrund der Bodenreform in Volkseigentum überführt und 1948 zum Naturschutzgebiet erklärt. Erst ab 1966 begannen die zielgerichtete Pflege und Rekonstruktion des Parks. Heute ist die Gemeinde Gablenz Eigentümer des Kromlauer Parkes.
Zu den interessantesten Bauwerken im Kromlauer Park zählen das Kromlauer Schloss und die von 1863 bis 1882 aus Basalt- und Feldsteinen errichtete Rakotzbrücke (Rakotz = Sorbisch für Krebs, denn Kromlau liegt im Siedlungsgebiet der Sorben), die im Volksmund auch Teufelsbrücke genannt wird. Mit einer Spannweite von 35 m quert sie den Rakotzsee, kann jedoch nicht betreten werden. Ihr Halbkreis spiegelt sich im See und bildet so optisch einen vollständigen Kreis. Die im See angeordneten Basaltsäulen werden „Orgel“ genannt. Eine Reihe von Wanderwegen erschließt den Park und die weiteren Sehenswürdigkeiten.
de.wikipedia.org/wiki/Azaleen-_und_Rhododendronpark_Kromlau
Kromlau Azalea and Rhododendron Park is a landscaped park covering around 200 hectares in the village of Kromlau, part of of the municipality of Gablenz in the district of Görlitz in east Saxony. It is considered the largest open-air rhododendron park in Germany and is always open with free admission. The large landowner Friedrich Hermann Rötschke acquired the Kromlau estate in 1842. From 1844, with the first plantings of native and non-native trees and shrubs on the estate, Rötschke allocated almost half of his property to the creation of the park. Basalt stones were brought in with ox carts from various quarries in Saxon Switzerland and Bohemia. Caves, grottos and pyramids, the Judge's Seat, the Organ, Heaven and Hell, in water and on land, were created from the hexagonal basalt steles. In 1875, Friedrich Herrmann Rötschke exchanged his estate for building plots in Wilmersdorf near Berlin. From then on, Kromlau Castle had seven owners in fourteen years. In 1889, Count von und zu Egloffstein-Arklitten acquired the manor and from 1893 commissioned the horticultural inspector Georg Eichler to maintain the park. He began planting rhododendrons and azaleas on a large scale alongside the existing trees and shrubs. They were to contribute to the harmonious appearance of the park. In addition, the garden designers planted flower cultivars in the bog depressions specifically for sale, which generated a lucrative side income and benefited the development of the park.
After the Second World War, the Kromlau Park was transferred to public ownership as a result of the land reform and declared a nature reserve in 1948. It was not until 1966 that targeted maintenance and reconstruction of the park began. Today, the municipality of Gablenz is the owner of Kromlau Park.
The most interesting buildings in Kromlau Park include Kromlau Manor and the Rakotz Bridge (Rakotz = Sorbian for crab - Kromlau is part of the settlement area of the recognised slavic minority of the Sorbs), which was built between 1863 and 1882 from basalt and fieldstone and is also known locally as the Devil's Bridge. With a span of 35 metres, it crosses Lake Rakotz, but can not be walked on. Its semi-circle is reflected in the lake and thus visually forms a complete circle. The basalt columns arranged in the lake are called ‘organs’. A series of hiking trails provide access to the park and the other sights.
de.wikipedia.org/wiki/Azaleen-_und_Rhododendronpark_Kroml...
Meeting a new model and trying some things out. The model had brought little costume wings, but they not that visually impactful, so i brought this together in photoshop with wings generated in Midjourney.
Model and MUA: @athenaallure
Studio: @hudsonartstudio
Flowers from @michaelsstores
Comments and constructive critique are welcome, publicly or privately.
Smugmug portfolio/prints (fantasy work)
Model Society portfolio/prints (bodyscapes / art nude)
The Giant Swallowtail is widely distributed throughout the North American continent. Its range extends from southern New England across the northern Great Lakes states, into Ontario, Canada, through the southern portions of the Central Plains to the Rocky Mountains. The species ranges southward to Florida and the Caribbean, into the southwestern United States, and on through Mexico to Central and South America. In the United States it is mainly found in the south and eastern part of the country.
It is the largest butterfly in Canada and the United States with a wingspan of 3.9 - 6.3 inches (10 - 16.1 cm). Distinction between males and females is very difficult as both sexes are similar, however, females tend to have larger wingspans than males. With both gender the body and wings are dark brown to black with yellow bands. There is a yellow "eye" in each spoon shaped wing tail that can be seen from above or below. The abdomen has bands of yellow along with the previously mentioned brown. Adults are quite similar to the adults of another Papilio species, being P. thoas, which is mainly confined to the southwestern part of the United States.
Giant Swallowtails fly between May and August where there are 2 broods in the north and 3 in the south. But in some areas of the southern United States such as Texas and Louisiana, they may be seen as late as October.
Habitat is mostly deciduous forest and citrus orchards in the south where they are considered an occasional pest due to the host plants for the larvae being trees and herbs of the citrus family (Rutaceae) including Citrus species, prickly ash (Zanthoxylum americanum), hop tree (Ptelea trifoliata), and Common Rue (Ruta graveolens).
Giant Swallowtail caterpillars, nicknamed "orange dogs" visually appear much like large bird droppings on plants. If predators are not fooled by their appearance, the caterpillars can extend their V-shaped osmeterium and release a foul odor to drive away predators.
All giant swallowtails have a distinctive flight pattern which generally looks as if they are "hopping" through the air. Females tend to beat their wings slowly but move quickly. Because females have such large wings, each wing beat will carry it a long way. They can glide long distances before needing to beat their wings again. Males however, tend to have more of a darty flight and beat their wings rapidly but move slower than females because their wings are smaller and each beat doesn't carry them far. Giant swallowtails in general fly fast and high.
ISO400, aperture f/8, exposure .003 seconds (1/400) focal length 300mm