#Visual Poetry
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Der Münchener U-Bahnhof Harthof: Die säulenlose Bahnsteighalle strahlt eine gewisse Nüchternheit aus, ist sie doch in ihrer Gestaltung vergleichsweise "unaufregend". Bei näherer Betrachtung fallen jedoch die durchdacht integrierte Beleuchtung und der behutsame Umgang mit Formen, Farben und Materialien auf. Die gefaltete Dachkonstruktion dient gleichermaßen als Lichtreflektor wie auch als gliederndes Element des Bahnsteigs, hat man doch das Gefühl, in einem Bauwerk mit herkömmlichen Dach zu sein. Die mit hellrosa und granatroten Glasfliesen verzierten Wände nehmen Bezug auf das kräftige rot des Linienbandes. Geplant wurde der Bahnhof vom Architektur-büro Obermeyer in Zusammenarbeit mit dem städtischen U-Bahn-Referat. Eröffnung:
20. November 1993. (Quelle: www.u-bahn-muenchen.de)
Munich’s Harthof Underground Station: The columnless platform hall exudes a certain sobriety, since its design is comparatively “inexciting. ” On closer inspection, however, the well-thought-out integrated lighting and the careful handling of shapes, colours and materials stand out. The folded roof construction serves both as a light reflector and as a structural element of the platform, since you have the feeling of being in a building with a conventional roof. The walls decorated with light pink and garnet red glass tiles refer to the strong red of the line ribbon. The station was planned by the Obermeyer architectural office in collaboration with the city’s subway department. Opening: 20 November 1993. (Source: www. u-bahn-muenchen. de)
Website: www.heiko-roebke-photography.de
The fascinating thing of chameleons are their eyes. They could be moved in every different direction. So they could watch back and forward at the same time!
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And: I don't like Comment-Codes, "awards", or such groups. They will be deleted. Explanation at my profile. Also please don't post pictures in the commenting-area. You could post them much better in your own photo stream. Your own words will mean much more to me than a universal-text. ;-D
Sitting on a wall watching patiently near a lake. The glass on the wall gives a nice visual combination
Red-tailed Hawk. View Large On Black The Red-tailed Hawk occupies a wide range of habitats and altitudes, including deserts, grasslands, coniferous and deciduous forests, tropical rainforests, agricultural fields and urban areas. It lives throughout the North American continent, except in areas of unbroken forest or the high arctic. It is legally protected in Canada, Mexico and the United States by the Migratory Bird Treaty Act. IMG_2610
Part of the stuff I get to take back to my classroom. I have thousands of marbles for a behavior system I do with my students. I've been purging my house of all the stuff I need to take back to school with me next month and hallelujah, I found my marbles.
HBW!
Made front page, yahoo :)
"If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it." Joseph Beuys, 1969. Ignore the Exif data, this shot was done with the Helios 44M-7 wide-open.
I must admit this hasn’t been the first time to have experienced this unique bonding, when the bird accepted my presence and wouldn’t fly away. Call it “interspecies communication" if you wish, or telepathy - I don’t know (smile).
After taking a few good shots with my 400mm f5.6, I have decided to take the chance and switch lenses, for a shallower DOF. The cute owl didn't move a bit. I must admit having experienced a feeling of acceptance and trust. I gave the owl its space by not getting too close.
Shot taken at f2.8 with Canon 5dIII coupled with canon 70-200 f/2.8 II.
Clark's Woods - Iowa
Didn't have to venture out very far to capture the early morning delights. Buds, blossoms and leaves are finally "popping" announcing that spring is here in the heartland!
The variety of colors, shapes and size makes a walk in the woods worth the effort!
Photo Art - Copyright 2018
Wrapped in a metallic outfit reflecting light and digital geometries, the figure emerges as a powerful, magnetic presence at the heart of a glowing network. The dress echoes circuits and futuristic structures, while the technological crown amplifies her cyber aura.
Behind her, mysterious hands rise from the darkness — touching, guiding, holding. A striking visual tension between elegance, control, and technology.
Credits:
• SALT & PEPPER - Xyra @ Cyber Fair
• SALT & PEPPER - Foiluminati Couture Gacha set - 5. Drama Detector
• AMADEUS - Broke from virtuality
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♥ For more INFO and LM visit MY BLOG
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Il chiostro maiolicato o il chiostro delle Clarisse è uno dei quattro chiostri monumentali del monastero di Santa Chiara di Napoli, tra le architetture ed espressioni artistiche più celebri e note della città.
Il chiostro è opera del 1739 e si deve all'estro creativo di Domenico Antonio Vaccaro.
In questo periodo si diede inizio ad un radicale cambiamento che riguardò tutto il complesso monastico voluto dalla dinastia angioina, con il quale si cancellò tutto il circondario originario composto da edifici religiosi nonché gli interni gotici, a favore di forme artistiche barocche.
Il chiostro grande godendo di maggiori investimenti per le restaurazioni, fu completamente trasformato da Domenico Antonio Vaccaro che mantenne la struttura gotica ridisegnando solo il giardino rustico decorato da preziose "riggiole" maiolicate di Donato e Giuseppe Massa che riprendono paesaggi e scene bucoliche napoletane. L'opera di ammodernamento fu resa possibile anche attraverso le donazioni di famiglie aristocratiche e quindi grazie soprattutto all'intervento della badessa Ippolita di Carmignano, grazie alla quale, per sua volontà, fu creata una maggiore apertura verso l'esterno in modo tale che la nuova struttura rompesse l'austerità del vicino tempio gotico, rendendo dunque gli spazi più armoniosi e fondendo architettura e natura così da confondere gli ospiti. Durante questi interventi le fontane trecentesche, che un tempo abbellivano la chiesa, furono portate all'esterno e una di queste fu completamente circondata da un "mare maiolicato". Tuttavia, seppur le suore disponevano di una ingente somma di denaro, per i lavori di ristrutturazione queste chiesero ulteriori aiuti anche alla regina Maria Amalia di Sassonia, moglie di Carlo III di Borbone.
Il bombardamento aereo del 1943 che distrusse buona parte dei locali della vicina basilica, non riuscì però a deturpare il chiostro delle Clarisse di Santa Chiara e quindi, restando quasi completamente immune all'esplosione, rimane assieme a due cappelle della basilica ed al suo pavimento di Ferdinando Fuga una delle testimonianze barocche del monastero.
Dopo la seconda guerra mondiale, a causa degli ingenti danni subiti dal monastero, molti documenti storici relativi al complesso religioso furono andati perduti, non potendo così fornire alcuna informazione circa gli affreschi trecenteschi prima e seicenteschi poi che caratterizzano le pareti del porticato.
Il chiostro vede lungo il porticato 72 pilastri di varia grandezza e di forma ottagonale sormontati da archi a sesto acuto con volte a crociera, di cui 17 al lato nord e 16 lungo i restanti lati. Alle pareti sono presenti cicli di affreschi barocchi di ignoto autore su Storie francescane, mentre sul lato interno del porticato vi sono muretti decorati da riggiole con paesaggi. I pilastri del chiostro sorreggono un terrazzo caratterizzato dalle celle, mentre, al secondo piano un ulteriore terrazzo fungeva da "luogo di delizie", soprattutto perché si aveva una visuale della città e si scorgeva il mare.
Il chiostro è attraversato da due viali in croce su un piano sollevato rispetto a quello dei portici, completando la grandiosa opera di trasformazione con 64 pilastri maiolicati con figure di fiori e frutta di forma ottagonale. I viali che dividono il giardino sono fiancheggiati da sedili e colonne rivestiti anch'essi da maioliche con Paesaggi, Scene campestri, Mascherate, Scene mitologiche ed infine, tra gli aspetti più interessanti del chiostro, con le scene di vita quotidiana della Napoli del Sei e Settecento che raccontano cosa succedeva all'esterno del complesso attraverso rappresentazioni della città e le sue allegorie che comunque rimandano ai quattro elementi: terra, aria, fuoco e acqua.
Tra le aiuole ci sono due fontane con fondo maiolicato, una delle quali è ornata da quattro sculture di leoni del XIV secolo.
Sul lato di servizio del chiostro, a nord, era disposto invece un cimitero, poi scomparso durante i rifacimenti settecenteschi, mentre da questo stesso lato è l'accesso alla scala Santa voluta negli ultimi anni del XVII secolo dalla badessa Teresa Gattola, tra le nobili personalità dell'aristocrazia napoletana attive verso il restauro del chiostro.
A visual dialogue featured in “Framed Realities,” blurring lines between form and illusion.
The Royal Greenhouses and the Royal Palace of Laeken in Brussels combine their reflections and their glass roofs to offer a twisted and confused vision.
Serres royales et palais royal de Laeken à Bruxelles mèlent leurs reflets et leurs verrières pour offrir une vision tordue et confondue.
⭐️ Win a challenge on 23/12/24, thema "Anything goes" - www.flickr.com/groups/the-storybook-challenge-group/discu...
Image created with Midjourney and edited in Photoshop, the Exposure X7 plug-in, and the Luminar Neo plug-in.
Many species of sunbirds overlap in their environmental niches - they share location and food sources etc. This is possible through the establishment of sensory (here visual) niches, based on the color of the males and strong sexual selection by females. Under such conditions, feather patterns of male members of sunbird species have evolved to balance two differing selective forces: the need to camouflage and the need to attract. Iridescence seems to play an important role there - it is an effect created by the nano-structure of keratin, air and melanin of their feathers, which makes the feather shine under some angles but appear almost black from others.
At the same time, nest-caring females have a strong need to be well-camouflaged, which is supported by a strong sexual dimorphism, in which male members of sunbird species often display a lot of color, while females appear comparatively dull.
This is a picture of the same brown-throated sunbird I posted yesterday, here showing the signature brown throat, which to me seems the least obvious feature. Despite their impressive colors, I still find them hard to spot in the wild.
The bridge was designed by Chris Wilkinson of the architectural practice of Wilkinson Eyre. They describe the Arch as follows: "The design achieves visual complexity from geometric simplicity. The 25m high arch is parabolic in form, its trapezoidal section tapering in opposite directions in both plan and elevation. Two sets of cable stays are arranged to interlock and overlap, fanning out in opposite directions to create a set of planes which twist and change as the driver passes below."
The construction of the bridge formed part of the regeneration of the Hulme district of Manchester, both by re-establishing the former route of Stretford Road, which had been cut into two halves by the construction of Princess Road in 1969, and by providing a local landmark. It was opened on 10 May 1997 by Alex Ferguson.
An ominous view over Clear Lake yesterday morning as the weather forecast was predicting freezing rain, sleet mixed with snow for our area starting late last night!
Well guess what? The weather man must know what he is doing because that is just what we are experiencing here this morning!
Sigh . . . not good!
Copyright 2024
Despite wind gust of over fifty miles an hour, tranquility and calm prevailed as I climbed Kane Mountain's 98 year old fire tower. The views are of a small corner of the southern Adirondack mountains, but amazing from any direction. Located near Caroga Lake, New York in the 518. Pentax.
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M+ Art Museum; West Kowloon cultural district
A museum "dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries"
Location: Netherwood
maps.secondlife.com/secondlife/Netherfeild/32/115/24
One of my favorite places in SL. Such a visual delight with beautiful attention to detail! <3
An image taken when I was in New Mexico photographing an Indian Day School in Sanostee, near Ship Rock. It was a pretty breezy evening with red dust blowing. I turned around to get the wind out of my face, and this is the view I saw. That's Mitten Rock on the right and the road is Indian Service Rte 13 heading towards Arizona.
Lower Antelope Canyon in Page Arizona was our last stop in a week long trip to National parks in the area before we hit the Las Vegas. Last time I was here in afternoon so could not see the different shades of Red color which only is visible in morning time and you can see so many colors changing from here as morning sun rises above.
Rarely am I so confused about the situation when I was taking a picture.
One day I ran into the Łódź Photo Festival. There was a looped film projection in one of the side rooms. Two young people watched it. The scene looked compositionally ok (although it was very dark) so I photographed it. My frustration in the subject of the description comes from the transmission of the material, for me it reminded me of an endoscope inserted into a tube. Maybe I don't know much about art or maybe I'm just not in the target group of recipients of this film material (even for sure).
AB FAV for today…
www.facebook.com/groups/1148438991917313/
I had been 'playing' with this concept for a while in my head. I called it (instead of the Silence of the Lambs) the Silence of the Bird. When I had the final result, it came to me immediately: VISUAL SILENCE.
I don't often 'dive' into the digital 'magical' darkroom that photoshop can be, but for certain projects it is a great creative tool!
Here, in the case of visual silence, what is being absorbed is not sound but gaze.
If silence is the absence of noise, then this visual silence is defined as the gradual absence, the vanishing, of what surrounds it, where we burrow from the visible surface to the invisible core. Our focus on the image involves a diminution of the optic field:
in this sense, visual silence is like a poem, its power arising from its sheer vulnerability. The image cannot be penetrated even by the most powerful of gazes because it is already open, in full view... and yet the transparency of the image, one that does not attempt to hide anything, is still capable of mystery.
Visual silence arrests us because it is the interface between two realms of partial knowledge: between he who does not know he is being watched and those who do not know what they are watching.
Some images leave us speechless, we watch them in silent awe.
Ultimately the camera is merely an extension of the human eye, it only sees and cannot wholly know what it is seeing.
May PEACE be with you and thanx for everything, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
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