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Fuerte Bulnes, Punta Arenas, Chile
You'll be on my mind
Don't give yourself away
To the weight of love
You'll be on your side
Don't give yourself away
The weight of, weight of love
Dilophosaurus
Die Länge beträgt sechs Metern er wog ca. 450 Kilogramm.
Er lebte vor 199,3 Mio. Jahre.
At about 6m -7 m (23 ft) in length, with a weight of about 400 kg (880 lb).
Santa Cruz Island
Galapagos
South America
The Galapagos land iguana (Conolophus subcristatus) is a species of lizard in the family Iguanidae. It is one of three species of the genus Conolophus. It is endemic to the Galápagos Islands (Ecuador), in the dry lowlands of Fernandina, Isabela, Santa Cruz, North Seymour, Baltra, and South Plaza.
Charles Darwin described the Galapagos land iguana as "ugly animals, of a yellowish orange beneath, and of a brownish-red color above: From their low facial angle they have a singularly stupid appearance." The Galapagos land iguana grows to a length of 3 to 5 ft (0.9–1.5 m) with a body weight of up to 25 lb (11 kg), depending upon which island they are from. Being cold-blooded, they absorb heat from the sun by basking on volcanic rock, and at night sleep in burrows to conserve their body heat. These iguanas also enjoy a symbiotic relationship with birds; the birds remove parasites and ticks, providing relief to the iguanas and food for the birds.
Land iguanas are primarily herbivorous; however, some individuals have shown that they are opportunistic carnivores supplementing their diet with insects, centipedes and carrion. Because fresh water is scarce on the islands it inhabits, the Galapagos land iguana obtains most of its moisture from the prickly-pear cactus that makes up 80% of its diet. During the rainy season it will drink from available standing pools of water and feast on yellow flowers of the genus Portulaca.
It is estimated that the Galapagos land iguana has a 50 to 60-year lifespan. – Wikipedia
Our society seems to be collapsing under the weight of the technology we’ve created. Misinformation and hate spreading like an unstoppable virus…..
It's another changeable day today, we're hoping to do some butterfly transects this afternoon but we need a bit of sun . We'll see. I had a lovely meal last night with June, and had some orchids potted by her, so my collection is growing. Weights and measures is by Dry The River.
1924 Hanomag Typ 2/10 'Kommissbrot' (1924-1928)
- 503cc single cylinder mid-engine
- the eingine lies in front of the rear axle with the radiator behind the engine
- in the center of the radiator was a shaft, on which a four-blade fan was mounted behind the radiator, and in front of the shaft was a pulley driven by the engine
- there was only one belt brake on the rear axle with no differential
- 3-speed manual gearbox
- power 10 bhp / 2.500 rpm
- curb weight 420 kg
- top speed 60 km/h
- in addition to this closed version, there was also a Cabriolet version
- 15,775 units (all models) assembled between 1924 and 1928
Technical information
The weight of the car: 825 KG
Engine capacity : 995 cm³
Cilinders : 4
Power : 18 KW 25Hp
Historie
Date of commencement of registration : 2006
Date of first issue in the Netherlands : 1987
Date of first admission : 1938
Photos made by JR de Vreeze.
It was once thought -
It was once thought the world rested on the back of three mighty elephants standing on the back of a giant turtle swimming in the sea of eternity.
That sea is but only one tear to me,
Carrying away the burdens I have lifted from thee
My back carries the pains of a million lives
Holding the weight of the world as it thrives
My heart has helped many a love
All of them caging in my freedom dove
The pain I carry is not so vast
Because more keeps appearing in the past
My pillars of strength are frail and weak
The aging timbers of support begin to creak
I hold the weight of many a pain
Out of all of them I had something to gain?
Love lost and drifted away
Flowing into a mighty sea created today
Won’t you walk freely in life’s field?
So your weighted pain I might yield.
Rich Bailey
May 18, 1999
8:28am
~~~~~
This picture was actually an older one, taken about a year ago, that I never used. Mostly because it wasn't the shot I wanted and it looked somewhat depressing. It was taken on an outing with one of the local photoclubs in Seattle. I remember thinking that this elephant looked unhappy at the zoo, almost depressed. I remember thinking, what is it like to have to be trapped in here and stared at when you would normally be roaming thousands of miles in a far away country. It seemed like an almost cruel burden to bear and thus, it fits.
*btw, no she isn't standing on any turtles that I know of*
~~~~~
This poem reaches into part of me that I don't often let people see. Childhood is supposed to be a time where we all have happy memories and our little inner child is at peace. But sometimes, life isn't that happy place for a child and someone much stronger has to take hold and bear the weight of the many bad things that have happened to a child. Even then, sometimes that person realizes that although they are strong enough to bear that burden, even they do not stand a chance against the burdens of the world and of what memories can bring down upon us.
I would hope this message would come to everyone reading -
Life often hands us things that are unfair, even cruel, and those around it see only the shell of it. Next time you see someone, or something, that doesn't seem quite so happy, give them a second thought, a hand up, a shoulder to lean on, or even a tear to help wash away a little of the dirt that life has kicked in their face.
I think as photographers we tend to be connoisseurs of light. Someone else might look out and see a cloudy day. But a photographer is bound to appreciate much more nuance in those clouds. Is it just a thin layer, producing 'cloudy bright' conditions on the ground? Or a thicker layer that allows light, but produces no distinct shadows. My mind frequently evaluates cloud and light conditions, even when I'm not actively engaged in shooting; often when I don't even have a camera with me. The process simply cannot be switched off. The cloud cover and resulting ambient light has a tremendous effect on the look and mood of photos, and if there's one thing I'm learning it's how to leverage this to shape visual stories; to tell them the way I want them told. One condition I love to work in is high density clouds. The ones that darken the sky to the point where there are no shadows at all. A leaden sky that sucks the life out of color and contrast out of photos and causes an oppressive feeling, both visually and even mentally. We've all sensed how differently we feel on a bright day compared to a dark one. Even if you're at work indoors, your spirit is likely to soar a bit more on a bright day. It's just human nature. There's still plenty of energy on a cloudy day, the trick is learning how to tap into it. The heaviness of the day was upon me as I wandered about the local cemetery and eventually gravitated toward this magnificent Gothic receiving vault. The masonry played perfectly into the visual concept of weight and obscurity. There was just enough clarity in the foreground to create a layered effect, as acuity drops off with distance in the fog. Half or more of the thrill for me in a situation like this is simply experiencing it. That coupled with the sort of intimacy I feel as I am invariably the only one present to witness these things. This exclusivity heightens awareness and my senses. I can't help but think that would be diluted in the presence of others.
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Nice wander around Thetfrod Forest yesterday mornign with Matthew Dartford. Didn't great conditions, apart from a few minutes of light
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Italy, Venice, Gondolas parked at Fondamento Orseo, next to San Marcos square. There are officially 425 Gondolas in Venice with a license, which is hard to get & stays normally in the Family. A license for a Gondoliere can cost up to 500.000 €, on the other hand, a Gondoliere makes between 10 & 15 thousand € a month, …stand 2010
Modern gondolas are up to 11 mtr long, 1.6 mtr wide & a weight of about 350 kg, made of 280 hand-made pieces using eight types of wood. It takes about 200 hours to manufacture a gondola; at a cost of roughly 30,000 €.
The oar-paddle, which is several meters long, lies in a fork, forcola, which is inserted into a rectangular opening in the hull on the starboard side. To compensate for unilateral propulsion, the gondola body is built asymmetrically along the central axis; the left side is curved more than the right starboard side, so that its contour on the starboard side is about 0.25 m shorter than on the port side.
The oar-paddle is held in an o complicated shaped fork, known as a Fórcola, allowing several positions of the oar for slow forward rowing, powerful forward rowing, turning, slowing down, rowing backwards stopping, shaped individually for each gondoliers style. The ornament iron, called the "fero da prorà" or "dolfin", on the front of the boat is made from brass, stainless steel, or aluminium. It serves as decoration; every detail of the gondola has its own symbolism & needed to balance the weight of the gondolier at the stern, has an "S" shape symbolic of the twists in the Canal Grande. Under the main blade, there is a kind of comb with six teeth or prongs pointing forward standing for the six districts of Venice. A kind of tooth juts out backwards toward the centre of the gondola symbolises the island of Giudecca, the curved top signifies the Doge's cap.
Originally, the designs were not uniform & changed over the centuries. Originally, there were gondolas in all possible colours. The Venetian noble & patrician houses at the time tried to outdo each other in the magnificent equipment of the boats.
In order to put an end to this unbridled pomposity, the Senate of Venice in 1562 passed the expense law. Supported by the church, this law prescribed uniform black equipment for all gondolas; there were exceptions for foreign envoys & for festivals.
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