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chickenuqqet:

"hates a strong word"

image

chimalxochitl:

etrnlst:

"If you’re gonna scream, scream with me…"

Moments like this never last

chimalxochitl:

etrnlst:

"If you’re gonna scream, scream with me…"

Moments like this never last

I once asked Kimi about his pulse on the grid just before the start and he replied to me like this: I have to confess that it’s lower than your pulse when you just watch.
Swedish blog (via icedrifter)
twasmeh:

Best Motivational Pictures I’ve ever seen

twasmeh:

Best Motivational Pictures I’ve ever seen

amjayes:

 “Ferrari´s team principal Stefano Domenicali resigns gets the boot faces new challenges.”

amjayes:

“Ferrari´s team principal Stefano Domenicali resigns gets the boot faces new challenges.”

mattdawsonblog:

Dambusters 70th anniversary - BBMF Lancaster flypast over Brooklands

mattdawsonblog:

Dambusters 70th anniversary - BBMF Lancaster flypast over Brooklands

femme-de-lettres:

Large (Wikimedia)
Looking at the precision of even the tiniest details in this painting—the chips in the individual stones of the chapel, the leaves of the plants that grow here and there from the tops of the walls, the little flashes of light from unexpectedly angled surfaces in the stone—it isn’t surprising to learn from the Metropolitan Museum that “Daguerre had been searching since the mid-1820s for a means to capture the fleeting images he saw in his camera obscura, a draftsman’s aid consisting of a wood box with a lens at one end that threw an image onto a frosted sheet of glass at the other.”
Of course, the Met meant that he captured those fleeting images by inventing what the Encyclopedia Britannica dubs “the first practical process of photography, known as the daguerreotype.”
But in this circa 1824 oil painting, The Ruins of Holyrood Chapel, it seems that he already had.

femme-de-lettres:

Large (Wikimedia)

Looking at the precision of even the tiniest details in this painting—the chips in the individual stones of the chapel, the leaves of the plants that grow here and there from the tops of the walls, the little flashes of light from unexpectedly angled surfaces in the stone—it isn’t surprising to learn from the Metropolitan Museum that “Daguerre had been searching since the mid-1820s for a means to capture the fleeting images he saw in his camera obscura, a draftsman’s aid consisting of a wood box with a lens at one end that threw an image onto a frosted sheet of glass at the other.”

Of course, the Met meant that he captured those fleeting images by inventing what the Encyclopedia Britannica dubs “the first practical process of photography, known as the daguerreotype.”

But in this circa 1824 oil painting, The Ruins of Holyrood Chapel, it seems that he already had.