visual stimuli

raygunrobyn:

adriofthedead:

themcscumblr:

odditiesoflife:

The Fukang Meteorite

Back in the year 2000, an incredible meteorite weighing 2,211 pounds was discovered near Fukang, a city located in the northwestern region of Xinjiang, China. Named the Funkang meteorite, it was identified as a pallasite, a type of stony–iron meteorite. With 4.5 billion years in the making, its golden olivine mixed with silvery nickel-iron to create a stunningly beautiful mosaic effect.

Pallasites are extremely rare even among meteorites (only about 1% of all meteorites are this type) and Fukang has been hailed as one of the greatest meteorite discoveries of the 21st century.

It has since been divided into slices which give the effect of stained glass when the sun shines through them. It is so valuable that even tiny chunks sell in the region for $40 to $60 a gram. An anonymous collector holds the largest portion, which weighs 925 pounds.

Dat olivine

that’s a big fukang meteorite

SPACE

dawnawakened:

Underwater Girl, Portrait Photography 2011

Jacob Sutton is an amazing photographer from London. Mr. Sutton usually focuses his work in the field of fashion, but for this portrait series, Underwater Girl, he experiments with something not too far from the norm. I really love the deep focus he attains on the subject, the manipulation Jacob does is scathing. Be sure to check out more of his work and upcoming exhibitions over at his main site, here.

Jacob’s work is also available on Tumblr.

mezasaurusrex:

Joel & Clem

arpeggia:

Photography by Maykel Lima

sidblack:

Portraits through Steamed windows

Sid Black, 2013

yagazieemezi:

In 1960, Garanger, a 25-year-old draftee who had already been photographing professionally for ten years, landed in Kabylia, in the small village of Ain Terzine, about seventy-five miles south of Algiers. Garanger’s commanding officer decreed that the villagers must have identity cards: “Naturally he asked the military photographer to make these cards,” Garanger recalls. “Either I refused and went to prison, or I accepted. 

“I would come within three feet of them,” Garanger remembers. “They would be unveiled. In a period of ten days, I made two thousand portraits, two hundred a day. The women had no choice in the matter. Their only way of protesting was through their look.”

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