Have you ever seen the Southern Cross? This famous constellation is best seen from Earth’s Southern Hemisphere. Captured from Rio de Janeiro, Brazil, the four bright stars that mark the Southern Cross are visible just above the horizon in the featured image. On the left of this constellation, also known as The Crux, is the orange star Gamma Crucis. The band of stars, dust, and gas rising through the middle of the image mosaic is part our Milky Way Galaxy. Just to the right of the Southern Cross is the dark Coal Sack Nebula, and the bright nebula at the top of the image is the Carina Nebula. The Southern Cross is such a famous constellation that it is depicted on the national flag of Australia.
Dark Emu and Scorpius Rising by Alan Dyer Via Flickr: The Dark Emu of aboriginal sky lore rising in the east at the OzSky 2016 star party at Coonabarabran, NSW, Australia, on April 2, 2016. The sweep of the Milky Way from Carina at upper right to Sagittarius at lower left just rising takes in much of the splendours of the southern sky. The Dark Emu itself is made of dark lanes in the Milky Way, with the dark Coal Sack at upper centre forming his head and beak. The dark lane through Centaurus forms his neck. At left is Scorpius rising, with Mars and Saturn to the left of Antares. The Small Magellanic Cloud is at lower right setting.
The Zodiacal Band and Gegenschein add the brighter sky at upper left.
This is a stack of 5 x 3-minute exposures, all tracked on the iOptron Sky Tracker, and with the 14mm Rokinon lens at f/2.8 and filter modified Canon 5D MkII at ISO 2000. The ground comes from one 8-minute exposure at ISO 800 with the tracker motor off taken right after the tracked shots. This provides the sharp foreground, with a photographer with the OzSky star party at lower right. The composite does leave some ghosly trailed trees at left and along the horizon. But I think this looks rather neat.
Description: Dean and the Reader are hunting a shapeshifter.
“Freaking shifters!” Dean shouts as the man you’re chasing topples a shelf in your path to slow you down.
You leap over it in one jump, knife in one hand and gun in the other as you wait for Dean to follow. “He’s fast,” you pant, looking at the oldest Winchester worriedly.
“You keep on him, Y/n,” Dean orders. “I’m going to go around and cut him off."
You nod and start to run again, chasing the receding figure out of the building and down an alley. He’s fast, ridiculously so, and slowly increasing the gap between the two of you.
"Come on, Dean,” you mutter as you follow him around the next corner. “Where are you?”
The shifter is picking up speed and you lower your head a little as your body tries to come up with another burst of energy, ignoring the stitch in your side and the burning in your lungs. You skid around the next corner, gun raised in the hopes that you can put a bullet in his leg to slow him down.
The alleyway is empty.
Cursing, you cautiously start to make your way forward, peeking around dumpsters and peering into doorways, knowing the shifter could be anywhere. You’re nearing the end when you stumble across a pile of what looks like melted skin dipped in vaseline.
You scan the area, seeing that the alley lets out into a busy road followed by a wide, expansive park. There are joggers everywhere and you realize with dismay that you lost him.
“Y/n!” Dean comes running toward you, panting. “I never saw him come out. Which way?”
You put your hands on your knees, breathing heavily, and nod in the direction of the abandoned skin suit. “It shifted. I never saw the new body, he could be anywhere.”
“Son of a bitch,” Dean mutters, looking at the pile of remains in disgust. “Alright, call Sam and let him know what happened. We can regroup at the hotel.”
You nod, pulling out your phone and unlocking it. “No bars,” you mutter, tapping on the screen a few times. “I’m going to that gas station across the street and see if they’ll let me use a phone.”
Dean watches you leave, tucking his pistol back into the waist band of his jeans and crouching down next to the pile of remains to examine them. He uses the tip of his knife to sift through them, hoping that maybe the shifter left something useful behind and nearly vomiting at the stench.
“That’s just-” Dean shakes his head. “That’s just nasty.”
“Oh, I agree.”
Before Dean can react something solid hits him across the back of the head, making him see stars as he lays dazed on the ground. The shifter stands over him, grinning wickedly, and touches his hand. Right before Dean’s eyes it changes until it’s like looking into a mirror.
“Oh, Dean,” the shifter tuts in his own voice, crouching down next to him. “You really should have left me alone.” As Dean watches, trying to make the world stop spinning, the shifter touches a hand to its forehead and closes its eyes, breathing deeply.
His smile makes Dean’s blood run cold.
“And you have a girl with you? A partner even? You know better than that.”
“Don’t you - You stay the hell away from Y/n,” Dean grinds out.
The shapeshifter’s eyes light up with glee. “Dean, you like her? My but we have changed. Let’s see how Y/n feels about you, shall we?
He grabs Dean by the back of his jacket and hauls him up, using a rope to swiftly bind and gag him before tossing him like a sack of coal into the dumpster.
"Don’t worry, Dean,” he says with a grin. “I’ll be back. Right after I bring you her head on a platter.”
The world is talking about Ghanaian artist Ibrahim Mahama
This is the work of Ibrahim Mahama, the young Ghanaian artist creating radical public artworks from an everyday material - old jute cloth sacks. Many of these bags were initially used to transport cocoa. They are covered in markings that tell the story of what they once contained and where they’ve been.
Writer Asha Hai had this to say about Ibrahim’s work.
“Like the flayed skin of some doomed, giant creature, Ibrahim Mahama’s stitched-together coal sacks drape over the gallery walls, spilling on to the floor. The 27-year-old Ghanaian artist recycles simple jute sacks, imported by Ghana Cocoa Board and later used by charcoal sellers, to make sombre, viscerally powerful environments, which are usually displayed outdoors – in market places and public squares. There’s a palbable sense of wear-and-tear in Mahama’s patched-up and grubby surfaces. These are the battle-worn scars of supply and demand writ large. It’s hard-knocks installation art at its very best.”
This installation was also exhibited at last year’s CHALE WOTE STREET ART FESTIVAL in Accra .His work is currently on exhibition at the Saatchi Gallery in London.
A Great Big Slab of Night Sky: Eta Carina, Running Chicken, Coal Sack Southern Cross, Jewel Box and the Two Pointers - April 18, 2007 by Joseph Brimacombe Via Flickr: Taken from Erldunda Station with a Canon 20D camera and F/1.2 85-mm lens at F/3.5 on a Losmondy G11 Mount.
Ten frames; each frame 5 x 5 min stacked images.
The Southern Cross in a Southern Sky : Have you ever seen the Southern Cross? This famous constellation is best seen from Earth’s Southern Hemisphere. Captured from Rio de Janeiro, Brazil, the four bright stars that mark the Southern Cross are visible just above the horizon in the featured image. On the left of this constellation, also known as The Crux, is the orange star Gamma Crucis. The band of stars, dust, and gas rising through the middle of the image mosaic is part our Milky Way Galaxy. Just to the right of the Southern Cross is the dark Coal Sack Nebula, and the bright nebula at the top of the image is the Carina Nebula. The Southern Cross is such a famous constellation that it is depicted on the national flags of Australia and New Zealand. via NASA