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ASUS Zenbook Flip S 2020 full review, specifications, and price – naijainfolab

ASUS Zenbook Flip S 2020 full review, specifications, and price – naijainfolab
Hello fans, let’s take an in-depth look into all you need to know about the ASUS Zenbook Flip S, this laptop is reported to be one of the first Ultra-thin and light-weighted laptops to feature Intel’s Tiger lake CPUs alongside XD graphics. This convertible 2-in-1 laptop is pretty fast.

We’ll be checking the build quality, display, performance, and battery life of this Ultra-portable, Ultra-thin, convertible beast of a machine, after unboxing this laptop, the first surprise that’ll strike you about this laptop is its lightweight dress, weighing just 1.2Kg, it has a thickness of 13.9mm, this makes the ASUS Zenbook Flip S the world’s thinnest and lightest OLED comfortable laptop,
Build quality and design
Asus Zenbook Flip S is a 13.3-inch convertible laptop.

For the build quality, this device is a MIL STD810 G device, what that means is that this laptop is a US Military specification that guarantees a level of durability, this might also mean that this device has gone through a series of 29 test, ranging from sand dust exposure to gunfire vibration, in a nutshell, this device is reported to be tough.

READ ALSO: top 10 best smart watches

Zenbook Flip S comes with a sleeve that looks well-made and smells nice, moving on, It also comes with Stylus mondata calm, there’s also a USB type-A to RJ45 GB Ethernet adapter, also, this device comes with a USB Type-C to 3.5mm


Posted by timson4god on 2021-04-06 14:33:24



This is one of the pictures that the editing process created a whole other world and atmosphere. One of my favorites.

Posted by Georgette Céleste on 2021-03-30 21:21:22

Tagged: , smoke , portrait , portrait photography , self portrait , woman , bath , bathtub , dust , horns , devil , evil , mask , red hair , redhead , steamy , steam , Orange , Orange aesthetics , warm , interior , atmosphere , manipulation , computer manipulated , photoshop , conceptual photography , low light photography , Canon photography , amateur photographer , old photograph , poetic photography , cinematic , masks , beauty , red , gold , aesthetic , aesthetics , artistic , art , surreal , surrealist , surrealism , experimental , dream , dreamlike , dreamy , drama , dramatic , Canon Eos 4000D , theatrical , skin , candles , candle lit , fire , night , light , low light , shadows , eyes

Dreaming of only you

For list of credits,Our Blog 💻

[LEGACY] Meshbody (f)

LeLUTKA Ceylon Head 3.0 @ Skin Fair


#1 DOUX – Summer Day Hairstyle [RARE] RARE

FAKEICON / mary gems collar / white

[Cynful] Stripper Body Dust

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…Mutresse… Thea Lingerie – Fatpack

*Tentacio* Carnation time fatpack @ Equal 10

Posted by Taliah Davros Rose & Thorn on 2021-03-21 07:40:37


WFH - Stay put!

A few of us still work from home! I wanted to showcase a bit of our working day or maybe how it could sometimes look like. I also added the travelling element, because we can dream right?

Some small items might be missing from the list…

[SF] Ivy Tower V3

Fancy Decor
Prescott Shelf
Patterned Boxes
Inlaid Box
Prescott Petite Vases
Abstract Canvases
Canvas Armchair
Copper Magazine Holder
Antony Magazine Basket

Belltown Office .Set

[Con.] Groves Modular Books

Stockholm-Paper bag (decor)
Stockholm-Headphones (decor)

Apple Fall
Kingsbury Pendant Lamp
Pampas Grass
Coral Specimen
Olive Jar – Cream Glaze
Clay Cats


Dahlia –
Piper’s Handbag Gacha – Phone & Keys .03

Book Basket

spider plant.
jade plant
iced latte
messy planner 5

Sugarbyte Computer – Silver set

Celeste Crystal Lamp [Darker Crystals]

Mon Desir Planner – Group Gift
Skye’s Travel Clutter

dust bunny .
summer picnic . deli sandwiches
sweetheart lunch . potato chips

Posted by muffin.yootz on 2021-03-03 00:47:32

Tagged: , Styling , Decor , Home Decor , Peaches , Dust Bunny , Thor , Elm , Half Deer , Fancy Decor , Kraftwork , Chimia , Bazar , Consignment

Sunset & Silhouettes, Harlow Green, Gateshead, Tyne & Wear, England.

Sunset, also known as sundown, is the daily disappearance of the Sun below the horizon due to Earth’s rotation. As viewed from the Equator, the equinox Sun sets exactly due west in both Spring and Autumn. As viewed from the middle latitudes, the local summer sun sets to the southwest for the Northern Hemisphere, and to the northwest for the Southern Hemisphere.

The time of sunset is defined in astronomy as the moment when the upper limb of the Sun disappears below the horizon. Near the horizon, atmospheric refraction causes sunlight rays to be distorted to such an extent that geometrically the solar disk is already about one diameter below the horizon when a sunset is observed.

Sunset is distinct from twilight, which is divided into three stages, the first being civil twilight, which begins once the Sun has disappeared below the horizon, and continues until it descends to 6 degrees below the horizon; the second phase is nautical twilight, between 6 and 12 degrees below the horizon; and the third is astronomical twilight, which is the period when the Sun is between 12 and 18 degrees below the horizon.[1] Dusk is at the very end of astronomical twilight, and is the darkest moment of twilight just before night.[2] Night occurs when the Sun reaches 18 degrees below the horizon and no longer illuminates the sky.

Locations further North than the Arctic Circle and further South than the Antarctic Circle experience no full sunset or sunrise on at least one day of the year, when the polar day or the polar night persists continuously for 24 hours.

The time of sunset varies throughout the year, and is determined by the viewer’s position on Earth, specified by latitude and longitude, altitude, and time zone. Small daily changes and noticeable semi-annual changes in the timing of sunsets are driven by the axial tilt of Earth, daily rotation of the Earth, the planet’s movement in its annual elliptical orbit around the Sun, and the Earth and Moon’s paired revolutions around each other. During Winter and Spring, the days get longer and sunsets occur later every day until the day of the latest sunset, which occurs after the summer solstice. In the Northern Hemisphere, the latest sunset occurs late in June or in early July, but not on the Summer solstice of June 21. This date depends on the viewer’s latitude (connected with the Earth’s slower movement around the aphelion around July 4). Likewise, the earliest sunset does not occur on the winter solstice, but rather about two weeks earlier, again depending on the viewer’s latitude. In the Northern Hemisphere, it occurs in early December or late November (influenced by the Earth’s faster movement near its perihelion, which occurs around January 3).

Likewise, the same phenomenon exists in the Southern Hemisphere, but with the respective dates reversed, with the earliest sunsets occurring some time before June 21 in winter, and latest sunsets occurring some time after December 21 in summer, again depending on one’s southern latitude. For a few weeks surrounding both solstices, both sunrise and sunset get slightly later each day. Even on the equator, sunrise and sunset shift several minutes back and forth through the year, along with solar noon. These effects are plotted by an analemma.[3][4]

Neglecting atmospheric refraction and the Sun’s non-zero size, whenever and wherever sunset occurs, it is always in the northwest quadrant from the March equinox to the September equinox, and in the southwest quadrant from the September equinox to the March equinox. Sunsets occur almost exactly due west on the equinoxes for all viewers on Earth. Exact calculations of the azimuths of sunset on other dates are complex, but they can be estimated with reasonable accuracy by using the analemma.

As sunrise and sunset are calculated from the leading and trailing edges of the Sun, respectively, and not the center, the duration of a daytime is slightly longer than nighttime (by about 10 minutes, as seen from temperate latitudes). Further, because the light from the Sun is refracted as it passes through the Earth’s atmosphere, the Sun is still visible after it is geometrically below the horizon. Refraction also affects the apparent shape of the Sun when it is very close to the horizon. It makes things appear higher in the sky than they really are. Light from the bottom edge of the Sun’s disk is refracted more than light from the top, since refraction increases as the angle of elevation decreases. This raises the apparent position of the bottom edge more than the top, reducing the apparent height of the solar disk. Its width is unaltered, so the disk appears wider than it is high. (In reality, the Sun is almost exactly spherical.) The Sun also appears larger on the horizon, an optical illusion, similar to the moon illusion.

Locations north of the Arctic Circle and south of the Antarctic Circle experience no sunset or sunrise at least one day of the year, when the polar day or the polar night persist continuously for 24 hours.


Evening twilight in Joshua Tree, California, displaying the separation of yellow colors in the direction from the Sun below the horizon to the observer, and the blue components scattered from the surrounding sky

Twilight in Paris
As a ray of white sunlight travels through the atmosphere to an observer, some of the colors are scattered out of the beam by air molecules and airborne particles, changing the final color of the beam the viewer sees. Because the shorter wavelength components, such as blue and green, scatter more strongly, these colors are preferentially removed from the beam.[5]

At sunrise and sunset, when the path through the atmosphere is longer, the blue and green components are removed almost completely, leaving the longer wavelength orange and red hues we see at those times. The remaining reddened sunlight can then be scattered by cloud droplets and other relatively large particles to light up the horizon red and orange.[6] The removal of the shorter wavelengths of light is due to Rayleigh scattering by air molecules and particles much smaller than the wavelength of visible light (less than 50 nm in diameter).[7][8] The scattering by cloud droplets and other particles with diameters comparable to or larger than the sunlight’s wavelengths (> 600 nm) is due to Mie scattering and is not strongly wavelength-dependent. Mie scattering is responsible for the light scattered by clouds, and also for the daytime halo of white light around the Sun (forward scattering of white light).[9][10][11]

File:Sunset tokyoarea-timelapse-2019-03-17.webm
A video time lapse of a sunset in Tokyo
Sunset colors are typically more brilliant than sunrise colors, because the evening air contains more particles than morning air.[5][6][8][11] Sometimes just before sunrise or after sunset a green flash can be seen.[12]

Ash from volcanic eruptions, trapped within the troposphere, tends to mute sunset and sunrise colors, while volcanic ejecta that is instead lofted into the stratosphere (as thin clouds of tiny sulfuric acid droplets), can yield beautiful post-sunset colors called afterglows and pre-sunrise glows. A number of eruptions, including those of Mount Pinatubo in 1991 and Krakatoa in 1883, have produced sufficiently high stratus clouds containing sulfuric acid to yield remarkable sunset afterglows (and pre-sunrise glows) around the world. The high altitude clouds serve to reflect strongly reddened sunlight still striking the stratosphere after sunset, down to the surface.

Some of the most varied colors at sunset can be found in the opposite or eastern sky after the Sun has set during twilight. Depending on weather conditions and the types of clouds present, these colors have a wide spectrum, and can produce unusual results.

Names of compass points
In some languages, points of the compass bear names etymologically derived from words for sunrise and sunset. The English words "orient" and "occident", meaning "east" and "west", respectively, are descended from Latin words meaning "sunrise" and "sunset". The word "levant", related e.g. to French "(se) lever" meaning "lift" or "rise" (and also to English "elevate"), is also used to describe the east. In Polish, the word for east wschód (vskhud), is derived from the morpheme "ws" – meaning "up", and "chód" – signifying "move" (from the verb chodzić – meaning "walk, move"), due to the act of the Sun coming up from behind the horizon. The Polish word for west, zachód (zakhud), is similar but with the word "za" at the start, meaning "behind", from the act of the Sun going behind the horizon. In Russian, the word for west, запад (zapad), is derived from the words за – meaning "behind", and пад – signifying "fall" (from the verb падать – padat’), due to the act of the Sun falling behind the horizon. In Hebrew, the word for east is ‘מזרח’, which derives from the word for rising, and the word for west is ‘מערב’, which derives from the word for setting.

Historical view
The 16th-century astronomer Nicolaus Copernicus was the first to present to the world a detailed and eventually widely accepted mathematical model supporting the premise that the Earth is moving and the Sun actually stays still, despite the impression from our point of view of a moving Sun.[13]


Sunset on Mars
Sunsets on other planets appear different because of differences in the distance of the planet from the Sun and non-existent or differing atmospheric compositions.

On Mars, the setting Sun appears about two-thirds the size as it appears from Earth,[14] due to the greater distance between Mars and the Sun. The colors are typically hues of blue, but some Martian sunsets last significantly longer and appear far redder than is typical on Earth.[15] The colors of the Martian sunset differ from those on Earth. Mars has a thin atmosphere, lacking oxygen and nitrogen, so the light scattering is not dominated by a Rayleigh Scattering process. Instead, the air is full of red dust, blown into the atmosphere by high winds,[15] so its sky color is mainly determined by a Mie Scattering process, resulting in more blue hues than an Earth sunset. One study also reported that Martian dust high in the atmosphere can reflect sunlight up to two hours after the Sun has set, casting a diffuse glow across the surface of Mars.

A silhouette (English: /ˌsɪluˈɛt/ SIL-oo-ET,[1] French: [silwɛt]) is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Silhouette images may be created in any visual artistic media,[2] but were first used to describe pieces of cut paper, which were then stuck to a backing in a contrasting colour, and often framed.

Cutting portraits, generally in profile, from black card became popular in the mid-18th century, though the term silhouette was seldom used until the early decades of the 19th century, and the tradition has continued under this name into the 21st century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790, drew an outline on paper, then painted it in, which could be equally quick.

From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit, and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as "in silhouette". Because a silhouette emphasises the outline, the word has also been used in the fields of fashion and fitness to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period.

The word silhouette is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy.[3] Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply and so with these outline portraits.[4][5] Prior to the advent of photography, silhouette profiles cut from black card were the cheapest way of recording a person’s appearance.[6][7]

The term silhouette, although existing from the 18th century, was not applied to the art of portrait-making until the 19th century. In the 18th and early 19th century, “profiles” or “shades” as they were called were made by one of three methods:

painted on ivory, plaster, paper, card, or in reverse on glass;
“hollow-cut” where the negative image was traced and then cut away from light colored paper which was then laid atop a dark background; and
“cut and paste” where the figure was cut out of dark paper (usually free-hand) and then pasted onto a light background.[2] History
Mythological origins

Attic Greek Black-figure Neck Amphora attributed to the Princeton Painter, ca. 550–540 BCE
The silhouette is closely tied in mythology to the origins of art. Pliny the Elder, in his Natural History (circa 77–79 AD) Books XXXIV and XXXV, recounts the origin of painting. In Chapter 5 of Book XXXV, he writes,

“We have no certain knowledge as to the commencement of the art of painting, nor does this enquiry fall under our consideration. The Egyptians assert that it was invented among themselves, six thousand years before it passed into Greece; a vain boast, it is very evident. As to the Greeks, some say that it was invented at Sicyon, others at Corinth; but they all agree that it originated in tracing lines round the human shadow […omnes umbra hominis lineis circumducta].“. In Chapter 15, he tells the story of Butades of Corinth:

“Butades, a potter of Sicyon, was the first who invented, at Corinth, the art of modelling portraits in the earth which he used in his trade. It was through his daughter that he made the discovery; who, being deeply in love with a young man about to depart on a long journey, traced the profile of his face, as thrown upon the wall by the light of the lamp [umbram ex facie eius ad lucernam in pariete lineis circumscripsit]. Upon seeing this, her father filled in the outline, by compressing clay upon the surface, and so made a face in relief, which he then hardened by fire along with other articles of pottery.”
In accord with the myth, Greek Black-figure pottery painting,[8] also known as the black-figure style or black-figure ceramic (Greek, μελανόμορφα, melanomorpha, common between the 7th and 5th centuries BC) employs the silhouette and characteristic profile views of figures and objects on pottery forms. The pots themselves exhibit strong forms in outline that are indicators of their purpose, as well as being decorative.[9] Profile portraits

The traditional method of making a silhouette portrait

S. John Ross, Sydney Royal Easter Show, c. 2004
For the depiction of portraits, the profile image has marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image is clear and simple. For this reason profile portraits have been employed on coinage since the Roman era. The early Renaissance period saw a fashion for painted profile portraits and people such as Federico da Montefeltro and Ludovico Sforza were depicted in profile portraits. The profile portrait is strongly linked to the silhouette.

Recent research at Stanford University indicates that where previous studies of face recognition have been based on frontal views, studies with silhouettes show humans are able to extract accurate information about gender and age from the silhouette alone.[10] This is an important concept for artists who design characters for visual media, because the silhouette is the most immediately recognisable and identifiable shape of the character.[11]


"Mister Bethany and Patience Wright, Anonymous engraving

Drawing a Silhouette by Johann Rudolph Schellenberg (1740–1806)
Rise of popularity and development in the nineteenth century
A silhouette portrait can be painted or drawn. However, the traditional method of creating silhouette portraits is to cut them from lightweight black cardboard, and mount them on a pale (usually white) background. This was the work of specialist artists, often working out of booths at fairs or markets, whose trade competed with that of the more expensive miniaturists patronised by the wealthy. A traditional silhouette portrait artist would cut the likeness of a person, freehand, within a few minutes.[12] Some modern silhouette artists also make silhouette portraits from photographs of people taken in profile.[6] These profile images are often head and shoulder length (bust), but can also be full length.[13]

The work of the physiognomist Johann Caspar Lavater, who used silhouettes to analyse facial types, is thought to have promoted the art.[14] The 18th century silhouette artist August Edouart cut thousands of portraits in duplicate. His subjects included French and British nobility and US presidents. Much of his personal collection was lost in a shipwreck.[15] In England, the best known silhouette artist, a painter not a cutter, was John Miers, who travelled and worked in different cities, but had a studio on the Strand in London.[16] He advertised "three minute sittings",[17] and the cost might be as low as half a crown around 1800. Miers’ superior products could be in grisaille, with delicate highlights added in gold or yellow, and some examples might be painted on various backings, including gesso, glass or ivory.[18] The size was normally small, with many designed to fit into a locket, but otherwise a bust some 3 to 5 inches high was typical, with half- or full-length portraits proportionately larger.

In America, silhouettes were highly popular from about 1790 to 1840.

The physionotrace apparatus invented by Frenchman Gilles-Louis Chrétien in 1783-84 facilitated the production of silhouette portraits by deploying the mechanics of the pantograph to transmit the tracing (via an eyepiece) of the subject’s profile silhouette to a needle moving on an engraving plate, from which multiple portrait copies could be printed.[19][20] The invention of photography signaled the end of the silhouette as a widespread form of portraiture.[6]

Maintaining the tradition
The skill was not lost, and travelling silhouette artists continued to work at state fairs into the 20th century. The popularity of the silhouette portrait is being reborn in a new generation of people who appreciate the silhouette as a nostalgic way of capturing a significant occasion. In the United States and the UK silhouette artists have websites advertising their services at weddings and other such functions.[6][21][22] In England there is an active group of silhouette artists.[23][12][24] In Australia, S. John Ross plied his scissors at agricultural shows for 60 years until his death in 2008.[25] Other artists such as Douglas Carpenter produce silhouette images using pen and ink.[26]

The silhouette in art, media and illustrations

A traditional paper-cut illustration by Wilhelm Gross

White on black by Hans Christian Andersen.
Since the late 18th century, silhouette artists have also made small scenes cut from card and mounted on a contrasting background like the portraits. These pictures, known as "paper cuts", were often, but not necessarily, silhouette images.[27] Among 19th century artists to work in this way was the author Hans Christian Andersen.[28] The modern artist Robert Ryan creates intricate images by this technique, sometimes using them to produce silk-screen prints.[29]

In the late 19th and early 20th century several illustrators employed designs of similar appearance for making book illustrations. Silhouette pictures could easily be printed by blocks that were cheaper to produce and longer lasting than detailed black and white illustrations.

Silhouette pictures sometimes appear in books of the early 20th century in conjunction with colour plates. (The colour plates were expensive to produce and each one was glued into the book by hand.) Illustrators who produced silhouette pictures at this time include Arthur Rackham and William Heath Robinson. In breaking with literal realism, artists of the Vorticist, Futurist and Cubist[30][31] movements employed the silhouette. Illustrators of the late 20th century to work in silhouette include Jan Pienkowski and Jan Ormerod. In the early 1970s, French artist Philippe Derome uses the black cut silhouette in his portraits of black people. In the 21st century, American artist Kara Walker develops this use of silhouette to present racial issues in confronting images.[32]

Shadow theatre
Originating in the orient with traditions such as the shadow theatres of Indonesia, the shadow play became a popular entertainment in Paris during the 18th and 19th century. In the Paris of the late 19th century, the shadow theatre was particularly associated with the cabaret Le Chat Noir where Henri Rivière was the designer.[33]

Since their pioneering use by Lotte Reiniger in silent films, silhouettes have been used for a variety of iconic, graphic, emotional, or conversely for distancing, effects in many movies. These include many of the opening credit sequences of the James Bond films. The opening sequence of the television series Alfred Hitchcock Presents features a silhouetted profile of Alfred Hitchcock stepping into a caricatured outline of himself, and in his movie Psycho the killer in the shower scene manifests as a terrifying silhouette. A scene from E.T. showing the central characters on a flying bicycle silhouetted against the full moon became a well-known movie poster. Harry Potter and the Deathly Hallows – Part 1 contains an animated sequence in silhouette illustrating a short story The Tale of the Three Brothers that is embedded in the film. The sequence was produced by Ben Hibon for Framestore, with artwork by Alexis Lidell.

Silhouettes have also been used by recording artists in music videos. One example is the video for "Buttons" by The Pussycat Dolls, in which Nicole Scherzinger is seen in silhouette. Michael Jackson used his own distinctive silhouette both on stage and in videos such as "You Rock My World". Early iPod commercials portrayed silhouetted dancers wearing an iPod and earbuds.

The cult television program, Mystery Science Theater 3000 features the three main characters of the series watching a movie as silhouettes at the bottom of the screen.

Theatre, film and photography

A Balinese shadow show puppet and its shadow

Shadow theatre designed by Henri Rivière for Le Chat Noir

Scene from the film noir, The Big Combo (1955) filmed by John Alton
The discipline of architecture that studies the shadows cast by or upon buildings is called Sciography.

The play of shadows upon buildings was very much in vogue a thousand years ago as evidenced by the surviving examples of "mukarnas" art where the shadows of 3 dimensional ornamentation with stone masonry around the entrance of mosques form pictures. As outright pictures were avoided in Islam, tessellations and calligraphic pictures were allowed, "accidental" silhouettes are a creative alternative.[34][35]


Silhouette of trees against the blue sky.
Many photographers use the technique of photographing people, objects or landscape elements against the light, to achieve an image in silhouette. The background light might be natural, such as a cloudy or open sky, mist or fog, sunset or an open doorway (a technique known as contre-jour), or it might be contrived in a studio; see low-key lighting. Silhouetting requires that the exposure be adjusted so that there is no detail (underexposure) within the desired silhouette element, and overexposure for the background to render it bright; so a lighting ratio of 16:1 or greater is the ideal. The Zone System[36] was an aid to film photographers in achieving the required exposure ratios. High contrast film, adjustment of film development,[37] and/or high contrast photographic paper may be used in chemical-based photography to enhance the effect in the darkroom.[38] With digital processing the contrast may be enhanced through the manipulation of the contrast curve for the image.[39]

In graphic design
In media the term "to silhouette" is used for the process of separating or masking a portion of an image (such as the background) so that it does not show. Traditionally silhouettes have often been used in advertising, particularly in poster design, because they can be cheaply and effectively printed.


An advertisement for James Whitcomb Riley’s business, 1871

Poster for Palais der Friedrichstadt c. 1920

Poster for the Festival of Calanchi, San Marino, by Bradipone (2008)
Advertising postcard for Tiedtke’s store in Toledo, Ohio with a man in silhouetted profile
Advertising postcard for Tiedtke’s store in Toledo, Ohio
Other uses

The fashionable silhouette of 1900
Fashion and fitness
The word "silhouette", because it implies the outline of a form, has been used in both fashion and fitness to describe the outline shape of the body from a particular angle, as altered by clothing in fashion usage, and clothed or unclothed where fitness is concerned, (e.g. a usage applied here by the Powerhouse Museum). Advertising for both these fields urges people, women in particular, to achieve a particular appearance, either by corsetry, diet or exercise. The term was in use in advertising by the early 20th century. Many gyms and fitness studios use the word "silhouette" either in their name or in their advertising.[40]

Historians of costume also use the term when describing the effect achieved by the clothes of different periods, so that they might describe and compare the silhouette of the 1860s with that of the other decades of the 19th century. A desirable silhouette could be influenced by many factors. The invention of crinoline steel influenced the silhouette of women in the 1850s and 60s. The posture of the Princess Alexandra influenced the silhouette of English women in the Edwardian period. See advertisement left.

Because silhouettes give a very clear image, they are often used in any field where the speedy identification of an object is necessary. Silhouettes have many practical applications. They are used for traffic signs (see pic below). They are used to identify towns or countries with silhouettes of monuments or maps. They are used to identify natural objects such as trees, insects and dinosaurs. They are used in forensic science.[41]

For interviews, some individuals choose to be videotaped in silhouette to mask their facial features and protect their anonymity, typically accompanied by a dubbed voice. This is done when the individuals may be endangered if it is known they were interviewed.

Computer modelling

Computer modelling
Computer vision researchers have been able to build computational models for perception that are capable of generating and reconstructing 3D shapes from single or multi-view depth maps or silhouettes[42]

Military usage

Silhouette of an aircraft
Main articles: Aircraft recognition and Jane’s Fighting Ships
Silhouettes of ships, planes, tanks, and other military vehicles are used by soldiers and sailors for learning to identify different craft.

Posted by millicand79@gmail.com on 2020-08-21 20:01:58

Tagged: , Sunset , silhouettes , gateshead

Sunlight & Shade, Gravestones, Blaydon Cemetery, Blaydon, Gateshead, Tyne & Wear, England.

Blaydon is a town in the North East of England in the Metropolitan Borough of Gateshead – historically in County Durham. Blaydon, and neighbouring Winlaton, which Blaydon is now contiguous with, form the postal town of Blaydon-on-Tyne. The Blaydon/Winlaton resident population in 2011 was 13,896.[4]

Between 1894 and 1974, Blaydon was an urban district which extended inland from the Tyne along the River Derwent for ten miles (16 km), and included the mining communities of Chopwell and High Spen, the villages of Rowlands Gill, Blackhall Mill, Barlow, Winlaton Mill and Stella, as well as Blaydon and Winlaton. During its existence, the Urban District’s fourteen and a half square miles constituted the second largest administrative district by area, on Tyneside, after Newcastle upon Tyne.

A headstone, tombstone, or gravestone is a stele or marker, usually stone, that is placed over a grave. It is traditional for burials in the Christian, Jewish, and Muslim religions, among others. In most cases, it has the deceased’s name, date of birth, and date of death inscribed on it, along with a personal message, or prayer, but may contain pieces of funerary art, especially details in stone relief. In many parts of Europe, insetting a photograph of the deceased in a frame is very common.

The stele (plural stelae), as it is called in an archaeological context, is one of the oldest forms of funerary art. Originally, a tombstone was the stone lid of a stone coffin, or the coffin itself, and a gravestone was the stone slab that was laid over a grave. Now, all three terms are also used for markers placed at the head of the grave. Some graves in the 18th century also contained footstones to demarcate the foot end of the grave. This sometimes developed into full kerb sets that marked the whole perimeter of the grave. Footstones were rarely annotated with more than the deceased’s initials and year of death, and sometimes a memorial mason and plot reference number. Many cemeteries and churchyards have removed those extra stones to ease grass cutting by machine mower. In some UK cemeteries, the principal, and indeed only, marker is placed at the foot of the grave.

Owing to soil movement and downhill creep on gentle slopes, older headstones and footstones can often be found tilted at an angle. Over time, this movement can result in the stones being sited several metres away from their original location.[citation needed]

Graves and any related memorials are a focus for mourning and remembrance. The names of relatives are often added to a gravestone over the years, so that one marker may chronicle the passing of an entire family spread over decades. Since gravestones and a plot in a cemetery or churchyard cost money, they are also a symbol of wealth or prominence in a community. Some gravestones were even commissioned and erected to their own memory by people who were still living, as a testament to their wealth and status. In a Christian context, the very wealthy often erected elaborate memorials within churches rather than having simply external gravestones. Crematoria frequently offer similar alternatives to families who do not have a grave to mark, but who want a focus for their mourning and for remembrance. Carved or cast commemorative plaques inside the crematorium for example may serve this purpose.


A tombstone at the grave of Paavo Ruotsalainen (1777–1852) in Nilsiä, Kuopio, Finland
A cemetery may follow national codes of practice or independently prescribe the size and use of certain materials, especially in a conservation area. Some may limit the placing of a wooden memorial to six months after burial, after which a more permanent memorial must be placed. Others may require stones of a certain shape or position to facilitate grass-cutting. Headstones of granite, marble and other kinds of stone are usually created, installed, and repaired by monumental masons. Cemeteries require regular inspection and maintenance, as stones may settle, topple and, on rare occasions, fall and injure people;[1] or graves may simply become overgrown and their markers lost or vandalised.

Restoration is a specialized job for a monumental mason. Even overgrowth removal requires care to avoid damaging the carving. For example, ivy should only be cut at the base roots and left to naturally die off, never pulled off forcefully. Many materials have been used as markers.

Fieldstones. In many cultures markers for graves other than enclosed areas, such as planted with characteristic plants particularly in northern Europe the yew, were natural fieldstones, some unmarked and others decorated or incised using a metal awl. Typical motifs for the carving included a symbol and the deceased’s name and age.
Granite. Granite is a hard stone and requires skill to carve by hand. Modern methods of carving include using computer-controlled rotary bits and sandblasting over a rubber stencil. Leaving the letters, numbers and emblems exposed on the stone, the blaster can create virtually any kind of artwork or epitaph.
Marble and limestone. Both limestone and marble take carving well. Marble is a recrystallised form of limestone. The mild acid in rainwater can slowly dissolve marble and limestone over time, which can make inscriptions unreadable. Portland stone was a type of limestone commonly used in England—after weathering, fossiliferous deposits tend to appear on the surface. Marble became popular from the early 19th century, though its extra cost limited its appeal.
Sandstone. Sandstone is durable, yet soft enough to carve easily. Some sandstone markers are so well preserved that individual chisel marks are discernible, while others have delaminated and crumbled to dust. Delamination occurs when moisture gets between the layers of the sandstone. As it freezes and expands the layers flake off. In the 17th century, sandstone replaced field stones in Colonial America. Yorkstone was a common sandstone material used in England.
Slate. Slate can have a pleasing texture but is slightly porous and prone to delamination. Slate was commonly used by colonial New England carvers, especially in Boston where elaborate slate markers were shipped down the Atlantic coast as far south as Charleston and Savanah. It takes lettering well, often highlighted with white paint or gilding.
Schist. Schist Was a common material for grave making in the American Colonies during the 17th and 18th Century. While harder to Carve than Sandstone or Slate, lettering and symbols usually had to be carved deeper into the stone and therefore held up well over long periods of time. While not as durable as most slate, most have held up well against the elements.

The Maymūnah Stone, a tombstone with an Arabic inscription dated 1174 on a reused Roman marble block. Now exhibited at the Gozo Museum of Archaeology.[2]

Slate gravestone of Josiah Leavitt (1679–1717), Hingham Center Cemetery, Hingham, Plymouth County, Massachusetts

Slate Vestige of a Jewish gravestone depicting a Tzedakah box. Jewish cemetery in Otwock (Karczew-Anielin), Poland.

Gravestone showing death date of 1639, Wormshill England.

HIS LAST MESSAGE: NO MORE WARS FOR ME—A headstone in the Jerusalem British World War I Cemetery on Mount Scopus

Elaborately carved grave slab at Shebbear (Devon, England) showing a skull sprouting flowering shoots, as a symbol of resurrection

Victorian headstones in England

Schist tombstone dated 1795, carved by Josiah Manning in Mansfield CT.

Metal, wood and plants

Grave Marker, Gwa’sala Kwakwaka’wakw (Native American), late 19th century, wood, pigment, Brooklyn Museum

Wood grave marker using Canadian Syllabics

Iron cross on a grave in Ekshärad cemetery.

Wooden grave markers stored at Heidal Church, Norway
Iron. Iron grave markers and decorations were popular during the Victorian era in the United Kingdom and elsewhere, often being produced by specialist foundries or the local blacksmith. Cast iron headstones have lasted for generations while wrought ironwork often only survives in a rusted or eroded state. In eastern Värmland, Sweden, iron crosses instead of stones have been popular since the 18th century.
White bronze. Actually sand cast zinc, but called white bronze for marketing purposes. Almost all, if not all, zinc grave markers were made by the Monumental Bronze Company of Bridgeport, CT, between 1874 and 1914. The company set up subsidiaries in Detroit, Philadelphia, New Orleans, and Des Moines; a Chicago subsidiary was named the American Bronze Company, while the St. Thomas White Bronze Monument Company was set up in Ontario, Canada.[3] They are in cemeteries of the period all across the U.S. and Canada. They were sold as more durable than marble, about 1/3 less expensive and progressive.
Wood. This was a popular material during the Georgian and Victorian era, and almost certainly before, in Great Britain and elsewhere. Some could be very ornate, although few survive beyond 50–100 years due to natural decomposition or termites and other wood boring insects.
Planting. Trees or shrubs, particularly roses, may be planted, especially to mark the location of ashes. This may be accompanied by a small inscribed metal or wooden marker.
Markers sometimes bear inscriptions. The information on the headstone generally includes the name of the deceased and their date of birth and death. Such information can be useful to genealogists and local historians. Larger cemeteries may require a discreet reference code as well to help accurately fix the location for maintenance. The cemetery owner, church, or, as in the UK, national guidelines might encourage the use of ‘tasteful’ and accurate wording in inscriptions. The placement of inscriptions is traditionally placed on the forward-facing side of the memorial but can also be seen in some cases on the reverse and around the edges of the stone itself. Some families request that an inscription be made on the portion of the memorial that will be underground.[4]

In addition, some gravestones also bear epitaphs in praise of the deceased or quotations from religious texts, such as "requiescat in pace". In a few instances the inscription is in the form of a plea, admonishment, testament of faith, claim to fame or even a curse—William Shakespeare’s inscription famously declares

Good friend, for Jesus’ sake forbear,
To dig the dust enclosèd here.
Blest be the man that spares these stones,
And cursed be he that moves my bones.

Or a warning about mortality, such as this Persian poetry carved on an ancient tombstone in the Tajiki capital of Dushanbe.[5]

Gravestone in Canada with indigenous language inscription in Canadian Aboriginal Syllabics
I heard that mighty Jamshed the King
Carved on a stone near a spring of water these words:
"Many—like us—sat here by this spring
And left this life in the blink of an eye.
We captured the whole world through our courage and strength,
Yet could take nothing with us to our grave."

Or a simpler warning of inevitability of death:

Hebrew inscriptions on gravestones in Sobědruhy.
Remember me as you pass by,
As you are now, so once was I,
As I am now, so you will be,
Prepare for death and follow me.

Multilingual gravestone: Welsh, English, French

Gurkha soldier’s stone in Singapore

Serbian women’s stone in Gornja Gorevnica, Serbia.

Information in English, Bible verse in German (Dallas, TX)
Headstone engravers faced their own "year 2000 problem" when still-living people, as many as 500,000 in the United States alone, pre-purchased headstones with pre-carved death years beginning with 19–.[6]

Bas-relief carvings of a religious nature or of a profile of the deceased can be seen on some headstones, especially up to the 19th century. Since the invention of photography, a gravestone might include a framed photograph or cameo of the deceased; photographic images or artwork (showing the loved one, or some other image relevant to their life, interests or achievements) are sometimes now engraved onto smooth stone surfaces.

Some headstones use lettering made of white metal fixed into the stone, which is easy to read but can be damaged by ivy or frost. Deep carvings on a hard-wearing stone may weather many centuries exposed in graveyards and still remain legible. Those fixed on the inside of churches, on the walls, or on the floor (often as near the altar as possible) may last much longer: such memorials were often embellished with a monumental brass.

The choice of language and/or script on gravestones has been studied by sociolinguists as indicators of language choices and language loyalty. For example, by studying cemeteries used by immigrant communities,[7] some languages were found to be carved "long after the language ceased to be spoken" in the communities.[8] In other cases, a language used in the inscription may indicate a religious affiliation.

Marker inscriptions have also been used for political purposes, such as the grave marker installed in January 2008 at Cave Hill Cemetery in Louisville, Kentucky by Mathew Prescott, an employee of PETA. The grave marker is located near the grave of KFC founder Harland Sanders and bears the acrostic message "KFC tortures birds".[9] The group placed its grave marker to promote its contention that KFC is cruel to chickens.

Form and decoration

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Typical Deaths Head design, often used on tombstones in Colonial America. (Boston MA)

An equestrian motif on an 11th-century Swedish gravestone.

Islamic cemetery in Sarajevo, with columnar headstones
Gravestones may be simple upright slabs with semi-circular, rounded, gabled, pointed-arched, pedimental, square or other shaped tops. During the 18th century, they were often decorated with memento mori (symbolic reminders of death) such as skulls or winged skulls, winged cherub heads, heavenly crowns, or the picks and shovels of the gravedigger. Somewhat unusual were more elaborate allegorical figures, such as Old Father Time, or emblems of trade or status, or even some event from the life of the deceased (particularly how they died). Large tomb chests, false sarcophagi as the actual remains were in the earth below, or smaller coped chests were commonly used by the gentry as a means of commemorating a number of members of the same family. In the 19th century, headstone styles became very diverse, ranging from plain to highly decorated, and often using crosses on a base or other shapes differing from the traditional slab. By this time popular designs were shifting from symbols of death like Winged heads and Skulls to Urns and Willow trees. Marble also became overwhelmingly popular as a grave material during the 1800s in the United States. More elaborately carved markers, such as crosses or angels also became popular during this time. Simple curb surrounds, sometimes filled with glass chippings, were popular during the mid-20th century.

Islamic headstones are traditionally more a rectangular upright shaft, often topped with a carved topknot symbolic of a turban; but in Western countries more local styles are often used.

Some form of simple decoration may be employed. Special emblems on tombstones indicate several familiar themes in many faiths. Some examples are:

Anchor: Steadfast hope
Angel of grief: Sorrow
Arch: Rejoined with partner in Heaven
Birds: The soul
Book: Faith, wisdom
Cherub: Divine wisdom or justice
Column: Noble life
Broken column: Early death
Conch shell: Wisdom
Cross, anchor and Bible: Trials, victory and reward
Crown: Reward and glory
Dolphin: Salvation, bearer of souls to Heaven
Dove: Purity, love and Holy Spirit
Evergreen: Eternal life
Garland: Victory over death
Gourds: Deliverance from grief
Hands: A relation or partnership (see Reference 3)
Heart: Devotion
Horseshoe: Protection against evil
Hourglass: Time and its swift flight
IHS: Stylized version of iota-eta-sigma, a Greek abbreviation of "Iesus Hominum Salvator" ("Jesus, savior of mankind"); alternatively treated as an initialism for "in Hoc Signo (Vinces)": "In this sign you shall conquer." Commonly indicates Roman Catholic faith, the latter especially Society of Jesus.
Ivy: Faithfulness, memory, and undying friendship
Lamb: Innocence, young age
Lamp: Immortality
Laurel: Victory, fame
Lily: Purity and resurrection
Lion: Strength, resurrection
Mermaid: Dualism of Christ—fully God, fully man
Oak: Strength
Olive branch: Forgiveness, and peace
Palms: Martyrdom, or victory over death
Peacock: Eternal life
Pillow: a deathbed, eternal sleep
Poppy: Eternal sleep
Rooster: Awakening, courage and vigilance
Shell: Birth and resurrection
Skeleton: Life’s brevity
Snake in a circle: Everlasting life in Heaven
Square and Compasses: Freemasonry
Star of David: Judaism
Swallow: Motherhood
Broken sword: Life cut short
Crossed swords: Life lost in battle
Torch: Eternal life if upturned, death if extinguished
Tree trunk: The beauty of life
Triangle: Truth, equality and the trinity
Tzedakah box (pushke): Righteousness, for it is written "…to do righteousness and justice" (Gen 18:19) and "the doing of righteousness and justice is preferable to the Lord than sacrificial offering" (Proverbs 21:3).
Shattered urn: Old age, mourning if draped
Weeping willow: Mourning, grief
Greek letters might also be used:

displaystyle alpha omega alpha omega (alpha and omega): The beginning and the end
displaystyle chi rho chi rho (chi rho): The first letters spelling the name of Christ
Over time a headstone may settle or its fixings weaken. After several instances where unstable stones have fallen in dangerous circumstances, some burial authorities "topple test" headstones by firm pressure to check for stability. They may then tape them off or flatten them.

This procedure has proved controversial in the UK, where an authority’s duty of care to protect visitors is complicated because it often does not have any ownership rights over the dangerous marker. Authorities that have knocked over stones during testing or have unilaterally lifted and laid flat any potentially hazardous stones have been criticised, after grieving relatives have discovered that their relative’s marker has been moved.[10] Since 2007 Consistory Court and local authority guidance now restricts the force used in a topple test and requires an authority to consult relatives before moving a stone. In addition, before laying a stone flat, it must be recorded for posterity.

Posted by millicand79@gmail.com on 2020-11-04 10:50:34

Tagged: , blaydon cemetery , blaydon , gateshead , tyne and wear , england

Vietnam - Mui Ne - 108

Mũi Né is a coastal fishing town in the Bình Thuận Province of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 kilometers have been transformed into a resort destination since the mid 1990s, when many visited the area to view the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center to Mũi Né, which has more than a hundred beach resorts, as well as restaurants, bars, shops and cafes.

Mũi Né ward has two beaches; Ganh Beach and Suoi Nuoc Beach, both with a number of resorts and a few shops and restaurants. But the most highly developed area is Rang Beach in Ham Tien ward, which extends west of Mui Ne. Strong sea breezes make all three beaches very popular for kitesurfing and windsurfing. The tourist season is from December to April The average temperature is 27 °C, and the climate is hot and dry much of the year.

Mui Ne is a traditional fishing town in Binh Thuan Province that became a ward of the City of Phan Thiet in 1999. The name Mui Ne is often erroneously used as the general name for the main resort area in Phan Thiet along Mui Ne Bay, 220 km northeast of Ho Chi Minh City (South Vietnam).

Mui Ne is a coastal fishing community in Bình Thuận Province which is part of the South Central Coast of Vietnam. The town, with approximately 25,000 residents is a ward of the city of Phan Thiết. Mui Ne and the other wards of Phan Thiet that stretch along the coast for approximately 50 km have been transformed into a resort destination since the mid 1990s, when many discovered the area during the solar eclipse of October 24, 1995. Most notably, tourism has developed in the area from the city center of Phan Thiet to Mui Ne, including Phu Hai and Ham Tien wards along Phan Thiet Bay. The dense resort area along Phan Thiet Bay and beyond now boasts over two hundred beach resorts and hotels, as well as guest houses, backpacker hostels, restaurants, bars, shops and cafes.

In 2018 the Prime Minister approved the master plan to develop Mui Ne (Binh Thuan) as a National Tourist Site with a size of around 14,760 ha by 2025, with an orientation towards 2030.

An area of 1,000 ha has been defined as a core area for the establishment and development of functional areas for the tourism sector. Mui Ne National Tourism Site will be developed in an environmentally responsible way with a focus on protecting existing natural resources and environments, landscapes, and in particular the ecosystem in the Bau Trang tourist area (White Sand Dunes) as well as the sand dunes along the sea shore.

Northeast of Phan Thiet the coastal road climbs over the slope of a Cham tower-topped hill and descends into the long, sandy crescent of Mui Ne Bay. The formerly little-inhabited beach southwest of the historic fishing village of Mui Ne proper has seen some serious development in the last 15 years. Now it is a 15 km long strip of resorts that line up like pearls on Nguyen Dinh Chieu Street, shaded by coconut palms. The main resort strip lies between the addresses of 2 and 98 Nguyen Dinh Chieu and is called Ham Tien. Like Mui Ne it is now a ward of the city of Phan Thiet which stretches over 50 km of coastline to the south and to the west of the original city center of Phan Thiet.

At the shoreline, nature moves the sand around, much to the dismay of some developers. Beach sand tends to migrate up and down the coast seasonally, leaving some (but not all) spots with just a concrete breakwater rather than sandy beach. There is always a good sandy beach somewhere along this 15 km beach. Accommodations at higher addresses tend to be smaller and less expensive, somewhat removed from the main tourist section and more mixed in with local life. If a sandy beach is important to you, some research is called for before booking in the area, especially after the tropical storm season. This research is important as without the beach there is little for non-kite-surfers to do in Mui Ne.

Quite a few bargain and "backpacker" hotels have popped up on the inland side of the road, across from the shoreline resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone.

Mui Ne Bay has become very popular with Russian tourists. Major Russian tour operators who bring busloads of tourists to Ham Tien and Mui Ne from the airports in Cam Ranh and Ho Chi Minh City have bought up several hotels along the main road and fill them year-round with Russian charter tour groups. English and Russian menus are common in most restaurants, and many stores and hotels are advertising and catering specifically to the Russian-speaking tourists, especially along the lowered numbered area of the strip on Nguyen Dinh Chieu Street which some guidebooks have rebaptised "Little Moscow."

Most overseas visitors reach Ham Tien and Mui Ne via "open tour" buses that run between Ho Chi Minh City and Nha Trang. Most depart from Ho Chi Minh City between 07:30 and 09:00 (07:30 for Sinh Cafe’s air conditioned bus) and arrive at Ham Tien and Mui Ne at about 13:00. In the opposite direction, buses typically depart from Mui Ne and Ham Tien around either 14:00 or 02:00 and arrive in Ho Chi Minh City approximately five hours later. Joe’s Cafe is a good place to catch an outgoing night bus as it offers full service all night and you never know how late the bus will be. Outside Ho Chi Minh City, the coach will stop at a petrol station with a large shop and stalls selling snacks, drinks, and fruit.

The buses stop in the heart of the tourist strip in Ham Tien, so there is no need to take a taxi. The cost is about 105,000 dong each way, and tickets are sold all over the tourist districts of both Ho Chi Minh City and Nha Trang. If you are traveling to Ho Chi Minh City from Mui Ne and Ham Tien, you will most likely be put on an already full bus traveling from Nha Trang. As you are not assigned a seat, you may not be able to sit with any traveling companions, and at some of the less scrupulous travel agents you may not even get a real seat. You might get a mat at the back of the bus with four other people.

Public buses from both destinations also travel to the Mui Ne area, though finding the departure stations and figuring out the schedule is difficult for visitors. It’s not worth the trouble unless you have a strong need to depart at a different time of day other than when the open tour bus leaves. Travel agencies play dumb because they don’t earn anything from helping you find a public bus. The main bus station in Phan Thiet is at Từ Văn Tư, Phú Trinh and a taxi from there to the tourist strip can cost more than your bus ticket from HCMC!

A train runs daily from Ho Chi Minh City to Phan Thiet, departing around 06:30 and arriving five hours later. The return trip leaves Phan Thiet around 13:30. The cost is quite modest at around 60,000 dong per person each way (similar to the bus). The train station in Ho Chi Minh City (Saigon Railway Station) is in District 3, about 3 km from the centre. The railway station in Phan Thiet is about 5 km (80,000 dong taxi ride) from the beginning of the Ham Tien resort strip, and taxis are abundant to take you there. The railway also sometimes runs a mid-sized bus from the station to Mui Ne for 25,000 dong per person. Tickets are sold on the train, though the announcement might be made in Vietnamese only, and you need to watch carefully for the ticket sellers to pass by.

The train has regular carriages operated by the state railways, and sometimes other carriages booked and operated by private companies. The latter have somewhat larger seats for a higher price, but fall short of luxury. The regular carriages are a bit cramped for the Western-sized body. When the train is not full, railway staff usually packs everyone into one carriage, leaving another one empty, and then run a side business selling "upgrades" to the quiet, empty carriage. The entire train will be jammed on holidays.

Overall, the train is probably less comfortable and convenient than the open-tour bus, though it has some advantages. You get a better view of the countryside and avoid the endless honking of horns and lunatic driving of the bus drivers.

You might consider coming to Mui Ne from Saigon by taxi, instead of open bus. The departure times of the open buses might not suit your schedule. They are also slow sometimes, because the driver makes stops at rather bad restaurants where he receives commission. The ride by taxi takes 4-5 hours, depending on road conditions, and will cost US$70-100, depending on your ability to bargain. Talk to taxi drivers in the airport to get best prices.

Fare from Tan Son Nhut Airport to Mui Ne by SATSCO is US$100/trip.

You can’t get lost in Mui Ne and Ham Tien, since the whole place consists of one long strip along a main street, Nguyen Dinh Chieu. Motorbike taxis are present everywhere and their drivers will bug you each time you leave the hotel or walk along the road. Along the tourist strip it is much cheaper to stop a xe om as long as you know how to bargain. It can be hard for Western tourists to get appropriate prices (10,000-15,000 dong is more than enough to pay for a ride from one place to another along the main strip). Taxis are also abundant, with fares slightly higher than Ho Chi Minh City, but still reasonable (starting at around 20,000 dong).

You can rent motorbikes and bicycles at many resorts and tour agencies. Since traffic is light, motorbikes or bicycles are a pleasant way to explore the surroundings. Motorbikes cost anywhere from 60,000-150,000 dong per day depending on how late in the day you start, how many hours you need, and age/type of motorbike (automatics can cost 230,000 dong). The locals say it’s getting harder to rent because of bike thefts and police driving license enforcement. Your hotel might rent to you, which may be a bit more convenient since they already have your passport. Western tourists should avoid taking a rented motorbike to the White Sand Dunes if you are not in the possession of a Vietnamese driver’s license. The Mui Ne police is known for stopping all motorbikes on the road leading to Bau Trang (White Lake) and collect at least 1 million dong from any foreigner not able to provide at least an international driver’s license.

Be careful when riding a bike in Ham Tien and Mui Ne. Traffic is light, especially during the summer months, but nobody pays any attention to traffic rules. For example, it’s common to see Vietnamese riders turning left from the right lane. Also, Vietnamese riders don’t stop or even look when entering the main road from secondary one. The increase in big motor coaches shuttling Russain tourists in and out of Ham Tien and the uncontrolled jeeps used to bring hundreds of tourists to the White Sand Dunes every day contribute to increased risks for motorbikes and pedestrians along Nguyen Dinh Chieu Street in particular. Traffic fatalities are not uncommon. Rumors are that up to 30 people die every month in accidents. If you plan to ride a bike here, investment in medical insurance, if you can get it, is a wise move.

Even-numbered addresses are on the sea side of the street, and odd numbers on the inland side. Even and odd addresses are not aligned, thus 39 on the odd side can be several hundred metres from 40 on the even side.

The Poshanu Cham Tower in Phu Hai ward (Thap Po Sah Inu) is a derelict remainder of the ancient Cham culture that was built in the 8th century. It is still in use for religious and social gatherings by the local Cham population, especially during the annual Kate festival.
Fish Sauce Plants, where the famous nuoc mam (fish sauce) is produced. Big jars harbour the concoction that, after months in the blazing sun, is sold all over Vietnam to add some spice to the food.
The famous Red Sand Dunes (Doi Cat), on the main coastal road a short distance north of the fishing town at the north end of Mui Ne Bay, about 10 km from the main resort strip. The whole region is fairly sandy, with orange sand threatening to blow onto the coastal road in some spots. The dunes that visitors visit are about 50 ha (1/2 km²) of open sand on a hillside with ten-meter undulations, staffed by dusty children with plastic slides, who will offer instruction and assistance if you want to slide on the sand. Caution is recommended since a number of tourists have lost money, cameras or cell phones in the sand or through theft and pick-pocketing on the dunes. The sand dunes offer nice views of the sea coast to the north. On the opposite side of the road are a series of small cafes (illegally built but tolerated by the local police), where you can park your vehicle for a small fee if you ride there on your own. Most day tours sold by local tour operators include a stop at the dunes. The trip by taxi from the main resort strip in Ham Tien is about 170,000 dong each way, and less by xe om. It is reachable by bicycle in 30-45 minutes, passing the Fairy Stream on the way. From the resorts on Malibu Beach (Ganh Beach) it is just a short 5 to 10 minute walk to the bottom of the dunes.
Mui Ne Market (Chợ Mũi Né) and fishing harbor (Lang chai Mui Ne). If you are staying on the resort strip in Ham Tien or Phu Hai wards, don’t miss out to visit this once quiet "fishing village" but nowadays bustling town, at the northeast end of Mui Ne Bay. The coastal road leads straight into the town (with a left turn required at the first red light to continue up the coast). If you arrive during the dry "winter" season, don’t miss the harbor overlook at the entrance to Mui Ne with a splendid view of hundreds of colorful fishing boats moored in the bay. The boats move to the other side of the "Shelter Cape" (English translation of "Mui Ne") during the monsoon season from May through October, when the wind direction changes from mainly northeast to mainly southwest. Further along into town, just off the main road, there is a colorful local market. If you take your transport just down to the water, you will reach the fishing harbor, where you can purchase fresh seafood (if you have any means to cook it) or purchase steamed crabs, shellfish, etc. to eat on the spot from local vendors. Walking along the beach, you’ll pass by fishermen sorting out their catch, ship-wharves and, at the southern end of town, a section where clams have been rid of their shells for many years, so the sand on the beach is by now substituted with littered shells. Be prepared to encounter piles and stretches of rubbish on the beach.
The Fairy Stream (Suoi Tien) is a little creek that winds its way through bamboo forests, boulders and the dunes behind the village, in parts resembling a miniature version of the Grand Canyon. Local children will want to accompany you to show you the way (and of course earn a dollar or so), but since you’re just following the stream, there’s little need. For the most part, the stream is about ankle-deep and no more than knee-deep even at its deepest. It is sandy with few stones and can be walked comfortably barefooted. You can climb up the red sand hills overlooking the river valley and even walk there parallel to the river, however, the sand may be hot on a sunny day, so bring some footwear. Walking upstream for about 20 minutes, you will reach a small waterfall into at most waist-deep water, great to take a refreshing bath before heading back. To reach the stream, head along the main road towards the east until you cross a small bridge. The stream is underneath, you will see a sign pointing towards a path to the left, go that way to reach an easy place to enter the stream. By bicycle it’s about 15 minutes from the main resort strip and shouldn’t be more than 20,000 dong by xe om. You can enter somewhere along the beach or at the bridge where you will be charged 10,000 dong for entry (although entrance is officially free) and 5,000 dong for motorcycle parking.
The White Sand Dunes are approximately 45 km away from the Ham Tien tourist strip to the northeast, and some 24 km from the Red Sand Dunes and nearby resorts on the east side of the Mui Ne peninsula (GPS 11.068254 108.428513). Trips are offered by any tourist agency along the resort stretch for 4×4 or quad drives, as well as by some resorts with their own vehicles. While too far away for a bicycle trip especially in summer, a motorbike trip can bring you there. Make sure to bring an international driver’s licence if you do not own a Vietnamese one (driving without Vietnamese driver’s license is illegal in Vietnam), the local police is well-known for stopping foreigners on motorbikes on their way to and from the White Sand Dunes and extort a fine (up to 1 million dong) or sometimes even confiscate the motorbike. Entrance is a 10,000 dong fee.

Kitesurfing is offered by many outfitters and hotels. Kite surfing instruction is available, starting at US$60/hour, beginners package of 7 lessons start at US$350. From November till March you generally will have strong winds every day. The Winds in Mui Ne emerge by thermal movements, after the shores got warmed by the sun. You will have perfect wind everyday from 11:00 until the late evening. Gusty winds are seldom. With strong winds, the sometimes choppy waves can be as high as 4 m and more. The water is free of rocks, which makes it relatively safe to kite. However in the peak season there up to 300 kiters in the water at the same time. Beginners and Students, who mainly practice close to the beach front makes things a bit more dangerous. So watch out for other kitersurfers and swimmers and control the speed, in particularly because swimmers are difficult to see when waves are high. Accidents between kitesurfers or between kitesurfers and Swimmers happen from time to time and medical facilities are limited in terms of their equipment and abilities.

There are several kitesurfing schools along the beach, which all employ beach boys who will help you to start and launch the kite. It is widely common to tip the beach boys with US$1/day. If you bring your own equipment and don’t want to carry it from and to your hotel every day, you can store it at one of the kitesurfing schools for US$20/week or US$60/month, including usage of their compressors and shower facilities.

If you are a beginner but already can practice independent without an instructor, you might avoid the area around Sunshine Beach Hotel/Sankara/Wax, because there are too many kite surfers and swimmers which may lead to accidents, particularly if you can not fully control the kite. Try the western part of beach front around the Kitesurfing School Windchimes. There are less kiters in this area and you can practice without bringing you and others into danger.

There is a place called "wave spot" or "Malibu beach" (10.92676, 108.29500). It is suitable only for intermediate/advanced kiters, but its much less crowded there.

All-terrain vehicle. You can ride one on white sand dunes.
Cooking classes, 400,000 dong/hr. If you want to learn to cook Vietnamese food, check cooking classes near C2SKY kitesurfing school (opposite Kim Shop). You will learn to cook pancakes, Pho Bo soup, shrimp salad and fresh spring rolls. All ingredients are ready, you’ll just mix them under supervision of Vietnamese cook.
Day tours, US$10-13. Travel agents and restaurants abound with day tour offerings. The standard half day tour takes in the fishing village, fairy stream, and the red and while sand dunes. Tours normally start at either 17:00 or 14:30 so you can watch the sunrise/sunset over the sand dunes.
Balloon riding, ☏ +841208536828, ✉ booking@vietnamballoons.com. 05:00-08:00. Mui Ne is the only place in Vietnam where you can fly hot air balloons. A balloon company has European management, balloons, and pilots. Most flights take place over white sand dunes. When the winds in dunes are too strong, flights take place from Phan Thiet city centre. (updated Jan 2018 | edit)
Sailing, 108 Huynh Thuc Khang. Manta Sail Training Centre was newly founded in 2010 and water sport has been gaining popularity since then. Classes are available at US$50/hour for individuals with certified international and local instructors. The sailing area is safe, quiet, with no swimmers and only a few advanced kitesurfers. edit
Surfing. Sometimes you get good waves in mornings of windy season. Lessons, day trips and rentals are available, don’t hesitate to ask around. While Mui Ne is not the best destination for surfing, it can be good place to give it a try.
Swimming. The sea is wonderfully warm, but it can be quite rough, with large waves and a strong rip tide. When the tide is in, there is not much of a beach to speak of. When wind is blowing it can be quite chilly to even think of swimming. The area between kilometre markers 11 and 13 has the largest stretch of enduring sandy beach. Since large waves normally emerge after 11:00 you might prefer to swim in the early morning hours, when the water is flat and free of Kitesurfers. Most mid-range and top-end resorts have swimming pools for their guests. Some are open for day users starting at 80,000 dong per day. But you can always behave as guest from this hotel and buy a few drinks for these 80,000 dong.
Water sports. Most outfitters offer a host of water sports including kayaking, paddle surfing, and jet ski rental.
Windsurfing. If you like to do some windsurfing, go to eastern part of Mui Ne. Starting from Hai Au resort, there are some hotels that are offering good place to water start, rent or store your gear.

Along the Mui Ne strip are several small nameless shops; all selling the same sundries and souvenirs. You can find packaged snacks (Oreos, cakes, biscuits, ice cream, etc.), liquor, clothing, and souvenirs.

Anything beyond very basic necessities should be brought with you. There is a small pharmacy, but it would be wise to bring your own first aid kit.

Standard souvenirs offered include wooden and lacquered bowls, wooden statues, snake whiskey, and pearl necklaces. Compared with Ho Chi Minh City, souvenirs are almost five times more expensive in Mui Ne. The same small wooden bowl selling for US$3 in HCMC is US$14 in Mui Ne.

Several travel agencies along the strip also double as used book stores. Most have a few shelves of English books, along with a small selection in German and French. Books cost 80,000-100,000 dong and most shops will give a 50% discount if you trade in a book.

Coop Mart, Phan Thiet (corner of Nguyen Tat Thanh and Tran Hung Dao), ☏ +84 62 3835440, +84 62 3835455. 08:00-21:30. A large, Western-style grocery store that also sells books, jewellery and necessities.

Every resort area in Ham Tien and Mui Ne is surrounded by restaurants specializing in seafood. The food is invariably fresh, well-prepared, and served in friendly and interesting surroundings. By all means get out of your hotel and try one of the local restaurants. The best restaurants are a motorbike ride away, found outside of the tourist/resort district on the ocean.
1 Bo Ke Street (Go to the fishing village past the Tien Dat Hotel until you see many small cafes near seashore). This is a street full of local cafes that serve BBQ seafood. Prices are very cheap and choice is wide. Scallops with onion and garlic sauce are must-to-have here. If you’re a fussy about hygiene, don’t bother coming here. edit
Joe’s (The Art Cafe), 86 Nguyen Dinh Chieu St, Ham Tien (Across from Shades Resort), ☏ +84 62 374 3447. 24 hr daily. Joe’s is the only place open 24/7 in Mui Ne. It’s a cosy old farmhouse cafe offering Western fare. A Canadian developed the menu, and the pancakes with maple syrup (50,000 dong including coffee) are great. The sandwiches with home cut fries and salad (60,000 dong) are also recommended. Two movies are shown each evening in the pillow-filled loft. Free Wi-fi, exhibits and live performances. A great place to have your bus pick you up at 02:00 when you head out and great for a chill spot for after party breakfast or a romantic glass of wine. A 24-hr supermarket is part of the complex. Joe is on the strip, offering now even accommodation. Drinks 10,000 – 60,000 dong, meals 50,000 – 120,000 dong. edit
Lâm Tòng, 92 Nguyễn Đinh Chiêu (Right on the beach next to Jibes under some shady palms), ☏ +84 62 384 7598. You can even sit at tables in the sand. There’s a little hut with hammocks strung. Try one of the pancakes (bánh xèo) with condensed milk (sữa đặc), the fried fish with lemon, and the chicken fried in fish sauce. edit
2 Pho Bo and sandwiches, Bo Ke St (Go past Bo Ke St in the direction of Pogo Bar, small pavilion on the right). The only place to have food at night (since Joe’s doesn’t serve food at night anymore). They serve nice sandwiches with chicken and scrambled eggs (30,000 dong). Also you can have pho bo here. edit
3 Santimatti Pizzeria, 83 Nguyen Dinh Chieu St. Classic Italian cuisine. Place is nice looking, with a good atmosphere. Locals and long stayers enjoy a 10% discount with membership card. Owner is on-site, so expect good service. edit
4 Sindbad Kebap, Nguyen Dinh Chieu (opposite Pogo Bar). Good beef/chicken/veggie kebabs, shawarma and tsatsiki. edit
Smoky House, 125 Nguyen Dinh Chieu St. Offers large, high-quality meals, and offers all customers free ice cream. edit
Snow Restaurant, Club and Sushi Bar, 109 Nguyen Dinh Chieu St. 10:00-02:00. Famous for its cool air-conditioned hall that is unique in Mui Ne. European, Japanese, Russian and Vietnamese cuisines, including exotic dishes such as filet of crocodile. Lounge still open after 22:00, cinema-sessions in the evening. Free Wi-Fi, free pool, and free transfer by Taxi Mai Linh to the restaurant and back to hotel. edit
The Terrace Restaurant, 21 Nguyen Dinh Chieu St (in front of Anantara Resort), ☏ +84 62 3741293, ✉ admin@herbalhotelmuinevietnam.com. 08:00-23:00. The restaurant’s first floor is fully air conditioned and the terrace on the upper floor is an open concept with a a nice view. It serves breakfast, lunch and dinner. The restaurant specializes in sushi, fresh seafood and Vietnamese food and the bar serves beer, wine and cocktails. US$3-15. (updated Jul 2016

Deja Vu Restaurant and Shisha Bar, 21 Nguyen Dinh Chieu (Opposite Anantara Resort), ☏ +84 62 374 1160, +84 913327232, ✉ dejavuvn@gmail.com. 11:00 – 24:00. Family restaurant focused on good food and entertainment for all the ages. Daily live music, cozy garden with kids area. Seafood, European food, Vietnamese food, kids menu, exotic food, cocktails, shisha- culture show "Folklore night" (show + dinner) every W 20:00. Exotic food show every F 19:00. edit
DJ Station (El Vagabundo), 120C Nguyen Dinh Chieu (300 m to the right when facing Sinh Cafe). 09:00-03:00. Ocean view terrace area, dining area and large dance floor. Happy hour 18:00-21:00 means selected cocktails are 30,000 dong, and regular priced cocktails are all buy-one-get-one-free. It’s a popular backpacker place and usually very crowded weekends. edit
Pogo Bar, 138 Nguyen Dinh Chieu. Popular place once, but you can still expect surfers and expats. Cocktails and buckets are cheap, but not tasty. edit
Mooney’s Irish Bar, 121 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, Vietnam (almost opposite Joe’s Cafe), ☏ +84 91 402 65 96. 18:00-02:00. A small establishment run by a genuine Irishman (which marks it out from many ‘Irish’ pubs in Asia), an affable chap form just outside Dublin. There’s a pool table, but the best thing to do is order a beer and have a chat with Liam. (updated Jul 2018 | edit)
The Crown and Anchor, 117c Nguyen Dinh Chieu, Ham Tien Phan Thiet (about 2 minutes from Mooney’s Irish Bar.). 16:00-23:45. A new establishment that promises a lot. Great design, long bar, games room with pool, darts and table football. Brian from the English Midlands and Adele from Kyrgyzstan are the friendly hosts. Live sports and Sunday Roasts are popular features. (updated Jul 2018 | edit)
Old Fashioned Bar, 151 Nguyễn Đình Chiểu, Phường Hàm Tiến, Thành phố Phan Thiết, Bình Thuận, ☏ +84 368 307 432. 08:00-03:00. Classic bar. Large territory: bar, hookah, restaurant area, cinema, air-conditioned room of a coffee shop, rooftop. European cuisine. Live music. The largest bar in Muine with the largest selection of coffee, tea, alcohol, cocktails and services. Located near the BOKE site.

Mui Ne and Ham Tien have over 200 accommodations to choose from, in every price category (US$5-200), along the main ocean strip of Nguyen Dinh Chieu, Huynh Thuc Khang ("HTK"). Small guest houses, family-run beach hotels and some big luxury resorts can also be found east of the town center of Mui Ne proper, along the road leading to the Red Sand Dunes, where Ganh Beach offers long sandy beaches and excellent kite-surfing on the east side of the Mui Ne peninsula.

Accommodations at higher addresses of Nguyen Dinh Chieu towards HTK and Mui Ne ward tend to be smaller and less expensive, somewhat removed from the main tourist section in Ham Tien and more mixed in more with local life. If a sandy beach is important to you, some research is called for before booking in that area. Many "beach side" resorts are actually against a sloping cement wall that leads into the sea. The sand itself migrates up and down the long coast seasonally leaving some areas with expansive beaches and others with little at any given time.

A few budget hotels have popped up on the inland side of the road, across from the beach side resorts. If you stay on the inland side, you will need to pass though one of the resorts to reach the beach, which might or might not result in some hassle from the guards. The resorts jealously guard their lounge chairs and palapas, though the beach itself is open to everyone. If all else fails, you can always access a nice sandy stretch of beach via the Wax Bar at 68 Nguyen Dinh Chieu.

Remember that during Tet (Vietnamese New Year), hotels and resorts are booked way in advance.

Go past the Pogo Bar in the direction of the fishing village to find the best budget hotels (as low as US$5 a day for adouble room with air-con).

Bao Trang, Nguyen Dinh Chieu (Turn right when exiting from Sinh Cafe). Small bungalows with a beach frontage. From US$10. edit
Guest House 20, 20 Nguyen Dinh Chieu, ☏ +84 62 374 1440, ✉ guesthouse20@yahoo.com.vn. Very nice guest house on main strip without beach access. Also organise tours and transport for you. Very friendly staff, family-owned and operated. From US$15. (updated Mar 2015 | edit)
Hon Di Bungalows, 70 Nguyen Dinh Chieu, ☏ +84 62 847 014, ✉ hdhongdi@yahoo.com. Has simple but nice bungalows with fan and attached bath. There is a shady courtyard strung with hammocks, and four of the bungalows are directly facing the beachfront. A small restaurant and Internet access cater to your needs. US$10-12. edit
Keng Guesthouse, 185 Nguyen Dinh Chieu (About 100 m east of Phuoc Thien Pagoda), ☏ +84 62 374 3312, ✉ yongkeng999@yahoo.com. Simple, clean guest house with all the usual facilities on the quiet end of the main strip. About 15 min walk to the bar and restaurant area. Friendly English speaking owner. Dorm 100,000 dong, rooms from 160,000 dong. edit
Lan Anh, Huynh Tân Phát (Coming from Phan Thiet, turn left when entering the village, in the corner where there’s a business called Nhà Tho). Local guesthouse in the village, a couple of kilometres from the resorts and beaches, but close to shops, market and street food stalls. Perfect for experiencing local life. Owner family can barely understand English but are nice. Room with 2 double beds, fan, fridge, toilet, and TV. Free Wi-Fi. 150,000 dong. edit
Mai Am Guesthouse, 148 Nguyen Dinh Chieu. Beachfront bungalows with air-con, working shower, mosquito net, and nothing more. Clean pool. Beach seating with chairs and mats, although some of furniture is falling apart. Can hear next door bar till 03:00 nightly which may bother some. Also, they have monkey cages in the courtyard for some reason. US$10-15. edit
Thien Son, 102 Nguyen Dinh Chieu, ☏ +84 62 384 7187, +84 91 861 0727. Guest house just down the road from Joe’s cafe with clean, large rooms. Can get breakfast for about US$1. Very friendly people, though English is limited. Also organises tours to sand dunes (depends on size of group, but from US$4-9) as well as buses to Saigon and Nha Trang. From US$12. edit
1 Nam Chau Boutique Resort – Mui Ne Passion ((Formerly Nam Chau Resort)), Khu phố 5, Mũi Né (Coming from the Red Sand Dunes go down the hill towards the town of Mui Ne, the resort lies right after the Pandanus Resort on the left hand side of the road (ca. 600 m from the dunes). Coming from the town center of Mui Ne (Mui ne market or Fishing Village) turn left at the red light (in front of Blue Shell Resort), continue for about 200 m (entrance after Malibu Resort on the right hand side).), ☏ +84 252 3849 323, ✉ sales@namchauresort.com. Rustic beach resort with 48 rooms offering free WiFi, refrigerators, and TVs with cable channels in a 3-ha tropical garden on the beach in Mui Ne. Inexpensive restaurant, beach bar organising disco parties on weekends. Swimming pool, ongoing activities including kite-boarding and SUP. From US$11 for shared accommodations. Dormitories in cottages, private bungalows available.

Ngoc Suong Marina Hotel, Nguyen Dinh Chieu (Across the road from TM Brothers Cafe, beside Tien Dat Resort). On the beach, with an excellent swimming pool. Rooms have mosquito nets, air-con, satellite TV, and en suite bath. US$40 including breakfast. edit
Novela Muine Resort & Spa, 96A Nguyễn Đình Chiểu, Hàm Tiến, Phan Thiết (In the center of Muine Resort), ☏ +84623743456, ✉ sales@novelaresort.com. US$50 including breakfast.

2 Anantara Mui Ne Resort, Mui Ne Beach, KM10 Ham Tien Ward, Phan Thiet City, ☏ +84 62 374 1888, ✉ muine@anantara.com. The resort includes 89 rooms, suites and pool villas designed according to Vietnamese tradition. US$105. (updated Jan 2017)
3 Blue Ocean Resort, 54 Nguyen Dinh Chieu, ☏ +84 62 3847 322. Has various rooms and bungalows. Only metres from many of the kite surfing schools, particularly Windchimes, which is directly outside the property. 2,770,000 – 8,100,000 dong. (updated Mar 2016 | edit)
Cham Villas Boutique Luxury Resort, 32 Nguyen Dinh Chieu. Has 6 villas with beach front view and 12 villas with garden view. Each villa has a king size bed, bathtub overlooking a small private garden, and a large private patio with comfortable club chairs and a day bed. edit
Grace Boutique Resort, 144A Nguyen Dinh Chieu. Has the look of a Mediterranean villa. There are only 14 rooms, all with sea views. Well-trained staff, a beautiful garden, and a charming pool. Rates include daily breakfasts. Discounts are offered during the low season and for long-term stays. It is advisable to book well ahead during the holidays. edit
4 Pandanus Resort, Block 5, Mui Ne (The average driving time from the center or airport in Ho Chi Minh City to the resort is approximately four hours. Can be reached in 20 mins by car via main road Vo Nguyen Giap from Phan Thiet city center (25 km). At the roundabout below the Red Sand Dunes turn right. The resort is the second on the left (ca. 150 m). Coming from Ham Tien and the Mui Ne fishing village take Huynh Tan Phat at the red light to another red light in from of Blue Shell Resort. Turn left, the resort will be on the right hand side after approx. 400 m.), ☏ +84 252 3849 849, ✉ pandanus@pandanusresort.com. Check-in: 14:00, check-out: 12:00 noon. 134 renovated rooms including 24 bungalows with outdoor bathtub in a relaxing beachside environment: 10 ha of lush tropical gardens within walking distance of the Red Sand Dunes. Phan Thiet’s largest free-form swimming pool, 2 restaurants, 3 bars incl. lounge with live entertainment, two live bands, spa (indoor and outdoor). Weekly seafood BBQ buffets by the pool, All Inclusive package, weddings, special events, team building, tours and excursions, transfer service. Complimentary bicycle rental. Daily complimentary walking tour of Mui Ne fishing town, free shuttle service to Mui Ne, Fairy Stream and Ham Tien tourist strip. Jet Ski, surfboards, kiteboarding nearby. US$60-310 including Mui Ne’s biggest breakfast buffet (based on room type and number of guests). Group discounts, All Inclusive package, honeymoon packages and special event rates available.. (updated Dec 2017 | edit)
5 The Sailing Bay Beach Resort, 107 Ho Xuan Huong St, ☏ +84 8 6282 4567, ✉ resorts@thesailingbay.com. 192 rooms with sea views, all-day restaurant, open-air beach club, a grand ballroom that accommodates 400 guests and a fully equipped board meeting room for 40 guests. On-site water sports facility with a professional international team managing board sailing, kite surfing and other activities. US$100-644 including breakfast (low-season). edit
Shades Resort, 98A Nguyen Dinh Chieu (Across from Joe’s Cafe). Has 8 studios/apartments with kitchens, Jacuzzi or rainshower, preloaded computers, 42 inch flatscreen TVs and a lovely view. The site includes a swimming pool and a bar with Bon Cafe coffees made with fresh milk from Dalat. Rate includes daily breakfast, bottled water, and laundry service. US$45-200. edit
The Cliff Resort, 5, Phu Hai Ward, Phan Thiet, Binh Thuan (Along the Nguyễn Thông road to Mũi Né), ☏ +84 252 3719 111 (HCMC), +84 24 3936 5065 (Hanoi), ✉ reservation@thecliffresort.com.vn. Check-out: 12:00. A resort complex that has many different room designs in different prices, the more big and beautiful they are, the more expensive they are. All guests can enjoy the big pool in the middle and can have access to the Mui Ne beach. The location is near Phan Thiet. US$100-500.


Posted by asienman on 2016-02-24 11:13:10

Tagged: , Vietnam , Muine , asienman-photography

The Pleiades M45

M45 The Pleiades is also known as the Seven Sisters is an open star cluster containing middle-aged, hot B-type stars in the north-west of the constellation Taurus. It is among the star clusters nearest to Earth, it is the nearest Messier object to Earth, and is the cluster most obvious to the naked eye in the night sky.

The cluster is dominated by hot blue and luminous stars that have formed within the last 100 million years. Reflection nebulae around the brightest stars were once thought to be leftover material from their formation, but are now considered likely to be an unrelated dust cloud in the interstellar medium through which the stars are currently passing.

Computer simulations have shown that the Pleiades were probably formed from a compact configuration that resembled the Orion Nebula. Astronomers estimate that the cluster will survive for about another 250 million years, after which it will disperse due to gravitational interactions with its galactic neighborhood.

Captured by David Wills at PixelSkies, Castillejar, Spain www.pixelskiesastro.com

Lum 79 x 600s
Red 38 x 180s
Green 36 x 180s
Blue 36 x 180s

18 Hours 30 mins in total.

Equipment used:

Telescope: Takahashi Baby Q FSQ-85ED F5.3

Camera: Xpress Trius SX-694 Pro Mono Cooled to -10C

Image Scale: 2.08

Guiding: OAG

Filters: Astronomik Lum,Red,Green,Blue

Mount: iOptron CEM60 "Standard" GOTO Centre Balanced Equatorial Mount

Image Acquisition: Voyager

Observatory control: Lunatico Dragonfly

Stacking and Calibrating: Pixinsight

Processing: Pixinsight 1.8, Photoshop CC

Posted by Nightcasper on 2021-02-22 17:57:36