View allAll Photos Tagged CONSCIOUS
"I was conscious in my mother's womb. Feeling the movements in her body. Aware of my own helpless state. This body bundle of bones is not I. Occasionaly, the darkness of the womb would be dispelled and light would visit me. On one side, I wanted to express myself as a human being, yet, on the other side, I didn't. Because I felt I was a spirit."
|Awake, The life of Yogananda|
There is a specific moment in time that you have been longing for and one morning you will wake up and everything will be new, and even thought you have been working for it, you will think that this is a miracle. Your soul will be dancing and you will have absolutely no reason to justify this inner happiness. It may last for a few seconds, even minutes, as long as giving birth lasts.
I am because I love. I love therefore I am.
N.
Public buildings, including restaurants and pubs, often have panels or decorations on the ceiling to muffle noise and to create an ambiance. They often go unnoticed on a conscious level but still have an effect on an unconscious level. if you make a point of looking up, you may be surprised by what you will see. These elements on the ceiling of a mall almost escaped my attention. They remind me of "f-holes" on violins.
Quinte Mall
Belleville, Ontario
Conscious Field.
Evangelische Klarheit Kokons Berechnungen intensiven Farben unwiderstehlich pastosen Eifer,
спонтанные бесконечные цвета яростные romancers борьба аварии лирическая кисти спокойные мысли блюз,
απρόβλεπτες ταχύτητες υπολογισμού αυτοσχεδιασμούς εξισορρόπησης τόνους κλίμακες προέκυψε διαλεκτική δυσφημιστεί όνειρα,
koto musica bruciando fiori gialli maestrale complementarietà anticipazione tremante consapevole esigenza cavalletto,
szédítő hagymás lombozat élénk elvarázsolt hegyvidéki harmonikus ornamentations narancssárga ernyővel finom színárnyalatok magasztos,
fantastique escarpements violacé présente les faits saillants de lavande anciens traits courbes denses Quadrant dispersés ciel céleste,
solas glittering inextinguishable specks swirling limitless bhfaca whirlpools Violet fíor firmament pulsating físeanna Scairt,
vervreemdende kosmische vervoering verergerd emotionele epileptische beroeringen aanvallende impulsiviteit aanvallen neuronen euforie,
異常な爆発の日誤っ明るくカスケードは、心の残り火は写真不変の疑問拷問脳に目まいと思った.
Steve.D.Hammond.
"Save Soil, a global movement envisioned by Sadhguru Jaggi seeks to bring about a concerted, conscious response to impending soil extinction."
Calm before the storm
Pre-spring feeling about the place today but all are conscious that it is the eve of Storm Éowyn. All the conversations at Castleward today were about the Storm.
The snowdrops will probably be better at weathering it than polytunnels and greenhouses and bee hives. I am hoping it is less bad than is projected and that South County Down doesnt get the worst of it.
I have a feeling it will be noisy overnight and in the morning.
First Aid Kit - Heavy Storm
Location: Edmonton
Model: Kelli
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Hit the L key for a better view. Thanks for the favs and comments. Much appreciated!
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
The driver of 37419 gives the headlight a bit of a clean prior to departure from Grimsby Town with the 3S14 1117 RHTT to Bridlington .
4 11 20
Details are important in the art of feminine illusion. Details like the way women hold a coffee, tea or hot chocolate cup. I had not paid attention to this before, and I made a conscious effort to incorporate to my repertoire this year at Keystone; as is the case with every other feminine treat and mannerism. After all, this is just an illusion, and not something that comes natural to me, as a male.
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Los detalles son importantes en el arte de la ilusión femenina. Detalles como la manera en que una mujer sostiene su taza de café, té o chocolate caliente. No había prestado atención a este pequeño detalle con anterioridad y esta vez, en Keystone, hice un esfuerzo consciente para incorporarlo a mi repertorio, como es el caso para cada uno de los manierismos femeninos. Después de todo, se trata de una ilusión y no de algo que me salga natural como el hombre que soy.
All Rights Reserved © 2007 Malaysia
Photograph by Syahrin Aziz, Edited by Me
omg! i freaking love this one! OMG! my idea really works! thanx to Syahrin Aziz too! weeee love it! <3 my fav potrait ever! and best self potrait editing ever!!!! my greatest idea ever! lol (sorry for being too excited)
A few more odds and ends from my archives. I am adding the description that I wrote under a different image taken on the same outing. So far, two and a half weeks without my car. Still more weeks to follow.
Those were the days! SO grateful that I got chances to do some amazing hikes years ago. I need flat ground and slow walking now!
"Yes, I survived the full-day hike yesterday, though my body isn't moving quite like it should today, LOL. The scenery was spectacular and the wildflowers just wonderful. Two of us were taken to this trail by friend, David, who had been there a handful of times before. Both guys have had a lifetime of walking and hiking - and then there was me, LOL. However, we were stopping constantly to search for plants, record them and photograph them, so it was not a brisk-walking hike, thank goodness, otherwise I wouldn't have gone. Lost count of the number of times I glanced at the mountain sides to check that there were no Grizzly Bears in sight, though one had been along our trail at one point, turning over large rocks to see what was underneath. Thanks, David, for sharing this special place with us, and thanks for your patience with a slower walker : ) I SURVIVED!! We walked along this valley, gradually climbing upwards until we reached Gunnery Pass (1874 m, 6150 ft) and then returned to the car via the next valley. Have to admit that I was very conscious of the fact that the further we went, the further we had for our return journey."
I'm focusing on the things i can do, amid all the gloom and doom of COVID-19 because what we focus on grows..
* Washing my hands thoroughly
*Consciously trying to avoid touching my face.
*Maintaining social distancing
* Limiting the amount of TV news
*Keeping in touch with family and friends by phone or Facetime.
*Eating well and though avoiding gym, trying to do some exercises at home.
*Listening to classical music
*Watching feel--good movies.
Thanks for visiting, Flickr is a good distraction. Be safe, happy and healthy
We can only be said to be alive in those moments when our hearts are conscious of our treasures.
Thornton Wilder
well, she was noticing me from a long time i was in the ghat...and finally she gathered enough courage to ask me to take her pic...and believe me, when people ask me to take their shot i get some kinna happiness from within...as if am being offered a box of chocolates...
Semi-rare mileage along the R&N is the weekly trip of the 2nd Tamaqua job (YJQA,QADE,QAJT etc...) up the Delano and Morea runners to serve Poly Plastics near Delano. This job usually rates the only SD38 to stretch it's legs on the mainline. The circuitous route takes them north on the Reading from Tamaqua to Haucks then a jaunt on the RDG Catawissa Branch to one of many "Hazleton Junctions" in the area near Quakakke then along a stretch of track built in 1989 (the Lofty connection) to a switch called Delano Junction where the train reverses onto the former Lehigh Valley track now known as the Delano Runner. Before reaching Delano the Morea runner breaks off (at Morea Jct, nee Laurel Jct) and brings the crew another mile or so to Poly Plastics. The Morea runner continues several more miles to an embargoed anthracite load-out in Morea. Got it?
Anywho here's QADE (Tamaqua-Delano) switching out some storage tanks left on the runner past the Poly Plastics switch. Word is a few hundred more tanks are on the way....
The caption above is what I typed a couple months ago. Now I feel almost self conscious posting R&N stuff from my spring trip since a lot of you guys have been doing so much great stuff. Much has changed already. Coal business is rolling heavy again as it was very light while I was there during the peak of the pandemic. The Pittston pups have been split up and one has been leading the southbound NRRB for over a month. The F units seem to be running multiple times a week. The area in front of the station in Tamaqua has been torn up to build a new station platform. The fight with the city of Jim Thorpe has ended and 425 is leading tourist trains north from there into the Lehigh Gorge. Another engine has been painted in the Reading scheme, a black former NS GP38-2 is running around in service and one of the CSx SD50-2s has introduced an entirely new paint scheme. All of that in the 2 and a half months or so since I left the area.
"I must stay conscious
Through the madness and chaos
So I call on my angels"
credits:
www.fire-and-ice-blog.com/single-post/2016/09/16/LOTD---R...
Female Rufous Hummingbird taken at Blackie Spit, Surrey, British Columbia, Canada by David.
One that I took a few weeks ago while the computer was down. Shot just before sunset. This is what a hummer blinking looks like for those wondering ;)
David.
Ability is nothing without opportunity.
(N.Bonaparte, ridiculous poseur.)
best laugh large.
shot by pacina.
This was taken at the intersection of Spring St. & Sixth Ave in the SoHo district of Manhattan.
Note: I chose this as my "photo of the day" for May 22, 2015.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
The Amsterdam canal system is the result of conscious city planning. In the early 17th century, when immigration was at a peak, a comprehensive plan was developed that was based on four concentric half-circles of canals with their ends emerging at the IJ bay. Known as the Grachtengordel, three of the canals were mostly for residential development: the Herengracht (Gentlemen's or more accurately Patricians' Canal), Keizersgracht (Emperor's Canal), and Prinsengracht (Prince's Canal). The fourth and outermost canal is the Singelgracht, which is often not mentioned on maps, because it is an collective name for all canals in the outer ring. The Singelgracht should not be confused with the oldest and most inner canal Singel. The canals served the purposes of defense and water management. The defenses took the form of a moat and earthen dikes, with gates at transit points, but otherwise no masonry superstructures. The original plans have been lost, so some historians need to speculate on the original intentions: it is thought that the considerations of the layout were purely practical and defensive rather than ornamental.
The eastern part of the concentric canal plan, covering the area between the Amstel river and the IJ bay, has never been implemented. In the following centuries, the land was used for parks, senior citizens' homes, theaters, other public facilities, and waterways without much planning.
Over the years, several canals have been filled in, becoming streets or squares...
Actually the territory of canals divided by swans and ducks, sometimes they have a wars... Here is the winner observing his posessions.
Much better viewed large View On Black
I am the selfish one, an ignorant, toxic, a mess, naïve and stupid retard, attention whore, narcissistic passive aggressive manipulative cunt, borderline impulsive, without self-respect.
I am guilty.
I got lost. I became a live experiment of mixing drugs with alcohol over a long period of time. My behavior changed drastically. I hurt people. I hurt myself. Yet I believed in friendship, love and understanding. I shouldn’t though. Cause when you are all that, you simply don’t deserve it. Things that were real become a lie.
I am the one to blame.
Pete told me last night that he'd gained ten pounds since we met. Of course I told him that #1, he's The Hawt and always will be and #2 it's not noticeable.
I also told him if he ended up weighing 300 pounds, he would just be my Homer. Or I'd be his Lois (hmmm... which is hotter? Marge or Lois?) He's gorgeous inside and out. If you know me IRL, you know how absolutely much I adore him.
It lead to this conversation about how we view ourselves and each other, how we worry about being attractive for the other person.
And that got me thinking about all the little things I'm afraid (and sometimes sure) he notices about me. (chest too small, tummy too large...)
When it comes to these Holgaramas, form is probably my most important consideration. It is the desire to break out of the standard four sided rectangle that encourages me to make multiple frames in a mishmash like this. So whenever I set up to do one of these, before I even make the first frame the question I am asking and answering is what shape am I going to aim for? And of course, that question is at least partially answered by figuring out what my concept/subject is going to be, because the shape of the frame should be formed deliberately to support the content of the image, otherwise making odd shaped stitches ventures into the realm of gimmickry. That is when you are making weird shape stitches just for the sake of making weird shaped stitches.
I mention all this because part of me wishes I had exposed one more frame that included more of the falls itself, but adding that extra frame to the top middle would have changed the shape of the whole stitch into more of a blob instead of a rough pano and my subject here was the ice-encrusted bowl at the base of the falls, not the falls itself, per se. That and the otherworldly appearance these falls take on in the ice. So I was aiming for content of both the concrete and abstract nature - ice encrusted bowl and otherworldly feeling/appearance.
As photographers we have lots of tools at our disposal: shutter, aperture, ISO, white balance, focal length, exposure, saturation, sharpness, hue, contrast, cloning, layering, etc. One of the best lessons that I try to impart to beginning photographers is to become aware of just how many variables you can conceivably control yourself. With our super-advanced equipment sometimes it becomes easy to just go auto too much and take a lot of these tools for granted. Well these holgaramas are a reminder then that frame shape is another tool at our disposal and one many photographers take for granted and forget that not everything has to be rectangular or square. Think about it, how many times over the last 100, 500, even 1000 frames you have made have you stopped and asked yourself, "is rectangular/square really the best shape for what I am trying to photograph?" Probably not too many times. We just do it with little regard or conscious decision. Instead of fitting our frames to our subjects, we fit our subjects to our frames. In a sense, this is a bit backwards.
Something to keep in mind and chew on with the photographic part of your brain.
So, the next time you get out try setting up some multiple-photo stitches, particular composites where the pieces are not all going to line up evenly. Break out of that rectangular cage. Just remember to start with subject matter first. Figure that out and the shape tends to follow naturally.
Lasalle falls only drops about 20 feet, but damn it's a powerful cascade that has to be treated carefully, especially when the rocks are wet.
... to see our soul path clearer and therefore accept it more consciously.
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Season of Photographic Eye - picture 11
Week 50, Wednesday
The photographic eye, which I've been discussing for whole season, is all about learning your own way of seeing things, applying it to your photography in a more conscious way and bringing greater depth & personal style to your photography. The opposite of using the photographic eye are the numerous images we often take which just 'snapshots' or uninteresting in other ways. Now, when it comes to taking interesting images that in some way manifests one's photographic eye, I'll be first one to admit that most of the shots I take are 'snapshots' indeed and only few of many really satisfy me. I find myself often thinking that a good image cannot be just a flat representation of the reality. Instead the photographer has to add something to it by using photographic means which lifts it beyond a snapshot. The obvious following question is, of course, how one should to do that?
At the simplest level adding something to image might be the skillful construction of the image. With a skillful construction I refer to images that are good in both technical and conceptual level. Carefully chosen subject, good exposure and sense of light, satisfying sharpness, correct choice of the used focal length, etc.. While these might sound pretty basic things, I wouldn't underestimate their meaning and sometimes basic things are enough. One should also remember that there are no rules carved into a stone (even the famous rules of third). There are certainly rules, but I would like think them as a flexible repertoire of suggestions that are pretty often broken as well. One also learns his/her own way of translating these rules into photography. Personally I like, for example, to use 50mm lens (equivalent of 75mm on a full frame) for many pictures because it gives me a bit of telecompression and lets me often isolate convenient slices from reality. I have learned to translate many of the photography basics around this focal length and it shows in my photography. That being said, I often feel I would need to know the basics much better to be able to come with a skillful photograph from any situation.
Another way to way to lift photographs to another level is to create images that evoke reactions. (Indeed, Captain Obvious!) Snapshots of course don't evoke much of reactions, but then again there are loads of technically great photographs that don't evoke those reactions either. It's because we become tired of seeing similar images, visual motifs and tropes - even if they are perfectly realized. While 'the perfect sunset' and many others are old clichés, there are also new ones created everyday as well. Personally I feel, for example, that certain kind of edgy wide-angle landscapes with post processed skies and distant horizon have become a bit too widespread to evoke reactions anymore (you see these often at the cover of photography magazines). They are admired from technical point of view, but their quality as photographs are reduced because they have become new clichés. Personally I like to, just like many others, add a bit of dark sublime character in to my photographs when possible, but I make sure that I work on a border of interpretation where it is not so explicitly pronounced. Often just a little bit of underexposing the scene to make shadows and contrast stronger is enough - if the subject is already fitting for it.
Where things get hard, is trying to create pictures that offer more than one level of experience. This is the most powerful way to bring greater depth and own vision into photographs, but it is also perhaps the hardest. Sometimes one can have a concept in mind which will create another level on interpretation, like juxtaposing different elements for example. Sometimes it happens by accident and is only noticed when pictures are viewed later on from the computer screen. When I create 'a concept-image' I have often already taken that image before without the concept and my idea springs up when viewing it from the screen. Some image might be perfect in my mind if it had lemons in it, for example. If the concept is doable and sounds like a fun idea, I pack my packs and go to take it again with a new idea. Some of the best images I've done have required at least couple of tries on different days to get it right, but it's most often worth it.
Ps. I haven't explained much of the posted images as they have been pretty self-explanatory. This one, however, benefits from little explanation. For this picture I went to local ice swimming house and while it isn't quite a street photography, it isn't very far from it either: the ice swimming house is situated very close to central and it happened to have more traffic than the main street. Before swimmers descend into almost zero degrees water they warm up in sauna. This particular day there were so many of them that they were in lines walking down to chilly water.
Year of the Alpha – 52 Weeks of Sony Alpha Photography: www.yearofthealpha.com
