View allAll Photos Tagged Delicate
These blinds have weathered so much that only some delicate lace of the actual sun-blocking material is left at the top. I'm sure if anyone touched it, it would all crumble to bits.
Entry for Scavenge Challenge January 2013: #22. Photograph something fragile, dainty or delicate (in the literal sense, please).
Just a delicate damselfly that happened to fly into my back yard and land on my fence. Came across this old photo last night when I was looking through a folder of images to maybe post to Flickr. I really need to go through my more recent photos and will do so after a quick break from Northern Pygmy-owl and old barn photos : )
It's only -4C (windchill -8C) this morning, 1 March 2015, so I might just go for a bird walk with friends. Looks like the forecast is for some snow tonight, so I know I should make the most of the sunshine today. So far, next week is looking pretty good weather-wise.
The delicate poetry of blossom in sunlight.
What drew me in was the lightness of it all: small white flowers, fresh green leaves, thin branches crossing the frame, and the soft blur of spring behind them. Nothing grand, nothing forced, just nature arranging itself with quiet confidence.
There is a real pleasure in slowing down for scenes like this. A reminder that beauty often arrives softly, and does not need to loudly announce itself.
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Rumble Lake, Kananaskis Alberta last week end. Clouds obscured the summit of Mt. Galatea on the other side of the lake, but down below the water of the outlet stream poked through the icy layer. Surrounding the water were many stones, delicately decorated in a bulbous mound of snow. I'm so glad I found this exquisite foreground; otherwise, the frozen lake itself was very bland in terms of photography.
An American Bushtit perched delicately on a thin branch against a dark, blurred background. The scene is peaceful, capturing a quiet moment in nature!!!
Silver Cross
3rd Quarter of the 19th Century
Silver
H:26 1/4” x L:14” x W:6” (67 cm x 36 cm x 15 cm)
weight: 2136 g
Starting bid: P 240,000
Provenance: Made in Manila
This silver cross was once part of a ciriales, a set of processional candlesticks and a cross that were placed on top of long poles encased in silver that were held by sacristans who preceded religious processions in the country. Since the front and back of the cross could be seen, both sides were decorated. In the course of time, the use of heavy silver processional accoutrements lost favor and was replaced by simple, turned, lightweight wooden ones so familiar today.
This cross was originally placed on top of a large silver cup embossed and chased with the usual acanthus leaves. However, a sampaguita on a long stem decorating the juncture of each leaf makes it unusual. A narrower cup below is decorated with frieze of leaves chased with very fine lines and rests on a knopf above a slim, elongated acanthus bud. When the silver processional cross was no longer being used, the parish priest decided to make it an altar cross by inverting the cup that terminated the pole and making it into the base of the cross, enabling it to stand on its own.
The cross consists of silver plates appliqued to both faces of an inner wooden cross, while silver strips are nailed all around the sides to hide the wooden core. Both faces are completely covered with graceful, delicately embossed and chased acanthus leaves. The ends of the cross have tri-lobed terminals or cantoneras defined by a narrow convex molding enclosing a beautifully rendered acanthus leaf.
The arms and body of the cross are bordered by narrow bead moldings with laurel leaves chased on the outer edges. Between the borders are long, leafy lily stems topped by a large flower in full bloom. The intersection of the cross is appliqued with a roundel with an outer bead molding attached to a grooved one. The front disk is embossed and chased with a sunburst that serves as a halo for the cast-silver figure of the crucified Christ appliqued to the cross, while that at the back is embossed and chased with a figure of a crowned Virgin Mary on a bank of clouds.
The design of the cross is not the ordinary pattern that one often sees in 19th century ciriales. The attention to detail and the superlative workmanship indicates that it was made by a master silversmith. -Martin I. Tinio, Jr
Lot 75 of the Leon Gallery auction on 5 December 2015. Please see www.leon-gallery.com for more details.
Camera Nikon D90
Exposure 0.017 sec (1/60)
Aperture f/8.0
Focal Length 105 mm
ISO Speed 1250
Exposure Bias 0 EV
Flash No Flash
okay, the whole time I was reading this book, I kept thinking it seemed familiar, turns out I read in almost exactly 4 years ago (mid November of 2016 - right after the horrible election) and didn't remember - I gave it 5 stars both times. Truly great writing.
Just another beautiful rose ~ so soft and delicate and such a lovely yellow!
365/2021 - Expanding Horizons ~ 81/365
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
I am a delicate flowers
Affected by tumultuous winds
Ripping through the landscape of my heart
Tearing up beliefs and habits
Leaving me wilted and haggard
Aching for death -
To begin again
From the falling of my seed
- Rachel Lisette
You catch a glimpse of her and you are struck by her beauty but disturbed by something you can't identify... The Siren has you in her grasp. Step by step you loose as she wins.
Model: Riley Veldhuizen
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A fashion shoot has predictable timing slots starting from Makeup. Looks that can elevate a fashion shoot to new heights or make it a veritable disaster if you are not careful. When it comes to creating the perfect makeup for a fashion shoot, there is an artistry that goes beyond ordinary beauty routines.
On any given day in India, Imagine the enchanting combination of ethnic female models, vibrant sarees, exquisite jewellery, and the rich cultural heritage of the sub-continental symbolism coming together in one captivating visual.
The key to achieving a breathtaking makeup look lies in celebrating and enhancing the natural features of each model. With precision and creativity, professional makeup artists can transform faces into beautiful works of art from the muted natural to the over the top glamour. From accentuating the eyes and brows and slicking down hair to highlight the face, to creating flawless complexions that radiate sheer elegance, every brushstroke holds the power to mesmerize.
Incorporating elements from India's vibrant culture into dressing up choices and what to shoot adds an extra layer of depth and authenticity. Bold pops of color inspired by traditional textiles can be delicately woven into eyeshadows or lip shades. The jewelry worn by these ethereal models becomes an integral part of the overall look, with strategic highlighting.
As you witness India and its colorful penchant for bold colors and motifs, the celebration that is beauty and style is told in a tale of lyrical transformation unfolding before your eyes.
Here the makeup has just about begun and this is not the final look.
Makeup by - Rasino Terhuja
Assisted by - Jhanvi
Assisted by - Akram
PXL_20230607_012758831.PORTRAIT raw via jpeg
St Mary, Nettlestead, Suffolk
One of my favourite churches in England, I'm a regular visitor and often come back here at the start of spring. After a visit in 2017 I wrote: Suffolk's most secret places are among the twisting valleys to the west of Ipswich, the little churches hidden in glades on hilltops or in the dips below where the narrow lanes snake down into groves of ash and elm. Maybe there's a stream nearby, but not many houses; hardly a village at all. The churches in these places are among my favourites. Their ancient stones endure through the shadowy grip of winter, and cool the summer haze. They sit in silence as the centuries go by, far from the mundane bustle of traffic, beyond the scope of the tourist guides.
Nettlestead is one of these places. The pretty unbuttressed 14th century tower shows evidence of Norman work in its lower reaches, although Mortlock thought this may have been found and reset during the 19th Century restoration. Similarly, a Norman lancet window in the north wall is surmounted by a reset delicate carving, interlacings of beads, arches and scrolls. You see such things in the Victoria and Albert museum, but they do not have the same power there, out of context. Here, a thousand Suffolk summers and winters have come and gone and still it endures. Speaking of Victoria and Albert, their portraits form the headstops to the outside of the east window.
The inside of the church is neat, bright and welcoming. It is easy to describe the interior of a small church as pretty, but Nettlestead really is so, and once stepped into it will not easily be forgotten.
The crowning jewel here is one of Suffolk's loveliest fonts. Panels intersperse lively evangelstic symbols with grinning men, one with his tongue sticking out (but could he be a lion?), a jolly bishop, and, almost surreally amongst all this merriment, St Catherine clutching her wheel of martyrdom. There are noticeable cracks around the bowl, as if at some point it has been seriously damaged. There is a story behind this font and its survival, as we shall see.
Another curious survival is the large squint in the splay of a window in the south wall. It seems to be focused on where the pulpit is now, so we might assume that there was once an altar in the nave there. But why was the squint where it is? Mortlock thought there might have been an anchorite's cell outside the south wall there, but it is hard to see how an outbuilding could have offered a view through the squint without its east wall cutting into the window. I wondered if the Easter sepulchre had been built where the pulpit is now, and the squint allowed parishioners a view of it on Good Friday, when the church was out of use.
Cautley doesn't mention the squint in his 1935 survey, so it was probably uncovered during a major restoration after the war. On the night of 12th August 1940, this pretty church suffered the same fate as that at Akenham, six miles away, when German bombers returning from a raid on the Midlands dropped their remaining bombs in a swathe across this part of rural Suffolk before embarking on the crossing of the North Sea. The church was gutted, and its restoration and reopening in 1950 was one of Munro Cautley's last jobs for the Anglican diocese. He is responsible for the meticulous piecing back together of the font, which was wrecked in the explosion.
The east end of the sanctuary is a curious thing, too. Its rather sober classical blank arcades are elegant, but beside them is the grimly morbid early 17th century memorial to Samuel and Thomasina Sayer with their pet skull in the north wall. Sayer built a faire almes house at Bewdley in Worstershier for six poore men and gave thirty powndes a yeare for ever, but he seems none too happy about it. Rather jollier are the lion and unicorn on the George IV coat of arms, which, instead of supporting the shield, emerge dramatically from behind it.
As lovely as this church is, only the font has survived today from the Medieval period. But there was once much more. The iconoclast William Dowsing visited Nettlestead on 22nd August 1644. It was one of seven churches he visited in the area that day. One of his houses was in the adjacent parish of Baylham, and these small churches are close together, but even so the going on horseback must have been easy that day.
He found plenty to do at Nettlestead. The saints on the screen, of which no trace survives, had not been defaced, and there were a dozen further saints in stained glass, again none of which survive. It appears that his instructions with regard to the screen and ancient glass were carried out by the churchwardens in full, and he also noticed a prayer clause in brass which had gone by the time the antiquarian William Blois visited in 1660. The knight above its matrix survives, suggesting that the inscription wasn't taken by collectors or early modern metal thieves. The armour is early 16th Century and it may be to Richard Wentworth who died in the 1520s in the last days of Catholic England.
Dowsing does not usually get too worked up about fonts, but he mentions St Catherine on the one here, who survives, unlike her saintly companions in paint and glass, so presumably she was consequently either plastered over, or the font was removed from the church and used as a drinking trough for cattle or something. Further, and most unusually, Dowsing names the Ssaints he sees at Nettlestead, and this despite it being just one of many churches he visited that day. Why was Dowsing so thorough at Nettlestead? The obvious conclusion is simply that, being local, he already knew the church well.
And there is one further intriguing connection between Dowsing and Nettlestead. Thomasina Sayer on the Sayer memorial in the chancel was born Thomasina Lea, and she was the sister of Thamar Lea, William Dowsing's first wife.
The thought that this wonderful little church once had a medieval screen and medieval glass that had survived the Reformation makes you want to weep. Ho hum. Back outside, then.
The pompous memorial by the north east hedge to Stephen Jackson, publisher of the Ipswich Journal, is a quite different prospect to the quiet beauty we have encountered so far. You might see this in the V&A as well, as an example of the arrogance of the Gothic revival. Here is someone who thought very highly of himself, and now lies under flowering columns, pillars, balls, pyramids and curlicues. An antidote by the south porch is the memorial to a child who died after just ten hours. Just a Perfect Day, as the inscription reminds us. It's one of the loveliest modern memorials I know in Suffolk.
So there you are, what a delightful little church this is, how can you possibly resist? And then, if you are on foot, or on a bike, just keep going. On the other side of Somersham, you'll come to Flowton, where the church is equally remote, equally lovely, equally welcoming. If you are in a car - well, you should be ashamed of yourself.
"What's in a name? That which we call a rose
by any other word would smell as sweet"
[Romeo and Juliet; Act II, Scene II; William Shakespeare]
A delicate white rose leaning against the wall of my auts Winter Garden.
Take a look at my photoblog: kjns.zyloxer.net/
July 8, 2021
Spring seedling gifts from my sister, four delicate dark-pink poppies bloomed just in time to welcome tropical storm, Elsa into our neighborhood. I hope she treats them kindly!
(Look but don't obliterate, please!) ...well it's worth requesting.
Brewster, Massachusetts
Cape Cod - USA
Photo by brucetopher
© Bruce Christopher 2021
All Rights Reserved
...always learning - critiques welcome.
Tools: Canon 7D & iPhone 11.
No use without permission.
Please email for usage info.
Went out today for a walk in the sunshine. I discovered my memory card only holds 8 photos! Tomorow I have to get a new memory card!!!! HBWE!
Delicate Arch rock formation and basin with the snow covered
Wasatch Mountain Range in the background is a world famous natural erosion feature that attracts tourists from around the world but involves a 1.5 mile uphill walk.
I thought I would start off my Arches national Park photos with one of the most photographed arches in the park. The day we hiked up to Delicate arch the winds were INSANE!! I talking the kind you huddle in a corner and grip your tripod with your legs and body just to get a shot with no blur in it. After about a hour of shooting between wind gusts and arch touchers we decided we saw enough and headed back down the trail. The sunset never really did anything that night so i wasn't upset we left early.
This is not my favorite photo from my stay in Arches, but it is a cool one. I will post my favorites later on.
I am kinda having a problem deciding on the order to post my photos. I can't decide if I should post photos from one park and then the next or just post photos in any order, What do you think?
Ink study of Cambodian War prisoner image that has been burnt, photocopied and then burnt again.
The burning element was to represent an aspect of suffering towards the delicate ink drawing that can translate to a degree of torture the prisoners must has endured (Jan.2015).
Glad I saw it before I stepped on it. So fragile. A fungi lifer for me. It's Latin name comes from the fact that it looks like a cocktail umbrella. They pop up after a rain.
Pleated Inkcap (Parasola plicatilis)
White Rock Lake, Dallas Texas
My photos can also be found at kapturedbykala.com
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Canon EOS 5D Mark II
Exposure0.025 sec (1/40)
Aperturef/13.0
Focal Length16 mm
ISO Speed100
Lens Tokina 11-16, 2.8
Photograph taken at an altitude of Forty five metres, prior to the magic of the Golden Hour around sunrise (Sunrise was at precisely 04:38am), at 02:49am on Thursday 12th June 2014 off Lullingstone Lane and next to Lullingstone Roman Villa overlooking the field close to Eynsford Viaduct in the village of Eynsford, Kent, England.
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Nikon D800 50mm 1/1.3 Second exposure f/2.8 iso100 RAW (14 bit) Nikon RC-DC2 remote shutter release. AF-S Single point focus. Manual exposure. Matrix metering.
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.
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LATITUDE: N 51d 21m 51.91s
LONGITUDE: E 0d 11m 48.92s
ALTITUDE: 45.0m
RAW (TIFF) FILE: 103.00MB
PROCESSED FILE: 15.54MB
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Processing power:
HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.90 64bit. Adobe photoshop Elements 8 Version 8.0 64bit