View allAll Photos Tagged EXPANSIVE
Hiking on “Stóri (big) Dímon”, last spring in the south with a great view to the highlands. The famous glacier “Eyjafjallajökull” is located far away to right in the picture
The Artisans’ Gate at Central Park is located at 60th Street, at the southern perimeter about the mid way point of the park east to west. It is one of original 18 named gates of Central Park, rather unambiguous openings in the low stone walls that encircle the perimeter of the park. As the park neared its completion in the early 1860’s, the design and work of Frederick Law Olmsted and Calvert Vaux park which was incidentally the last and 33rd design entry submitted for the parks design was being touted as a masterpiece of landscape architecture. The vision of Olmsted and Vaux’s park was to be a pastoral escape from the hustle and bustle of the growing New York metropolis; this is the key to understanding the design with the low sandstone walled gates, the simplicity of the wilderness inside which was meant to be a representation of democracy and the American republic.
However, the location of the park which today is hard to visualize because of how built up the entire island of Manhattan is, was in fact in the 1860’s very much an unsettled area, where the rich and wealthy, the members of high society had built expansive homes about the park perimeter. A movement began spearheaded by an eminent American architect named Richard M. Hunt of Paris education (the designer of the pedestal for the Statue of Liberty) who wished to have rich, grand ornate gates like the urban parks of Paris and London. Hunt actually proposed a huge gate with 50 foot columns, curving stairways, to match the extravagance of European parks created by the European Monarchies.
Frederick Law Olmsted and Calvert Vaux were outraged at the proposals of Hunt viewing them as an attack of what their design was meant to accomplish; an accessible city refuge that would be open to all. A battle ensued between Richard M. Hunt, his well to do backers which included his brother-in-law who was a wealthy member of the commission that ran the park and the two idealistic architects Frederick Law Olmsted and Calvert Vaux. Olmstead was quoted saying "an iron railing always means thieves outside or bedlam inside." In the end there is an open question as to whether Olmstead and Vaux’s victory over Hunt was an ethical victory or a financial one influenced by the Park Comptroller Andrew H. Green and his tight-fisted decision-making. The names were subsequently chosen in 1862 by the commissioners of the park. The sandstone walls would stand on each side of the park’s eighteen original entrances and be given a name descriptive of the city of New York and its citizens.
A misconception of folk that visit the park today is that all the finely chiseled names were done in the nineteenth century. Wrong. Early twentieth century? Wrong again. Most of the names were chiseled in the 1990’s adhering to the original naming conventions set by the commissioners in 1862 as part of the restoration of Central Park which reversed years of dilapidation of the park that occurred during the tumultuous and rebellious 1960’s, the bankrupt 1970’s and early chaotic crime ridden 1980’s. Three gates were added to original eighteen, bringing the total to 21 and the truth is the nineteenth century titles may not make all that much sense today, but it is an important link back to the time when the park was opened. As photographers, maybe we’re all modern artisans of a sort; our cameras are our tools.
Taken with Olympus E-5 using a Olympus Zuiko 12-60MM F2.8-4 lens processed in Photomatix and cleaned up in Adobe Lightroom.
The expansive Bay view, seen from the Berkeley hills. San Francisco in the distance. The red tile roofs, and nearby buildings, at the base of the picture, are part of the UC Berkeley campus.
My Head said Triptych and my Heart made a Quadtych. My Reason as is often the case was of little use as Emotion had designs on a different notion. I followed Heart the chest wedge of appreciation and it was happy especially so as Head was proved wrong yet again. Dumb Brain trying to think bright solution after brilliant solution. Three became Four and they opened out ready to reflect and hopefully to soar with one extra wing into any and all skies and rise in the mind’s of any casual passers by. Unfold to to reveal what’s told nothing either new, or old, nothing charged nothing sold. Just a picture reflected and reflected on itself.
One Lily is joy and several are a pleasure. In the wondrous white flowering there was an unfocused centre ready to be composed into a Heart. The Heart was all ready fading, the bright petals were gently time spent mouldering back to soil from where they had sprouted with their moment of splendid presentation now fading into degradation. One picture repeated and repeated to release the central pulse from the Heart of Death and of Life to fulfil the flowering out of The Lily of Life not unlike the sephira of Tiphareth on The Tree of Life.
© PHH Sykes 2025
phhsykes@gmail.com
Tiferet (Hebrew: תִּפְאֶרֶת Tip̄ʾereṯ, in pausa: תִּפְאָרֶת Tip̄ʾāreṯ, lit. 'beauty, glory, adornment')[1] alternatively Tifaret, Tiphareth, Tifereth or Tiphereth, is the sixth sefira in the kabbalistic Tree of Life. It has the common association of "Spirituality", "Balance", "Integration", "Beauty", "Miracles", and "Compassion".[2]
Description
In the Bahir it states: "Sixth is the adorned, glorious, delightful throne of glory, the house of the world to come. Its place is engraved in wisdom as it says 'God said: Let there be light, and there was light.'" [3]
Tiferet is the force that integrates the sefira of Chesed ("Kindness") and Gevurah ("Strength", also called Din, "Judgement"). These two forces are, respectively, expansive (giving) and restrictive (receiving). Either of them without the other could not manifest the flow of Divine energy; they must be balanced in perfect proportion by balancing compassion with discipline. This balance can be seen in the role of Tiferet, wherein the conflicting forces are harmonized, and creation flowers forth. Tiferet also similarly balances Netzach and Hod. In that case, Hod can be seen as the intellect whereas Netzach is seen as emotion.
On a walk in the Botanic Gardens September 13, 2015 Christchurch New Zealand.
Founded in 1863 with the planting of an English oak tree, the Christchurch Botanic Gardens have grown from small beginnings to become a much-loved destination for Cantabrians and visitors alike. Over the years natural wetlands and sand dunes have been transformed into an elegantly cultivated 30 hectare park with more than 10 different gardens framed by mature trees and expansive lawns, which are mostly contained within a loop of the Avon River.
For More Info: www.newzealand.com/int/feature/christchurch-botanic-gardens/
Expansive Landscape.
Proportions proportionnelles arrangements essentiels vie naturelle manifestations bourgeoises convertissant des teintes validant des rêves,
الوئام الكامل في معرض مثير للإعجاب عميق أعمق الاهتمام الفني التقليدي الذاكرة الزائدة,
darluniau dychymyg heintus anferth mewn celfyddyd ddeniadol, teimladau cryf iawn dwysedd barddoniaeth syfrdanol mawr,
leideanna a léiriú a léiríonn mothúcháin teoiricí comhlántacha gnéithe ceoil a bhfuil tionchar neamhchomhfhreagrach acu,
ritmi che accelerano le vernici churning libertà uniche forme geometriche semplificate comprensioni espansive,
ευφυής τεχνική μεγάλες επεκτάσεις γκρίζο φάσμα μπλε σκιαγραφεί τα κινητά κίτρινα κίτρινα χρώματα,
привлечение форм напряженности подчеркнуто круговое окружение сейсмограф усиливает тремор, нарушающий творческие волны,
精神的な革命表現可能な知識絶え間ない創造的な衝動物理的な行為大規模なスローズ征服できないエネルギー浸透する魂エンベロープ環境愛.
Steve.D.Hammond.
Norwich, Norfolk — Aerial View
An expansive aerial view of Norwich, one of England’s most historic and characterful cities. The winding River Wensum can be seen curving through the centre, a defining feature that shaped Norwich’s layout since Saxon times. The city grew around the river’s loops, its bridges and quays once busy with trade.
At the heart of the image stands Norwich Cathedral, begun in 1096, its towering spire rising 96 metres above the Close — still the most striking landmark in the city. Nearby, Norwich Castle, built shortly after the Norman Conquest in 1067, dominates the skyline on its mound, originally serving as a royal palace before becoming a prison and now a museum.
During the late Middle Ages and Tudor period, Norwich was England’s second largest city after London, a position it held until the early 17th century. Its prosperity was founded on the wool and weaving trade, which brought in Flemish and Walloon craftsmen and helped establish a cosmopolitan culture.
As centuries passed, Norwich diversified into industries that became famous nationwide — Colman’s mustard, Boulton & Paul engineering and aircraft, Caley’s chocolates and Bullards Brewery. It was also home to the Norwich Union Insurance Society (now Aviva), one of Britain’s great financial institutions.
The city’s wealth left a remarkable legacy: more medieval churches than any city north of the Alps, their towers and spires still punctuating the skyline. Surrounding the historic core are green spaces such as Chapelfield Gardens, Mousehold Heath, and the Norwich School playing fields near the cathedral.
Today, Norwich itself has a population of around 145,000, but the Greater Norwich urban area exceeds 210,000 residents, reflecting its continuing growth as the cultural, commercial, and educational hub of East Anglia. From the air, it remains a city where centuries of history and enterprise are beautifully interwoven with the landscape of modern life.
High definition image of the City of Norwich
July 6, 2024 - East of Minden Nebraska
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Dark supercell storm clouds loom over a lush green landscape, creating a dramatic contrast between the ominous sky and the vibrant fields below. The distant trees and expansive fields emphasize the vastness of the approaching storm.
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Dale Kaminski @ NebraskaSC Photography
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A Jorō near-miss! It was a foggy morning, so I almost didn't notice an expansive web and its spinster on the trail ahead. I was just able to duck at the last moment.
Decatur (Legacy Park), Georgia, USA.
12 November 2022.
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▶"Trichonephila clavata —also known as the Jorō spider (ジョロウグモ)— is a member of the Trichonephila genus. The spider can be found throughout Japan (except Hokkaidō), Korea, Taiwan, and China. The spider is also an introduced species in North America —first spotted, in 2013, in northeast Georgia and northwest / upstate South Carolina. It is believed that the species will become naturalized over much of the eastern seaboard of the United States due to its relative resistance to cold.
The adult female's body size is 2/3 to 1 inch (17–25 mm), while the male's is 1/4 to 2/5 inches (7–10 mm). The adult female individual has stripes of yellow and dark blue, with red toward the rear of the abdomen. The web of females may reach several meters in length. In sunlight, the yellow threads appear to be a rich gold color. In autumn, the smaller males may be seen in the webs for copulating. After mating, the female spins an egg sack on a tree, laying 400 to 1,500 eggs in one sack. Her lifecycle ends by late autumn or early winter with the death of the spider. The next generation emerges in spring.
Although the spider is not aggressive, it will bite to protect itself. The bite is considered painful, but not life-threatening."
— Wikipedia.
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▶ Photographer's note.
Thank you to Flickr-er Stanze for identifying the lovely lady. (See the comments section below.)
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▶ Photo and story by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
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▶ Camera: Olympus OM-D E-M10 II.
— Flash, on-camera: 1/2.5
— Edit: Photoshop Elements 15, Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
The desert with its expansive vistas, grand canyons, deep slots, and otherworldly badlands will always have my heart! There are countless hidden gems down every turn on a dirt road to explore. Today, I'm excited to begin our November Hidden Gems Workshop! This workshop gets participants out into some remote and seldom photographed areas of the Southwest desert. Stay tuned for some of the treasures we will find!
www.germany.travel/en/leisure-and-recreation/natural-land...
The Westhavelland Nature Park west of Berlin is known for its water, particularly that of the Havel river and its distinctive marshland. It is also where you will find one of the darkest night skies in Germany.
The Westhavelland - green meadows as far as the eyes can see, interrupted by lakes and patches of woodland, and the River Havel whose lower reaches flow through the towns of Brandenburg an der Havel and Havelberg. The Westhavelland and its Gülper Lake are recognised the world over as a roosting place for birds migrating north and a habitat for many endangered animal and plant species. Visitors to the area today can encounter a host of coastal birds, waterfowl, beavers, otters, as well as white-tailed eagles, red kites and the last great bustards in Germany.
For centuries the countryside here has been shaped by the riverbank meadows and bogs of the Lower Havel Lowlands, areas that flood regularly and which fill with bright floral blooms in the spring. Experiencing that countryside from the water is an real must for visitors, who can take relaxing trips by canoe, houseboat or passenger ship along the Havel's picturesque river setting. Boats can be berthed in the Havel town of Milow where visitors can discover the natural treasures of the Westhavelland in an interactive exhibition; in Rathenow, "the Town of Optics", and its old quarter which is well-worth a visit; or in one of the Havel region's idyllic villages.
The expansive, flat countryside can be explored by bike along the Havel Cycle Route, one of the most beautiful riverside cycle routes in Germany, the Havelland Cycle Route, which begins in the metropolis of Berlin, or along the Otto Lilienthal Tour, for example. Germany's first Dark Sky Reserve also lets stargazers experience a uniquely dark night sky where thousands of sparkling stars can be viewed all year round.
Was looking for those orange sunset colors but the sun dipped below the clouds before sunset. I took this twenty some minutes past sunset. I was mesmerized by the huge scene and was all alone at this late hour at Point Lobos State Reserve.
....as seen from a distance with the mountains in the background and the broad, expansive mighty Fraser River flowing swiftly below it.
The bridge was built in the 1910s as part of the Kettle Valley Railway. It had a rail line on the lower deck (no longer in use) and vehicle lanes above it which are now part of the Trans-Canada Highway.
This same scene (minus the bridge and modern houses) would have been the one indigenous peoples, explorers (including Simon Fraser himself in 1808), and early settlers would have viewed as they paddled down the Fraser River in canoes.
Heading south and just around the bend, where the bridge now is situated, was Fort Hope, a Hudson's Bay trading post established in 1848. Paddle wheelers from Vancouver would arrive here carrying gold mining prospectors and others seeking their fortunes. From the fort, they made their way north along the "gold rush trail" to Yale and beyond, to the Caribou region's frontier towns like Barkerville, to pan for gold from 1858 on.
For more on the history and development of the town of Hope, check out:
Horizon S3 Pro.
Epson Perfection V850 with Vuescan, SmartConvert and Lightroom.
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This image captures the timeless, fleeting energy of a summer’s day with an almost dreamlike quality. The motion blur of the two figures in the foreground—a swirl of flowing fabric and blurred limbs—conveys a sense of vitality and spontaneity. Their movements contrast beautifully with the stillness of the horizon and the delicate silhouettes of distant bathers and boats, creating a dynamic tension between the ephemeral and the eternal.
The panoramic frame, likely achieved with the Horizon S3 Pro, accentuates the expansive nature of the beachscape, giving the viewer a sweeping sense of the scene. The choice of black and white film strips the moment down to its essence, focusing on texture, contrast, and form. The bright highlights of the fabric against the muted midtones of the sand and water give the photograph an ethereal glow, while the shadows anchor the composition in reality.
What’s most compelling here is the ambiguity of the narrative. The blurred figures are both specific and universal—almost ghostlike—as if they are memories materializing from the past. This interplay between clarity and abstraction reminds me of the works of Josef Koudelka, where motion and stillness collide to evoke deep emotion.
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a stunning interior view of an architectural structure, captured through a fisheye lens which gives it a rounded, convex appearance and an expansive feel, enhancing the grandeur of the scene. The mood evoked is one of awe and reverence, possibly due to the suggestion that this could be the interior of a grand, historic building, such as a church or cathedral.
The composition is centered and symmetrical, with a clear emphasis on the radial balance created by the wooden beams that converge towards the center of the ceiling. This creates a pattern and rhythm that draws the eye inwards, giving a strong sense of movement towards the middle of the image. The rich texture of the wooden ceiling is pronounced, adding depth and warmth to the photograph.
There is an interesting interplay between the foreground and the background, given that the fisheye lens distorts the perspective, making it a bit challenging to distinguish between the two. The play of light and shadow is subtle yet effective, with the natural light from the stained glass windows creating patterns on the wooden surfaces, suggesting that the photographer intended to capture the interplay of light within this space.
The style and genre of the photo could be categorized as architectural photography with an artistic twist due to the use of the fisheye lens. Emotionally, the image may invoke feelings of curiosity and introspection, as it leads one to look up and around, following the lines and curves.
The seven basic elements of photographic art are all present and well-represented:
Line: The strong, curved lines of the beams and the outlines of the windows.
Shape: The geometric shapes formed by the wooden panels and the windows.
Form: The three-dimensional form is emphasized by the fisheye perspective.
Texture: The wood grain and stone textures are rich and detailed.
Color: The warm tones of the wood contrast with the cooler hues of the windows and the stone.
Size: The fisheye lens distorts the size, giving an expansive feeling to the space.
Depth: The curvature of the lens provides a unique sense of depth that is more spherical than linear.
'Morning Aoraki... love those expansive big sky views in the Mackenzie.
My week long sojourn down south became pretty much a glaciated basins tour. Pukaki and Tekapo, then up to Erewhon, Algidus and across to Flock Hill... hadn't been to a lot of these areas for a long while and so it was interesting to see the change.
Back in the day those dusty roads into the alps were often unfenced, winding across tawny tundra-like subtle outwash and moraine featuring. Merinos, rabbits, hieracium, erratics, loess, history.
Now the agro-juggernaut has wiped those aesthetics away, replaced by deer fencing, plastic baleage lines, sheds and skeletal iron. Centre pivots on the lateral downs encroach right up beyond the top end of Lake Tekapo. Very adept at manufacturing roller smooth mono green - sad to see that spreading on the glacial uplands below Mystery Lake, on the scenic trail to Mount Sunday.
Dubai’s most abundant natural resource — sand — is free and prime for exploitation along the emirate’s expansive, well-maintained public beaches - JBR Beach, Dubai Marina, Dubai, United Arab Emirates
The Peak District is expansive, but the hills aren't very high (the peak name possibly came from the name of a tribe that once lived here)
What that means is you can often go up just a few dozen meters, and get a pretty wide view of nearby hills and towns (and parking lots). The wide angle lens I used here kind of 'compresses' the view a bit, but I kept thinking of the word 'expansive' as I was walkinga bout.
Overlooking the expansive network of overlapping freeways leading into and out of the centre of Bangkok's city centre.
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July 6, 2024 - East of Overton Nebraska
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Dark supercell storm clouds loom overhead, casting a menacing shadow over a rural landscape with a dirt road and expansive fields. The scene captures the ominous beauty of an approaching storm.
*** Please NOTE and RESPECT the Copyright ***
Copyright 2024
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
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Have no fear of perfection - you'll never reach it.
Salvador Dali.
Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquis of Dalí de Púbol (11 May 1904 – 23 January 1989), known professionally as Salvador Dalí, was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain.
Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.
Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descended from the Moors. Source Wikipedia.
This picturesque image showcases the expansive blue waters of the Gulf of Mexico stretching out towards the west-southwest. In the distance, the historic Fort Jefferson stands prominently against the horizon. The photo is taken from the deck of the Yankee Freedom Ferry in Dry Tortugas National Park with clear, blue skies and the shimmering waters below.
With an expansive migratory range, the wandering tattler lives up to its name. ‘Ūlili, the Hawaiian name, resembles the wandering tattler’s alarm call. On tropical islands it prefers to feed by probing crevices and crannies on intertidal shorelines and exposed reefs for invertebrates, often dodging breaking waves. This one watches the sunrise from a coastal ledge in Mokulē’ia. ‘Ūlili were considered messengers and scouts of the gods.
A magnificent navigator, the tattler annually migrates from Alaska and Canada to tropical Pacific islands on a high endurance non-stop flight of 3 to 4 days. Using the stars and the earth’s magnetic field, perhaps visually with magnetoreception molecules of cryptochrome in the retina, to find its way over thousands of miles of featureless open ocean. Tringa incana, non-breeding plumage.
Excerpt from www.point2homes.com/news/canada-real-estate/fascinating-h...:
26 Ravenscliffe Avenue
Hamilton architect James Balfour’s 1881 masterpiece is 11,000 square-foot stone and brick mansion was originally set on grounds covering nine acres, but following World War One, the grounds of the palatial estate were gradually severed and sold to allow for the construction of other beautiful homes (all still intact).
The long driveway is now Ravenscliffe Avenue, an address local real estate broker Colette Copper calls a ‘go-see’ street for those who appreciate areas of Hamilton steeped in history.
Twenty-six Ravenscliffe is a cornucopia of character, featuring dramatic roof lines, tall windows, multiple turrets, 12’ ceilings, beautiful carved woodwork, trim, beams and intricate plaster mouldings, 10 bedrooms and five-and-a-half baths, a grand foyer, two staircases, including the original stairs to former the butler’s quarters, an expansive landing on the bedroom level, plus an authentic castle keep offering picturesque views of the escarpment and city.
Église Saint-Séverin (Church of Saint Severin) is dedicated to Séverin, a hermit monk who lived and worshipped on this spot on the Left Bank at the end of the fifth century. After his death, a small basilica was constructed over his tomb, but eventually destroyed by the Vikings. In the 11th century, a Romanesque church was built on the site but by 1200 the small edifice was no longer adequate for the expanding neighborhood.
The new Gothic structure was erected at the beginning of the 13th century, consisting of a central nave accompanied by an aisle on both the north and south sides. By the end of that century, the burgeoning university nearby necessiated further expansion, and in the early 14th century a second aisle was added on the south side of the church.
During the Hundred Years War and under the English occupation in 1448, a massive fire destroyed three quarters of the structure. In 1452 the archpriest of Saint Séverin Guillaume d'Estouteville, later archbishop of Rouen, undertook rebuilding of the church in the stunning late Gothic flamboyant style, with the addition of a new side aisle on the north. In 1489, the church was lengthened toward the east, and a semi-circular apse now replaced the earlier flat end wall, featuring a double ambulatory marked by the striking progression of columns that culminates in a mysteriously coiled central shaft. At the beginning of the 16th century construction began on the chapels along the outer aisles, once more expanding the size of building to provide additional space. By 1520 this work was completed and Saint Séverin assumed the basic appearance it enjoys today.
A second sacristy was constructed in 1643, and in 1673 the royal architect Jules Hardouin-Mansart built the Communion chapel on the southeast outside corner of the church. In 1684 Charles le Brun, decorator of Versailles, undertook modifications in the interior design of the choir, tearing down the rood screen that then separated choir from nave and making other decorative changes, such as marble facing added to the apse columns. This work was financed by Mademoiselle de Montpensier, cousin of the king and member of the Saint Séverin parish. In the 18th century the blind triforium encircling the nave was punched open to be filled with glass, admitting ever more light into the interior.
Until 1790 Saint-Séverin was the seat of the southern archdeaconry of the pre-revolutionary diocese of Paris. During the Revolutionary period the Church was closed to worship, the noble structure assigned to store gunpowder and animal feed. Under Napoleon, as anti-religious restrictions were reversed, the church reopened in 1802.
Both lateral facades of the church are richly decorated with pinnacles, gargoyles and flying buttresses. The west entrance façade is dominated by an expansive flamboyant rose window. The soaring bell tower dates from the first Gothic construction in the early 1200's; the oldest bell was cast in 1421. The large Gothic portal on the north façade under the bell tower, showing a relief of St. Martin dividing his cloak, was transferred here in the mid-19th century from the church of St-Pierre-aux-boeufs on the Ile de la Cité when it was demolished.
Internal highlights include a set of seven modern windows by Jean René Bazaine, inspired by the seven sacraments of the Catholic church; a deambulatory composed of 10 double spans of pillar-palm trees; ; the oldest triforium in Paris; and one of the oldest organs in Paris, dating to 1745.
The upper windows around the church were created from the late 14th to the 15th century, and they allow sunlight to illuminate the church vividly throughout the day. The windows nearest the entrance, to right and left, are the oldest, along with the central choir windows.
A solitary Mountain Goat stands on a rock surveying the expansive Colorado Rockies stretching into the far distance.
Expansive view over the beautiful rolling landscape of Northern Jutland.
Afternoon of day 3, cycling from Viborg to Aarlborg 1/8/1962.
Film: Agfacolor L CT18 transparency.
Camera: Edixa-Mat Flex S
Scanner: Epson V800/Epson Scan software.
Pueblo, CO - It was south, a drive that took four chapters of an audiobook, miles of dirt road, and about a quarter tank of gas. The journey took me to the next photo assignment, an adobe-style house in southern Colorado. If you look hard enough you can see an invisible horse.
This hike offers very diverse environments throughout. The highest point is 4K plus feet high and on a super clear day, the hike offers an expansive view of five different mountain peaks. The catch, high clearance car as the road is some of the worst roads in Washington and be ready for uphill coupled with rocky terrains. Truly can be an ankle breaking hike and totally worth every drop of sweats. Early summer hikes offer you the abundant of wildflowers. In the fall or early morning hikes, the dense clouds at the view point will give you the above the clouds view.
In a setting with expansive views of the Sawtooth Mountains, big sky, trees, hills and pasture sits this beautiful structure. The foundation is broken with a distinct list to this end. The roof is almost gone, most of the windows are broken.
In another life it must have been the most magnificent house in the area. What a story . . . .
Art Installation "UNCERTAIN JOURNEY"
"Chiharu Shiota lets visitors immerse into a dreamlike, submerged place with her expansive installation in the large hall of the project exhibition and invites them on a journey into the unknown. A dense network of blood-red woolen threads, which resembles the human brain, connects with isolated metal boats in the hall. Each of these woollen threads can be understood as one aspect from a life's journey of a person's life. So every metal boat carries a fullness of individual people, always intertwined with others. However, this "journey into the unknown" has no end. The boats carry our collective dreams and hopes for the future on both stormy and calm seas. A journey full of uncertainty and wonder." - Quote from the printed exhibition guide
"Chiharu Shiota lässt die Besucher mit ihrer raumgreifenden Installation im großen Saal der Projektausstellung in einen traumhaften, versunkenen Ort eintauchen und lädt sie zu einer Reise ins Ungewisse ein. Ein dichtes Geflecht aus blutroten Wollfäden , welches dem menschlichen Gehirn ähnelt, verbindet sich mit vereinzelten Metallbooten im Raum. Jeder dieser Fäden kann als ein Aspekt des Lebensweges eines Menschen verstanden werden. So trägt jedes Metallboot eine Fülle individueller Personen, stets verflochten mit anderen. Jedoch hat diese "Reise ins Ungewisse" kein Ende. Die Boote tragen unsere kollektiven Träume und Hoffnungen für die Zukunft auf sowohl stürmischer als auch ruhiger See. Eine Reise voller Unsicherheit und Wunder." - Zitat aus dem Ausstellungsführer
(Tulum, Mexico)
... it was a transient slice of paradise ... the expansive beach with soft white sands, the warm water like silk, the sun setting in perfect shades of peach and purple, and my son running and playing tag with the waves without a care in the world ... this photo captures that time for me and brings me back to that moment in the middle of the grind of daily life ...
As always, thank you for all your visits and comments, while I don't have the time to thank you individually, I love reading them
I sometimes get an uneasy feeling walking in fog. Particularly when approaching an open area that is shrouded in the mist. It's much the same feeling I get when near a large body of water. Sort of an irrational desire to back away as I would from a steep cliff. The water presents the demarcation between what is known and what is unknown. The security of terra firma giving way to helplessly floating out to sea. Totally irrational, but just as real to me as my fear of snakes. Neither fear is debilitating, but they are definitely part of the complex mosaic of weird thoughts that I have.
Looking through these trees, the absence of anything visible, was unsettling. One side of my brain absolutely knew there was a rolling meadow out there. Solid ground, safe and inviting. But not being able to see it brought to mind the seashore; being on the edge of an expansive body of water, or something. Could be the perception that if I were to walk out there I would simply vanish, like stepping off the edge of the earth. The world around me seems to shrink somehow in fog; everything feels consolidated as I can only really see what is close. I always imagine that will make things feel more secure, yet it often has the opposite effect.
An expansive view of Schwatka Lake from one of the hills on its southern end. Schwatka Lake is a manmade lake on the Yukon River which sits directly behind the Whitehorse Rapids Hydro-Electric Dam. It is surrounded by popular and beautiful trails.
- Francis of Assisi.
I learned about the Arkansas Grand Canyon by accident. We were driving on scenic byway 7 when we happened upon the viewpoint and a small gift shop. The gift shop was closed, but there was parking by the roadside, so we decided to pull over and check the view out. It turned out to be a great decision. Even under unspectacular conditions, the view was quite grand. Unfortunately, it was one of those hot, humid July days with thick clouds making everything a bit hard to photograph.
Here is a stitch Panorama shot I made at the location. It was shot handheld with about six images later put together in post. I focused on the expansive view of the valley and the mountain ridges avoiding the sky as much as possible for composition. I exposed the image for the bit of light that was coming through the cloud cover. It was not quite golden hour yet, but the clouds sufficiently diffused the light to make it work.
Badwater – the lowest point in North America, the hottest point in the world. An expansive ocean of salt and mud forms cracked patterns extending hundreds of square miles across the valleys, embraced by staggering mountain ranges standing many thousands of feet above on all sides, each filled with beautiful secluded canyons just waiting to be explored.
These salt flats are covered with myriad patterns and textures of all scales from the microscopic to the expansive, white crystals inches long filling dried pools where rainwater once sat, and massive mud formations extending towards the horizon in places as far as the eye can see. Each year the formations morph to form ever more unique masterpieces of form and texture, resembling the surfaces of alien planets.
As I stood there, my jaw dropped in awe at the majesty of the spectacle that was unfolding before me. I couldn't believe I was really there, really experiencing that sunset in that incredibly vast and special place. It was about 80F, and the refreshing wind was blowing strong, as the sun dropped below the Panamint Range below Telescope Peak, the highest point in Death Valley National Park, towering 11,300 feet above me, just a few miles to the west. Of all the places I've visited, perhaps Death Valley is the place most deserving of the term, "magical."
This particular area on the salt flats is many miles in, near the back side of the playa, far, far away from the trampled tourist attractions on the edges of the playa that most people visit there. I was entirely alone for hours out there, never a soul in sight. The silence was palpable, the vastness overwhelming.
The tiles you see here are flat, white, and hard, covered in translucent white salt crystals, which reflect the blue sky above them, creating the cold bluish hues you see here. You are viewing them from about 3 feet above, looking slightly downwards. Each tile is about 3-6 feet in width, and only a hundred feet away, the patterns are entirely different.