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Claregalway Friary, Co. Galway
en.wikipedia.org/wiki/Claregalway_Friary
This site has a complex history that dates back nearly a thousand years. Today, it's rare to see another human here except for funerals and the odd tourist van.
The vertical line at the left of the archway is a grounding bar that runs to the lightning rods at the top of the tower.
Operational History of the current Bodie Island Light Station
The first-order lens, which had been purchased from Barbier & Fenestre of Paris, France, exhibited a fixed white light that could be seen for over eighteen miles. The light was first exhibited on October 1,1872. Eighteen days later, a flock of geese smashed into the lantern, destroying three panes of lantern glass and damaging the lens. A wire screen was installed to protect the lantern glass soon thereafter.
In December 1877, the District Engineer inspected the tower and found cracks on the second to seventh landings. "The cracks on the inside of the tower," he said, "are vertical and very slight in but a few places large enough to admit the point of a small knife blade usually very small, traceable only by a slight crack in the coating of the whitewash." He felt the cracks were due to lightning rather than irregular settling. The lightning conductor at this time was the interior metal spiral stairway connected to the metal work of the lantern at the top, and to a copper rod inserted in the ground near the center of the tower at the bottom. During storms the stairway became heavily charged with lightning. A witness to this fact was the lighthouse keeper who, standing on one of the landings during a storm, received a severe shock, "so much so as to produce a numbness for some little time through the lower half of his body." As an alternative, the Engineer suggested running a vertical rod from the lantern down the center of the tower to the ground where it would be connected to the copper grounding rod then in use. The rod was to be insulated where it passed through the eye that protrudes from each of the landings. The Lighthouse Board considered the recommendation, but took no action until seven years later when lightning struck the tower again in April 1884. After this incident, the Lighthouse Board ordered the installation of a cable inside the tower which would run from the lantern to a cast iron plate buried in the ground. The cable was to be connected at each landing in the tower." It is not known when the outside lightning cable was installed.
In 1897,2,200 square feet of wooden walks were replaced at the Bodie Island Light Station, and in 1898, it was recommended that one of the two cisterns be replaced.5* Today there are three historic cisterns adjacent to the keepers' quarters; two are connected to the gutter system. In 1898 a telephone was installed as part of a national defense program.
For many years the U. S. Signal Service had had telephone lines connecting the various Life Saving Stations on the Outer Banks, these lines fed into a central location. The War Department decided to broaden their coverage and used their funds to tie five lighthouses on the North Carolina and Virginia coasts into the lines connecting the Life Saving Stations. The light stations affected were those at Hog Island, Virginia, Bodie Island, Cape Lookout, Currituck Beach and Cape Hatteras. Any untoward activity off the coast was to be reported immediately.
In 1874 the Lighthouse Board abolished the position of third assistant keeper, then held down by the wife of the keeper. In 1922, the Lighthouse Bureau did away with the position of second assistant. In 1928, Lloyd V. Gaskill reported the following duties at Bodie Island Light Station:
As Keeper in charge of this station, I am responsible for the proper execution of the duties whether performed by myself or Asst. I light [the] lamp in tower every other evening and raise curtains so the light will be visible to passing ships. Asst. Keeper performs the same duty the following evening. I watch the light [at] intervals until sunrise when I extinguish [the] light and refill tanks with kerosene so it will be ready for lighting in the evening. Also I clean [the] lens and watch room before coming down to [the] dwelling. I am on duty about twelve hours in this instance.
I have one Asst. and I assist in painting, cleaning paint on outhouses and dwelling, clean iron work by chipping rust from same when needed. Also keep grass cut on lawn, make minor repairs to station, such as replacing hinges when broken, painting motor boat and skiff, keep engine repaired so it can be used at any time for getting supplies and mail from nearest store and Post Office seven miles across the sound. I put in about five hours per day at this work.
In addition to above duties I must make weekly inspection of station, including assistant's quarters and record condition in station log. Make monthly report of condition of station to district Supt. at Baltimore. Take annual inventory and list all articles worn out, have them surveyed and condemned when Supt. visits station on inspection. Also, I assist in the painting of tower outside, steps inside and whitewash inside once every five years. I attend to all correspondence from station with the Supt. relative to general repairs to station. Average about two hours per day at this work.
Gaskill’s assistant, William H. Etheridge, reported similar duties in tending the light every other night, maintaining the station, and completing paperwork. The last keeper at Bodie Island Light Station, Gaskill transferred to another station in 1940 when the light at Bodie Island was automated. No longer needing the daily attendance of a keeper, the light became the responsibility of the nearby Nags Head Lifeboat Station.
Bodie Island Lighthouse and the Cape Hatteras National Seashore
The Cape Hatteras National Seashore was established in 1937, encompassing the land surrounding Bodie Island Light Station. Soon after the National Seashore was created, the Department of the Interior approached the Lighthouse Bureau about the possibility of the light station being declared surplus. Change in administration of the Lighthouse Service to the Coast Guard in 1939 and World War n delayed any action. In January 1945, the size of the Bodie Island Light Station was increased by 40 acres. In 1953 the Coast Guard declared 56.37 acres of the Bodie Island Light Station excess to their needs and shortly afterwards the General Services Administration (GSA) listed it for disposal. The National Park Service asked GSA to withdraw the acreage from the disposal list since the land was within the boundary of the Cape Hatteras National Seashore Recreational Area Project as provided by Act of Congress, dated August 17, 1937. GSA complied and withdrew the land, and paperwork was initiated to turn the land over to the National Park Service, effective October 15,1953. The National Park Service acquired the light station property, except for a small square plot of ground, 100 feet on each side, on which the light tower stood. That same year, commercial power replaced the generator that had been installed to electrify the light in 1932.
The National Park Service converted the keepers' quarters into a visitor center and small natural history museum. The tower was closed to the public while the Coast Guard continued to maintain the active aid. In May 1983, the National Park Service began to interpret the station, allowing visitors to enter the tower and look up towards the lantern. In May 1984, an 8-foot-high chain-link security fence was installed at the beginning of the stairway by the U.S. Coast Guard to discourage the general public from climbing the stairs. As part of the 200-anniversary celebration commemorating the establishment of the U.S. Lighthouse Service, visitors were allowed to climb the tower during one weekend in August 1988. Interpretation of the light station was expanded when the Outer Banks Lighthouse Society (OBLHS) established a presence at the station in 1994. OBLHS volunteers opened the lower portion of the lighthouse tower and offered interpretation of the light station and its history. In 2002, OBLHS continues its relationship with the station, allowing the park to keep the tower open year round and providing educational, fundraising, and technical support. On July 13, 2000, the tower at Bodie Island was officially transferred from the U.S. Coast Guard to the National Park Service.
The lighthouse was included on the National Register of Historic Places (NRHP) on July 4, 2003. All of the information above and much, much more was found on the original documents submitted for listing consideration that can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/b1ca9938-5327-45ba-8da...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
An endless freight train – that’s the soundtrack of life in a small coastal town.
All this water crashing into each other and onto the shore makes a whole lot of noise. I’m not sure about other oceans, but the Pacific is very loud! When you try to talk to somebody on the beach, it can be difficult to hear each other.
Tidda and I typically step outside shortly after 5 am for a quick walk. I love that early time when the street is empty and I hear nothing but ocean waves and the swallows chirping in their pursuit of insects.
There are days when I step outside and am stunned because the freight train has turned into a jet plane about to take off! Other days I’m equally shocked because I can hardly hear the ocean at all!
Being able to listen anytime to the pulse of nature in its different moods is incredibly grounding. And reassuring.
I found a charming YouTube tutorial about how to make this beautiful large Swedish Snow Flower. It took me about two weeks to finish. Anything handmade is always so much better! I had been shopping online for a new decoration but was disappointed with all the soulless products on offer, so made one instead.
In these dark and stormy times (and I'm not just talking about the weather now), constructing it was a very grounding activity. I recommend it. Creating something with your hands alleviates that helpless feeling, to a degree. It's so simple, yet the result is fantastic and beautiful!
Here is the YouTube tutorial (it's in German):
A quiet morning in late autumn, deep in the peaceful forests near my home. The soft light creates a magical atmosphere, with moss-covered ground and trees adding to the sense of calm. Walking here feels grounding, and afterward, I return home with a wonderful feeling, ready to enjoy a hearty breakfast with my family. Moments like these are what make autumn such a beautiful season.
A close up of the steam tug that you can see in yesterday's picture. This is what Wikipedia has to say about her:
Lyttelton, built in 1907 as Canterbury is a historic steam tug in Lyttelton, New Zealand. She was ordered by the Lyttelton Harbour Board in 1906 as a replacement for the earlier iron paddle tug Lyttelton, built in 1878.
Built by the Ferguson Brothers firm in Port Glasgow, Scotland, she was able to reach a maximum speed of 12.414 knots (22.991 km/h; 14.286 mph) during her sea trials. She left Port Glasgow on 2 July 1907 with a crew of 15 for a 69-day voyage through the Suez Canal to reach New Zealand, arriving on 10 September. After a brief period of painting and preparation for service, on 18 September she was handed over to the harbour board, serving not just as the harbor's tug but also as its pilot boat and as a fireboat. She was berthed at No.2 wharf, where she has been based most of her life. In August 1911, with the soon to be arrival of the suction dredge Canterbury, the Lyttelton Harbour Board approved for the change of the vessel's name to her current Lyttelton, with the change being formalized in October 1911.
In 1913, she drew crowds bringing in the battlecruiser HMS New Zealand into harbour; and in 1920 assisting the battlecruiser HMS Renown, carrying Edward, Prince of Wales, into the harbour.
In 1939, the tug was relegated to secondary roles following the arrival of the larger tug Lyttelton II. On 29 December 1940 the ferry Rangatira ran aground at in dense fog. Shortly after her grounding, Lyttelton and the Union Company cargo vessel Waimarino, neither of which had radar, located Rangatira aground in Pigeon Bay. After Waimarino unloaded the 750 passengers of Rangatira, Lyttelton along with the assistance of another Union Company vessel, Karitane, helped the ferry float free at high tide.
Following the beginning of World War II, in 1942 the tug was requisitioned for service by the Royal New Zealand Navy, being armed with Bren guns and depth charges, and given the prefix HMNZS Lyttelton of a commissioned warship. By 1944, she returned to port service as Lyttelton.
In 1971, following the introduction of the new tug Canterbury, it was decided to retire Lyttelton. Following this, she was leased for the sum of $2 a year to the "Tug Lyttelton Preservation Society", being preserved as a museum ship. In 1989 the tug was gifted to the society by the Lyttelton Harbour Board. She is still in operation, being maintained and operated by the society.
Lyttelton is one of three operating steam-powered ships in New Zealand, alongside the tug William C Daldy in Auckland and TSS Earnslaw on Lake Wakatipu.
A breathtaking display of raw nature captured right before my lens: This Common Buzzard struck with absolute precision, seizing the pigeon mid-air before grounding with its catch in the high grass.
For a brief moment, it held its position, surveying the surroundings with an intense, unwavering glare. Sensing my presence, it decided not to linger—launching back into flight while taking its heavy prey along.
The moment the buzzard took off, the hidden tension in the canopy snapped: three other pigeons, which had been frozen in complete silence in the branches directly above, rocketed out of the tree to safety. A truly unforgettable encounter with local wildlife.
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Der treffsichere Jäger
Ein spektakulärer Anblick direkt vor dem Kameraobjektiv: Dieser Mäusebussard hat die Taube blitzschnell im Flug erwischt und ist mit seiner Beute im Gras gelandet.
Einen kurzen Moment hielt er inne und sicherte die Umgebung mit durchdringendem Blick. Als er die Flucht antrat und samt Beute abhob, löste sich auch die Schockstarre in den Wipfeln: Drei weitere Tauben, die im Baum direkt darüber ausgeharrt hatten, schossen pfeilschnell davon. Natur pur in ihrer ganzen Dynamik.
She stands at the edge of the pavilion, watching the city shimmer in the afternoon light, and thinks about time.
Not the mortal kind—those frantic heartbeats they count so carefully. The other kind. The slow-turning wheel that transforms everything while you're busy living through it.
Her name is Hope, which used to feel like a promise. Now it feels like a responsibility.
The city wasn't always this. Once, it was simpler—her people alone, their magic pure and uncomplicated, like spring water straight from the source. She remembers when a basic ward was just that: basic. Four gestures, three words, done.
Now? Now the young ones weave spells she can barely recognize. Human ingenuity braided with elven precision, touched with dwarven grounding, sparked with dragonborn fire. Magic has become layered, complex, richer than it ever was when her people stood alone.
I step lightly across the wooden path, where petals fall like whispered promises, and in that quiet moment… I feel it - the soft, undeniable embrace of nature wrapping itself around my spirit 🌸
This is where I find her… my truest self.
In the filtered light beneath blooming trees, in the hush between breeze and breath, in the gentle rhythm of life unfolding all around me. And somehow… what I wear becomes part of that harmony - an extension of earth, sky, and soul, woven together in a language older than words 🌿
The Maika Outfit by adorsy becomes that language.
Its silhouette is a study in youthful sensuality - a cropped, sculpted upper form paired with elongated, fluid lines below. There is a delicate balance here… athletic yet soft, structured yet free. A modern athleisure aesthetic reimagined through a romantic, biophilic lens - where fashion does not compete with nature, but belongs to it 🍃
The jacket… oh, the jacket…
A quilted cropped piece that frames my form like a gentle embrace. Its diamond stitching recalls the heritage of equestrian and alpine fashion - garments once designed for warmth, now reborn as statements of movement and grace. The slight sheen of its fabric catches the sunlight like morning dew, while the HUD reveals a palette drawn straight from nature itself - soft pastels, blooming florals, grounded earth tones, and bold seasonal hues. Each color feels like stepping into a different moment of the day 🌼
The pants follow like a second skin…
High-waisted and impossibly smooth, they trace every curve with quiet confidence. Their floral compositions feel almost alive - as if petals and pigments were lifted directly from the meadow beneath my feet. The HUD offers a spectrum of prints and tones, allowing me to move from delicate spring blossoms to muted organic textures, each one grounding me deeper into this living canvas of earth and sky 🌷
And then… the boots.
Softly structured, slightly slouched, they anchor me - a tactile connection between body and ground. Their design whispers of early 2000s streetwear fused with modern mesh precision, while their HUD mirrors the outfit’s palette, letting me blend or contrast with intention. Whether in soft creams, blush tones, or deeper seasonal shades, they carry me forward… step by step, rooted yet free 🌾
There is something beautifully cyclical in all of this…
We draw from nature - her colors, her textures, her quiet poetry - and in return, we reflect her through fashion. A continuous dialogue. A circle of life expressed not just in breath, but in beauty, in movement, in presence 🌺
Historically, fashion has always returned to nature - from the floral motifs of the Rococo era to the organic lines of Art Nouveau, to today’s modern reinterpretations of botanical and environmental influence. The Maika set feels like a continuation of that lineage… a contemporary ode to the eternal muse that is the natural world 🌿
Compatible mesh bodies include:
LaraX, PetiteX, Legacy, Reborn, and Waifu - ensuring this expression of nature and form is accessible across beautifully diverse silhouettes ✨
To experience this piece for yourself, visit the adorsy mainstore here:
maps.secondlife.com/secondlife/Adorsy/128/128/53
And as I pause beneath these blossoms, feeling the world breathe with me, I remember…
“Look deep into nature, and then you will understand everything better.” - Albert Einstein 🌸
She jumped—fast and clean—away from Adrienne’s place, slipping away before the reptilian watchers could reach her. The jump took her to her shelter.
Carved into solid rock deep within the Earth millions of years ago, the shelter had long served as her sanctuary. It had weathered the last great war with the reptilians, a conflict so brutal it nearly erased all life. In its aftermath, she and the few remaining survivors had fled underground, seeking refuge in places like this.
Her sanctuary was different, absolutely secure… a sealed cavern with no doors, no tunnels, no outside trace. Only accessible by jump.
This one was hers. The walls, once raw stone, bore the marks of habitation—smooth surfaces, warm lighting, a quiet comfort. She felt it immediately: the pulse of familiarity, the whisper of belonging. Though empty, the space was not untouched. Someone had been here. Recently.
She scanned the room. Notes and maps littered the table. A laptop sat open, humming softly. Adrienne’s, no doubt. Nearby: a backpack, a pistol, a half-drunk glass of wine. On the screen, a map of the Four Corners region blinked—evidence of a search. Maybe they had located the reptilian nest?
Her heart thudded. They’d been here. Her other self. Adrienne. Proof of survival. A rush of relief flooded her.
But where were they now?
No VDD signals. No trace. If they’d jumped while she was in this timeline, she would’ve picked up the activity on her VDD.
She poured herself a glass of wine, the ritual grounding her. Then she curled into the sofa, Adrienne’s notes in hand—dense, handwritten, cryptic.
Other pages catalogued missing persons, UFO sightings, paranormal anomalies. The region was alive with mystery.
The top page bore map coordinates, underlined and marked with a single word: “mound.” She smiled, A clue, she thought.
Adrienne's handwriting was maddening—modern script, erratic and stylized. She squinted, reread, deciphered. Slowly, the words began to cohere. But fatigue crept in, and the wine dulled her focus. Lines blurred. Sentences looped. She read the same passage three times before surrendering.
Sleep took her gently, like a tide pulling her into the deep.
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You can view Quantum Fold episodes in order from the beginning in her album titled, Quantum Fold:
www.flickr.com/photos/199076397@N02/albums/72177720326169...
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Les activités maritimes à Carantec
En 1890, 9 bateaux sont construits à Carantec. Les chantiers Eugène Moguérou fonctionnaient dans la décennie 1920, construisant des yachts à moteur comme l'Achillée III construit en 1926. Les chantiers Élies, Mével (créé en 1935 au port de Carantec par François Mével décédé accidentellement en 1957), Nédélec (créé par Jean Nédélec sur la grève du Clouet et concepteur du « monotype de Carantec ») ont continué cette tradition de chantiers navals, davantage orientés vers la plaisance désormais, tout au long du XXe siècle. Le chantier Ernest Sibiril, qui existe depuis 1789, est désormais orienté vers les constructions neuves exclusivement de pilotines, vedettes de sauvetage, etc. Ces chantiers se sont aussi développés récemment à Roscoff-Le Bloscon ; en difficultés financières, ce chantier naval a trouvé un repreneur en 2011, ce qui a permis de sauver 15 de ses 28 emplois.
En 1899 et à nouveau en 1921 - 1922, des invasions de pieuvres provoquèrent une ruine temporaire des pêcheurs de la région, y compris de ceux de Carantec. « En 1889 les pieuvres ravagèrent tout, pis à la suite d'une violente tempête, elles vinrent en telle quantité à la côte qu'elles y crevèrent et qu'on dut les enfouir. C'est à cette époque que sombra le dundee dunkerquois Saint-Pierre-de-Calais ; l'équipage put être sauvé, mais le capitaine, enlacé par les pieuvres, fut littéralement dévoré. C'était la répétition du drame décrit par Victor Hugo dans Les travailleurs de la mer. L'invasion de 1921-1922 ne le cède en rien à celle de 1899, avec cette seule différence qu'il n'y a pas eu de victime humaine ».
La récolte du goémon a longtemps été importante : en 1925 « le ramassage est d'un bon rapport et toujours à la disposition des riverains en abondance. Du côté de Carantec, 38 goémoniers s'en occupent ; la tonne de varech revient à 180 francs ».
La pêche était très active : par exemple le journal Ouest-Éclair écrit en 1925 :« Les ormeaux, les moules, les berniques sont récoltées en grand nombre, à Locquirec et à Carantec, d'où on en a expédié beaucoup ».
Le commandant Louis Bernicot navigateur solitaire parti à bord de son cotre de 12,5 m de long, l'Anahita, de Carantec le 26 août 1936, fut le premier navigateur solitaire à réussir la traversée du détroit de Magellan, faisant escale au Chili, puis à Tahiti, puis à la Réunion pour accoster au Verdon le 30 mai 1938.
fr.wikipedia.org/wiki/Carantec
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Maritime activities in Carantec
In 1890, nine boats are built in Carantec. The Eugene Moguérou shipyard operated in the 1920s, building motor yachts as Yarrow III built in 1926. Elies, Mével (created in 1935 at the port of Carantec by François Mével died accidentally in 1957), Nédélec (created by Nedelec Jean Clouet on strike and designer of "monotype Carantec") shipyards continued this tradition of shipbuilding, more oriented towards pleasure now, throughout the twentieth century. The yard Ernest Sibiril, which exists since 1789, is now facing new buildings exclusively pilot boats, rescue entry terms, etc. These projects have also recently developed in Roscoff-The Bloscon; in financial difficulties, the shipyard has found a buyer in 2011, which has saved 15 out of 28 jobs.
In 1899 and again in 1921-1922, the octopus invasions caused a temporary ruin of the fishermen in the area, including those of Carantec. "In 1889 octopus ravaged everything, worse after a violent storm, they came in such numbers to the coast they put out there and we had to bury these octopus. It was at this time that the Dunkirk sank Dundee Saint-Pierre-de-Calais; the crew could be saved, but the captain, snared with the octopus, was literally devoured. It was a repetition of the tragedy described by Victor Hugo in The sea workers. The invasion of 1921-1922 not inferior in any way to that of 1899, with the only difference that there was no victim human. "
Harvesting seaweed has long been important: in 1925 "collection is good value and always available to residents in abundance. On the side of Carantec, 38 seaweed care for them; ton of kelp returns to 180 francs. "
Fishing was very active: eg West-Éclair newspaper wrote in 1925: "The abalone, mussels, limpets are harvested in large numbers, and in Locquirec Carantec, where we shipped a lot."
The commander Louis Bernicot solo sailor party on board his cutter 12.5 m long, Anahita, Carantec August 26, 1936, was the first successful solo sailor to cross the Strait of Magellan, calling in Chile then in Tahiti, then to the dock at Verdon Meeting for May 30, 1938.
Translated from:
Even the smallest lives carry quiet determination.
Perched on a weathered post, this Black capped Chickadee paused only long enough to secure its prize before darting back into the branches. In winter, nothing is wasted. Every seed matters. Every movement is intentional.
There is something grounding about watching these tiny birds work through the cold without hesitation. No drama. No complaint. Just steady persistence against the season.
Captured during a birding outing in Ohio, this moment felt like a reminder that resilience often comes in the smallest forms.
Common Name: Black capped Chickadee
Scientific Name: Poecile atricapillus
Location: Ohio
Date Captured: February 14, 2026
Camera: Nikon Z6III
Estero Bluffs State Park,
San Luis Obispo, California
665nm Infrared converted to black and white.
When I first saw this photo I thought, no wonder it grounded, look at all those icebergs. Of course, they are rocks, made whiter due to infrared. And. instead of icebergs causing the grounding, the boat actually came ashore during heavy fog early one morning in July, 2017.
I remember the moment I chose this look - not for the world, but for him… or perhaps for the possibility of him. The kind of man who doesn’t just notice - he sees. And when that moment comes, I never leave anything to chance.
This is where the Brenda Dress by LF Design becomes my quiet advantage - my unspoken introduction.
There’s something undeniably magnetic about its silhouette. The deep plunging neckline dares without apology, sculpting a line that feels both confident and irresistibly feminine. The tailored waist - cinched with that perfectly balanced belt - draws everything inward, creating a soft hourglass that moves as I move. And those elongated sleeves, kissed with sheer striping, add just enough intrigue… a play between concealment and revelation.
The cut is deliberate - a harmony of structure and fluidity. The hemline floats just high enough to tease, while the vertical striping elongates my form, making every step feel like a statement rather than a movement. It’s not just a dress - it’s posture, presence, intention.
And then there’s the HUD - my personal palette of moods. 🎨 With a full spectrum of colorways and tint capabilities, I don’t just wear the Brenda Dress… I curate it. Soft neutrals for quiet afternoons, bold contrasts for nights when I want to be remembered. The textures respond beautifully under light, enhancing every contour with subtle realism and depth. It gives me control - and that control is power.
To complete the look, I slipped into the Zena Boots. They don’t whisper - they declare. The thigh-high rise wraps my legs in a sleek, second-skin finish, grounding the softness of the dress with a bold, unapologetic edge. The stiletto heel lifts not just my height, but my confidence… changing the rhythm of how I walk, how I pause, how I turn.
Their HUD is just as expressive - offering multiple color options from classic black to daring reds, allowing me to shift the entire mood of the ensemble with a single click. Whether I want mystery or fire… they deliver.
Together, this look becomes something more than fashion. It becomes a feeling. The kind you wear when you’re not searching anymore - but you’re ready to be found. Because when the right man enters your life… you don’t try to impress him - you simply arrive as your most unforgettable self. ✨
The Brenda Dress is compatible with Maitreya, Legacy, Reborn, Kupra, LaraX, Niramyth, and Waifu mesh bodies, ensuring a flawless, sculpted fit across today’s most sought-after silhouettes. The Zena Boots are compatible with Legacy, Maitreya, Reborn, Kupra, and LaraX mesh bodies, designed with precision shaping that hugs the leg beautifully for that seamless thigh-high finish.
These exquisite pieces are now available at the Swank Dreams in Pastels Event:
maps.secondlife.com/secondlife/Swank%20Event/128/128/22
“Fashion is the armor to survive the reality of everyday life.” - Bill Cunningham
South Window Starburst
Arches National Park
Moab, Utah
September 2023
There’s something special about greeting the day in Arches National Park as the first light slips over the horizon. Watching the sun burst through the rocks while the arch catches those first golden tones feels grounding, quiet, and just a little bit magical.
Two figures wandering
where the warm tide meets the sand—
morning’s breath still cool.
Laughing as the surf curls in,
they lift their feet to sunlight.
Bare feet grounding them to mother earth
Cool couple
HSS
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This striking black and white photograph captures a serene moment on a San Jose residential façade. The image is a study in contrasts, where light and shadow engage in an intricate dance across the surface of a house.
The focal point is an elegant arched window with horizontal blinds, flanked by two smaller windows and a decorative shutter. The crisp white of the building's exterior serves as a canvas for the intricate shadows cast by nearby foliage, creating a natural chiaroscuro effect.
Leafy branches frame the top of the image, their silhouettes projecting a lacy pattern onto the wall and windows. This interplay of organic shapes against the geometric lines of the architecture adds depth and visual interest to the composition.
At the bottom of the frame, bushes create a soft, textured border, grounding the image and hinting at a well-tended garden space. The overall effect is one of peaceful suburbia, where nature and human-made structures coexist in harmonious balance.
The monochromatic palette emphasizes form and texture, inviting the viewer to appreciate the subtle gradations of light and the way shadows can transform familiar objects into art. This image encapsulates the quiet beauty found in everyday scenes around San Jose, revealing the extraordinary in the ordinary.
"Duo Mangoes in Our Home Garden~" — sweet, nature-loving,
It's a simple joy, yet a deeply grounding one: to witness fruit growing in our own home space, a reminder that abundance can be both humble and beautiful. These duo mangoes are more than just fruit — they’re a little slice of summer, grown with care and patience.
Moreta Outfit by Just BECAUSE
Boho romance, beneath the pines
🌿 I found the Moreta Outfit where the forest forgot to end and the café began.
There was an old wooden counter tucked beneath the vines, a little coffee grinder humming beside glass jars and weathered crates, and beyond it all, the rocks opened into a misty green hollow like a secret the mountain had been keeping for years. I stood there in the middle of it, framed by climbing branches, worn timber, soft wicker, and that quiet kind of wilderness that makes even a cup of coffee feel ceremonial.
The Moreta Outfit was made for that moment.
Not the polished city kind of moment. Not the perfect marble-floor entrance. Moreta belongs to the places where the floorboards creak, the air smells like rain and roasted beans, and every leaf looks like it has been placed by a stylist with excellent instincts.
The silhouette is a study in bohemian softness. A delicate lace bralette top sits close to the body, shaped with a feminine plunge, fine straps, and a front tie that falls like a whispered afterthought. The crochet texture gives the top that handcrafted intimacy, as if it was found in a trunk of vintage festival pieces and brought back into the present with a cleaner, more modern hand.
The skirt moves in contrast, long, airy, and graceful. Its tiered maxi shape falls from the waist with soft gathered volume, creating a relaxed sweep that feels romantic without trying too hard. The hem carries embroidered floral detailing, grounding the whole look in that sunlit, wandering, barefoot kind of elegance.
🌸 I love how Moreta feels like fashion history written in lace and wind. There are echoes of 1970s bohemian resort dressing, Edwardian lawn dresses, peasant skirts, antique crochet work, and the kind of soft festival styling that always seems to return when women remember they do not have to choose between comfort and beauty. It is nostalgic, but not costume. Feminine, but not fragile. Effortless, but clearly considered.
The details are what make it linger. The lace bralette brings scalloped edges, delicate crochet patterning, semi-sheer texture, and a drawstring front with tassel ends. The back ties softly at the neck, keeping the romance visible from every angle. The skirt adds soft fabric movement, tiered seam lines, natural drape, and that embroidered border at the hem that feels like a little garden stitched into the last step of the outfit.
The included high heels finish the look with a quiet, elongated grace, lifting the hem just enough to let the skirt move with a little more ceremony. They keep the outfit from feeling purely barefoot-bohemian, adding that polished resort note that says I may have wandered into the forest, but I still arrived dressed for the story.
Moreta is PBR only, copy and modify, which gives the materials a richer life in changing light. The lace catches differently from the skirt. The crochet reads with delicate depth. The fabric keeps a soft woven calm. In the forest café scene, the outfit does exactly what good PBR should do: it does not shout, it breathes. It lets the sunlight, shadow, and texture decide how much romance each moment deserves.
Compatible mesh bodies: Maitreya | LaraX | Legacy | Perky | Reborn | Waifu
🌾 I styled Moreta as if I had wandered into a hidden mountain café and accidentally became part of the décor. The hat softened the whole mood, the jewelry added a little golden ritual, and the pale blue skirt turned the scene into something between a travel diary and an old photograph found between the pages of a novel.
Includes: Top | Skirt | High Heels
Available at FaMESHed, opening the 1st at noon SLT.
FaMESHed Event Location:
maps.secondlife.com/secondlife/FaMESHed/128/128/24
Just BECAUSE Mainstore:
maps.secondlife.com/secondlife/JustBecause/123/129/24
“Some outfits are made for rooms. Moreta is made for the places where the room ends, the pines begin, and style remembers how to breathe.”
— Becky Kénaan
The tug/barge Presque Isle was designed as an integrated tug/barge unit, with the tug fitting into a specially-designed notch where it would rigidly lock in, and the pair would sail as one vessel. It was designed with intentions to take advantage of the U.S. Coast Guard’s tug/barge manning requirements, but since the tug was not deemed seaworthy on its own, it had to operate with an full-size crew. The pair was built at a cost of about $35 Million under Title XI of the Merchant Marine Act of 1970.
Together, the tug/barge Presque Isle became the Great Lakes’ second 1,000-Footer.
Tug/barge combo Presque Isle arrived at Eria, PA, for repairs. The duo sustained damage after grounding at Johnson’s Point, St. Marys River, on August 5, 2025. There has been no official information from operator Great Lakes Fleet/Key Lakes, however waterfront reports indicate she dropped her four starboard propeller blades during the incident, which were soon recovered and returned to the vessel. Her starboard rudder was also dislodged at some point prior and recovered by divers.
A shaggy Irish wolfhound stands poised against an old stone wall, his wiry coat catching the soft light in textured waves. His eyes meet the viewer with a gentle, knowing calm — the kind of gaze that carries centuries of companionship and quiet loyalty. The slight tilt of his head and the relaxed tongue give him an approachable warmth, softening the grandeur of his size. Behind him, the weathered stone hints at heritage and place, grounding the portrait in something unmistakably Irish. The monochrome palette deepens the mood, drawing attention to the interplay of fur, stone, and shadow, and giving the whole scene a timeless, almost documentary quality. It’s a portrait that feels both intimate and rooted in history — a gentle giant framed by the stories of the land.
A quiet, candid encounter with a red squirrel tucked low in the tall summer grasses. There is something incredibly grounding about watching these beautiful creatures navigate their environment, entirely focused on their foraging. Captured using natural light and an intentionally shallow depth of field to let the surrounding stems frame the moment, keeping the emphasis purely on the texture of its coat and that intense, watchful eye.
No digital manipulation or generative AI—just a genuine moment of field craft and patience in the wild.
The Crimson-backed Tanager (Ramphocelus dimidiatus) photographed here was perched on a weathered stump at Hacienda Guadalajara in La Buitrera, Palmira, Valle del Cauca, Colombia. What immediately stood out was the intensity of the red plumage against the soft green background, a combination that creates strong subject separation even before depth of field comes into play. The pale blue bill adds a small but important color contrast that gives the portrait extra visual interest. I framed the bird to keep the perch as a grounding element while letting the background dissolve into a smooth, natural wash of color.
From a technical standpoint, this was a classic forest-edge setup: limited light, layered background, and a subject that doesn’t stay still for long. I prioritized a clean background and sharp eye focus, using a wide aperture to isolate the bird while maintaining enough depth to keep the bill and body sharp. Exposure was carefully controlled to preserve the detail in the red feathers, which can easily clip if pushed too far. For me, this kind of image is about balance—color, texture, and patience all working together in a single quiet moment.
©2026 Adam Rainoff Photographer
Reno was host to the Blue Knights International Law Enforcement Motorcycle Club convention and competition, a worldwide club with participants from all around the globe and about 800 attendees all on active duty or retired law enforcement personnel. This rider was eager to get started with that beautiful wolf leading the way, just hope he remembers the kick stand up before take-off……………. He didn’t but someone yelled and he kicked it up before grounding happened
This breathtaking landscape captures the raw majesty of Sedona’s iconic red rock formations, bathed in the warm, brilliant glow of the golden hour. The towering sandstone monolith, likely part of the renowned Schnebly Hill Formation, rises dramatically with its heavily eroded spires, jagged ridges, and distinct horizontal strata. The low-angle sunlight ignites the upper half of the cliffs in a fiery orange and crimson hue, while the lower sections slip into soft, cool shadows, emphasizing the immense scale and rugged texture of the ancient geological structures.
In striking contrast to the burning red rock face, a lush, dense carpet of green chaparral, pinyon pines, and junipers blankets the valley floor and clings to the lower slopes, grounding the arid scene with vibrant desert life. Above, a completely cloudless, pristine sky gradients from a soft pale blue near the horizon to a deeper azure, providing a tranquil and cool backdrop that beautifully accentuates the intense warmth of the illuminated peaks. This harmonious interplay of fiery stone, verdant foliage, and serene sky perfectly encapsulates the peaceful yet powerful essence of the Arizona high desert.
When taking high speed video (<240 fps) at night, the ISO needs to be pushed to 6400 or higher since each frame is 1/240th of a second exposure. This of course results in lots of noise. However, using LightRoom and PhotoShop, one can reduce noise by darkening the resulting stacked image and reducing texture.
This image was stacked and lightened using 28 frames from my video clip during a 4 minute period. A 4 minute period results in a 32 minute slow motion clip (`6 Gb size file).
In this example, 3 of the brightest strikes were captured (2 CG & 1 cloud to air to cloud). The grounding of the CG strikes blinded just 1 frame and was not used.
This is 2 (7x5 in) silver gelatin prints from my recent Tethered project.
Tethered is a mixed-media project blending photography, animation, and traditional darkroom techniques with experimental processes and tactile materials. Through themes of grounding and isolation, freedom and rootedness, attachment and separation, the project weaves a visual narrative that explores the dualities of connection and solitude. Incorporating materials like thread, rope, food coloring, and elements inspired by landscapes, Tethered emphasizes the materiality of the medium, encouraging viewers to engage physically and emotionally. The addition of animation introduces a dynamic interplay between energy and stillness, enhancing the work’s exploration of landscapes as spaces of reflection, distance, and connection. By merging tactile elements with experimental approaches, Tethered invites viewers to reflect on their own relationship to place, identity, and the tension between solitude and belonging.
A calm lake turns into a mirror at day’s end, reflecting a ribbon of golden afterglow beneath a rugged mountain silhouette. Dramatic clouds drift across the fading blue sky while a delicate crescent moon hangs overhead, adding a quiet spark to the scene. Reeds along the shoreline frame the water’s edge, grounding the wide, open view and emphasizing the stillness of twilight. This landscape photograph captures that brief, magical moment when sunset slips into night and everything feels hushed, vast, and alive.
I wandered into the morning like a page torn from an old fairytale paperback - sunlight filtering through painted leaves, coffee warming my fingertips, and denim brushing softly against my skin as though it had already memorized every curve of me. The Jay Set by [adorsy](adorsy.com?utm_source=chatgpt.com) feels youthful in the way seventies runway muses once did - carefree, flirtatious, and impossibly confident without ever trying too hard. It is casual chic spun through a dreamscape of low-rise rebellion and corseted femininity, where every piece moves together like poetry written in faded blue denim and sugar-pink lace. 🌸
The bodysuit is the heart of the entire silhouette - sculpted like modern couture but whispering echoes of vintage lingerie-inspired fashion from the late disco era and the decadent denim editorials of the early 2000s. Its sharply contoured waistline sweeps inward with daring side cutouts that elongate the torso while drawing the eye upward toward the softly ruched sweetheart bust. The fitted structure creates a beautifully lifted shape while the shimmering textures and delicate detailing give it that enchanted, almost storybook glow beneath sunlight. The Jay Bodysuit includes 50 rich color options ranging from romantic blush pinks and icy blues to noir-inspired darker tones, all enhanced with luminous fabric detailing and realistic texture depth. ✨
Layered over it is the cropped denim jacket - effortlessly slouched from the shoulders with gathered sleeves that feel borrowed from a rebellious runway princess escaping into the woods after midnight. The abbreviated cut frames the bodysuit perfectly, allowing the waist and hip contours to remain the focus while adding just enough rugged contrast to soften the sensuality beneath. Its weathered denim textures and realistic folds give the jacket movement and personality, like a cherished vintage piece rediscovered in the back of a forgotten Parisian boutique. The jacket HUD offers 25 denim fabric variations and color tones - from washed powder blue and smoky charcoal to distressed indigo finishes that pair seamlessly with every bodysuit option. 💙
The denim pants carry the look into pure off-duty glamour. Low-slung and impossibly elongated through the leg, they drape with that signature relaxed luxury once adored by early supermodels wandering city streets in oversized sunglasses and platform heels. The cut balances sensual exposure at the hips with fluid wide-leg elegance, creating a silhouette that feels playful, feminine, and endlessly youthful. adorsy includes two denim pant versions within the set, each designed with realistic fabric creasing, subtle stretch contouring, and multiple wash options to complement the bodysuit palette. Together, the proportions create that iconic casual chic tension between undone denim and refined glamour. 🌷
Then there are the shoes - soft, feminine, and quietly sparkling beneath the denim hems like hidden jewels beneath a ballroom gown. Their delicate structure completes the fairytale illusion, grounding the entire ensemble with understated elegance while still preserving the youthful energy of the styling. With 45 color variations available, they become the finishing whisper that allows every version of Jay to feel uniquely personal - sweet, sultry, dreamy, or boldly fashion-forward all at once. ✨
Historically, the Jay Set feels beautifully inspired by the flirtation between Americana denim culture and European couture sensuality. I see traces of Jane Birkin’s effortless Parisian ease, the rebellious denim glamour of late seventies Studio 54 muses, and the hyper-feminine corseted silhouettes that returned in early millennium runway collections. Yet adorsy modernizes these influences through polished textures, contemporary body contouring, and wearable fantasy styling that feels perfectly at home beneath virtual sunsets and enchanted gardens alike. 🌿
Compatible mesh bodies include LaraX, PetiteX, Legacy, Reborn, Waifu, and Maitreya-compatible sizing options.
Acquire the Jay Set at the adorsy Mainstore:
maps.secondlife.com/secondlife/Twilight%20Mist/128/128/22 🌺️
“Casual chic is the art of looking beautifully undone while knowing every detail was a love letter to style.” – Unknown 💫
We spent a lovely Saturday afternoon picking 8 pounds of plump blueberries in a wonderful U-Pick farm called Jensen Blueberries. It is all certified organic and you can bring your dog! They have a huge Bloodhound who comes to greet everybody. There are sooooo many berries ... I might have to return and get more! It is a miraculously grounding and harmonizing activity to be doing. It just makes you feel good!
I offered Blanca some berries (and the owners don't mind if you or your dog sample plenty) ... but she didn't even want to try a single one!
This is 3 (7x5 in) silver gelatin prints from my recent Tethered project.
Tethered is a mixed-media project blending photography, animation, and traditional darkroom techniques with experimental processes and tactile materials. Through themes of grounding and isolation, freedom and rootedness, attachment and separation, the project weaves a visual narrative that explores the dualities of connection and solitude. Incorporating materials like thread, rope, food coloring, and elements inspired by landscapes, Tethered emphasizes the materiality of the medium, encouraging viewers to engage physically and emotionally. The addition of animation introduces a dynamic interplay between energy and stillness, enhancing the work’s exploration of landscapes as spaces of reflection, distance, and connection. By merging tactile elements with experimental approaches, Tethered invites viewers to reflect on their own relationship to place, identity, and the tension between solitude and belonging.
I found this in my archives and thought it worth sharing. I was standing in front of the Sanctuaire Notre-Dame de Grâces ("The Church of Our Lady of Graces"). It overlooks our house at the top of a hill and the bells can be heard at specific times of the day. It was built in 1519 following a double apparition of the Virgin Mary to a local woodcutter
The following is taken from a recent quote in Tripadvisor:
"Sanctuaire Notre-Dame de Grâces isn’t just a historical site, it’s a deeply spiritual experience. The energy here is palpable: peaceful, grounding, and quietly profound. Set high above Cotignac with sweeping views, the sanctuary invites reflection and connection, whether you come in faith or simply with an open heart. Walking the grounds, you feel centuries of devotion still alive in the silence. A place that humbles, centres, and moves you truly unforgettable"
There is something incredibly grounding about locking eyes with a fox. This handsome fellow paused just long enough in the tall grass to give me this curious, piercing look. Captured in the soft light of a quiet afternoon.
This year will mark the 10th anniversary of the grounding and subsequent helicopter evacuation of 22 Filipino and Korean crew members form the Pasha Bulka. The extra-tropical cyclone or east coast low as they are known on the east coast of Australia, was well forecast and the Newcastle port corporation radioed the 56 ships waiting off the coast requesting they move further offshore before the arrival of the approaching storm. Ten of the ships ignored the warning and the Pasha Bulka subsequently became beached with both bow and stern stuck in the sand almost parallel to Nobbys beach in Newcastle. Record ocean swell heights of 14.13m (46ft) were recorded at the deep water buoy 10km (6.2 miles) off Sydney with 296mm (11.6 in) of rain falling in the 24 hour period causing widespread flooding. After two failed attempts the ship itself was eventually salvaged on its third attempt many weeks later at a cost of $1.8 million. The 225 m (738 ft) long, Panamax bulk carrier, was then towed to Japan where the extensive damage to the ship itself was repaired. It was subsequently renamed the MV Drake. New South Wales, Australia. A particularly humbling experience to watch!
www.robertdowniephotography.com
Love Life, Love Photography
Shortland Esplanade, Newcastle Beach, NSW Australia.
The sculpture titled "Grounded" marks the anniversary of the grounding of the Pasha Bulker in 2007. Artist: John Petrie
Grounded is an abstract representation of the ship’s bow. The shape and colour of the sculpture, and its physical placement at Nobbys, will be an important memory marker for the community and a powerful stand-alone work of art. An original section of 22mm plate steel from the rudder of the Pasha Bulker has been incorporated into the work. Grounded was commissioned by Newcastle City Council with support from Arts NSW and One Steel.
Early on the morning of 8 June 2007, Newcastle Port Corporation radioed moored ships waiting off the coast to warn them to move out to sea to escape an approaching storm. Pasha Bulker, along with 10 other ships, did not heed the warning. As the storm hit, Pasha Bulker could not clear the coast and it beached at 9:51am.
It took till 2 July 2007 to refloat the ship on the third attempt.
Today is our yearly allotted Full Moon in Scorpio. :) As per the machinations of the heavens, the Full Moon in Scorpio occurs during Taurus season, when the Moon rises opposite the Sun.
The Scorpio/Taurus axis is, in summary, one of immaterial power (Scorpio) vs. material power (Taurus). Both signs are tremendously capable builders & manifestors, but they act on opposing planes, with Taurus acting in the physical realm, and Scorpio in the immaterial realm. Taurus is the world; Scorpio is the invisible undercurrents of emotion and desire that drive the world's weaving.
When this polar relationship is out of balance, Scorpio becomes lost in the waters of the underworld, unable to ground their emotions & visions; and Taurus becomes unable to see past the material plane to the subtler realms that inform it.
With the Sun being in Taurus right now, there is a collective focus on grounding our plans and goals, taking methodical action, and building stable structures to support us. When Scorpio opposes this Sun in Taurus, we are asked to introduce emotional depth & nuance to our plans and goals -- to consider the underlying emotional factors at play in our own psychoemotional state, and in that of others and the world at large.
In summary, our drive for action shines a light on our powerful emotions; and our powerful emotions shine back on our drive for action.
It's also special that this Full Moon is falling on May Day. Happy Beltane!
Adrienne stirred, the scent of wine lingering in the thick underground air. Her eyelids felt heavy, her head throbbing with the dull ache of indulgence. What a weird dream… more like a nightmare.
She nuzzled into the warmth pressing against her side. Then realized she was waking up somewhere unfamiliar. Who had she gone home with this time? She shifted slightly and felt an arm draped over her waist, their bodies tangled in the deep cushions of the worn leather sofa. Relief washed over her as she realized she was still dressed. Then she turned—Kayla---and the nightmare rushed back into focus.
Kayla groaned beside her, stretching lazily. “Remind me,” she muttered, voice rough with sleep, “whose idea was it to finish that second bottle?”
Adrienne let out a low, tired laugh. “Yours.”
Kayla cracked one eye open and shot her a suspicious look. “Liar.”
Adrienne smirked, shifting onto her side to face her.
Kayla stirred, stretching before offering a small, knowing smile. “Did you sleep well?”
“I slept.” Adrienne rubbed her temples, willing away the weight pressing against her skull. She exhaled slowly, then muttered, “Tell me yesterday didn’t happen.”
Kayla’s gaze softened—ok but only for a second. “You need to practice.” Her voice was quieter now, more serious.
Adrienne sighed, pressing her fingers to her forehead. “I know. But maybe we could just lay here for a while longer.”
Kayla sat up, pulling Adrienne with her. “You did great with the teleportation last night, but you have to learn to focus. If you don’t land exactly where you intend to jump, we’re dead.”
Adrienne inhaled sharply through her nose, the weight of responsibility settling against her chest. She was learning, but learning wasn’t enough. She had to master it.
Kayla pressed a firm hand to Adrienne’s knee, grounding her. “You were born for this. It’s in your in your blood. Now, close your eyes.”
Adrienne felt the hum of her device start, a faint vibration against her skin. She obeyed, letting the quiet of the apartment wrap around her, pressing in but never suffocating.
“Find the thread,” Kayla continued. “Focus on a place—then feel the pull. Don’t chase it. Feel it.”
Adrienne inhaled deeply, centering herself. Focus. The place, the pull.
She felt it—faint, distant, like the whisper of something just beyond her grasp.
“Let it bring you to the edge,” Kayla murmured. “But don’t fall. Just stand there. Balance.”
The air shifted around her. The apartment walls grew thinner—like layers peeling apart, revealing glimpses of elsewhere. The scent of dust and old books filled her senses. The university library. The room. She could see it, smell it.
She was about to jump.
“Not here. Not now,” whispered Kayla. “Just to the edge.”
Adrienne’s breath hitched.
Kayla’s fingers pressed against her wrist, steadying her. “Hold it. Stay.”
Adrienne felt it—the pull, the tension—but she didn’t jump.
She controlled it.
Kayla exhaled, nodding in approval. “Come back to me.”
Adrienne slowly let go, her awareness settling back into the apartment. She rubbed her head. “Ouch.”
Kayla smiled, satisfaction flickering in her gaze. “That was perfect. I think you must remember from times past.”
~~~~~~~~~~~~~~~~
You can view Quantum Fold episodes in order from the beginning in her album titled, Quantum Fold:
www.flickr.com/photos/199076397@N02/albums/72177720326169...
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This is an A.I. image generated using my SL avi.
I hope my pictures make you smile ♥
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A rainy evening at the coast carries a quiet kind of magic—the world hushed beneath the steady whisper of falling water, the sea and sky blurring into one soft, gray horizon. You walk slowly, your umbrella catching the rhythm of the rain.
Far above, the lighthouse pulses gently through the mist, its beam cutting across the shoreline like a guardian’s eye. The sound of waves meeting rock is muffled but ever-present, grounding you in that in-between place where land yields to ocean, and day yields to night.
There’s a solitude in it—but not a loneliness. Just you, the rain, the wind tugging at your coat, and the steady light above—like a heartbeat in the storm.
www.youtube.com/watch?v=PjFoQxjgbrs
Carpenters - Rainy Days And Mondays
The German owned SEEBRISE visited Kinsale on Monday October 25, 2004. With bad weather forecast the 1,990grt ship having discharged her cargo anchored in Kinsale outer harbour.
However, the high spring tide, combined with severe gales on the morning of Thursday October 28, led to the SEEBRISE dragging her anchor.
She was washed ashore just south of Charles Fort where she proved a great attraction for locals and late season holiday makers.
Initially there was some concern about pollution, as there was a pungent smell of engine oil noticeable.
However, no significant leak developed and fortunately she was refloated on the Friday morning tide.
At the time of the grounding the ship was owned by Baase of Germany. However, by 2013 she was reported in Tanzania as the LUNA-S ownership and a total loss as of 08/09/2013
Click here for more photographs of the SEEBRISE: www.jhluxton.com/Shipping/Shipwrecks/Seabrise
In a life well lived, the goal is to have the end be the beautiful fulfillment of the sweet promise of its beginning, bookends of an adventure cherished as much for its challenges as for its serendipity.
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Thank you everyone for your kind words and support on the passing of my father. I deeply appreciate it. I'm laying low for a while but look forward to catching up with you all soon.
I haven't gone out in a long time with camera in hand but last week I felt the need to change the scenery up a bit so I headed to the ocean, a place I love - as noted by my username - and a place I don't get to often enough.
There's something about standing at the water's edge and looking out at it's vastness that I find grounding.
I especially like to be there during the off season - the cold wind sharp, the sea salt tangy, the horizon clear and the solitude strong -
yet welcome...
Ascending and descending these stairs on a daily basis in our Paris holiday rental proved to be more gratifying than grueling. There is just something so grounding and soothing about well-maintained wood.
The Kakapo, built in 1898 was on her maiden voyage from Swansea to Sydney when she ran into a storm after leaving Cape Town. The captain saw the lights on Chapmans Peak and thinking it was Cape Point ordered the ship around only realising his mistake too late to avoid grounding the vessel.
Fishing vessel Point Estero awash,
Estero Bluffs State Park,
San Luis Obispo Co., California
The fishing vessel, Point Estero, was grounded on these rocks during the foggy night or early morning of July 27, 2017. When it wasn't moved quickly, it became mired between different jurisdictions and, my understanding is, questionable value. Fuel and oils were pumped. It has remained there even after winter storms with big surf. And I'm still struck by the irony of the Point Estero coming aground not far from the geographical Point Estero.
Here is a photo from several days after the grounding: