View allAll Photos Tagged INTERPRETATIONS
Continued interpretation of my "Searching" photo...
Processed with icolorama, procreate, superimpose & snapseed
Included in;
MOB PAINT MONDAY NO. 43 artofmob.blogspot.com/2015/08/Mob-paint-Monday-43.html
The base of Burnett Falls looks to be a place of both extreme violence, and great beauty. Pounding water takes its toll on what lay below, but also creates an alluring graphic. Appearing like a white dress with a floor length train, arms take shape and reach up the canyon walls.
Like so many things in life, it is all in how we interpret our surrounding. Take for example the person who asks, "is your glass half empty, or half full?" My response is, "you have the wrong size glass",
My interpretation of BVS Flash. I originally wasn't gonna make him until later this year or early next year but Levi Nunya made his and inspired me so the credit goes to him. Enjoy :)
Bois du Breuil (Forest of Breuil) near Honfleur, Calvados, Normandie (Normandy), France. A rich forest, part of the commune of Équemauville and overlooking the communes (towns/villages) of Honfleur, Vasouy and Pennedepie as well as the River Seine. It belonged to the Dukes of Normandy until 1204 when King Philippe Auguste conquered Normandy and the forest passed to the French kings. Located 4km from Honfleur, the Bois du Breuil is one of the rare forests on the coastline and is open to the public. This forest, covering 120 hectares, is the property of the Conservatoire du Littoral (Coastal Conservancy). Great variety of species (32 listed species including oak, beech, Scots pine and maritime pine), a fine population of naturalised rhododendrons, large 1,200m path lined with beech trees dating from 1850. Preserved natural wealth thanks to meticulous management in keeping with nature. Access via the RD62 (Equemauville-Pennedepie road). 2 car parks. Round trip, approximately 5km, offering superb views over the Seine bay. www.conservatoire-du-littoral.fr/siteLittoral/115/28-bois... and www.calvados-tourisme.co.uk/diffusio/en/discover/natural-...
Une interprétation photographique de la chanson de Maxime Leforestier " Comme un arbre dans la ville "
Comme un arbre dans la ville
Je suis né dans le béton
Coincé entre deux maisons
Sans abri sans domicile
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai grandi loin des futaies
Où mes frères des forêts
Ont fondé une famille
Comme un arbre dans la ville
Entre béton et bitume
Pour pousser je me débats
Mais mes branches volent bas
Si près des autos qui fument
Entre béton et bitume
Comme un arbre dans la ville
J’ai la fumée des usines
Pour prison, et mes racines
On les recouvre de grilles
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai des chansons sur mes feuilles
Qui s’envoleront sous l’œil
De vos fenêtres serviles
Comme un arbre dans la ville
Entre béton et bitume
On m’arrachera des rues
Pour bâtir où j’ai vécu
Des parkings d’honneur posthume
Entre béton et bitume
Comme un arbre dans la ville
Ami, fais après ma mort
Barricades de mon corps
Et du feu de mes brindilles
Comme un arbre dans la ville
—————————————————————————————————————-
A photographic interpretation of Maxime Leforestier's song "Like a tree in the city"
Like a tree in the city
I was born in concrete
Stuck between two houses
Homeless homeless
Like a tree in the city
Like a tree in the city
I grew up far from the forest
Where my forest brothers
Founded a family
Like a tree in the city
Between concrete and bitumen
To push I struggle
But my branches fly low
So close to the cars that smoke
Between concrete and bitumen
Like a tree in the city
I have the smoke from the factories
For prison, and my roots
We cover them with gates
Like a tree in the city
Like a tree in the city
I have songs on my sheets
Which will fly away under the eye
From your servile windows
Like a tree in the city
Between concrete and bitumen
I will be torn from the streets
To build where I lived
Posthumous honor parking lots
Between concrete and bitumen
Like a tree in the city
Friend, do after my death
Barricades of my body
And the fire of my twigs
Like a tree in the city
existence. Authentication, not enlargement or interpretation is what we want :-)
Wright Morris
HFF! Science Matters!
hydrangea, 'Ruby Slippers' j c raulston arboretum, ncsu, raleigh, north carolina
Another interpretation of the observation wheel at the Dallas Christmas event the "Trail of Lights".
A stack of 6 focus points at a single exposures level. Matt black paper and two LED studio lights were used.
Taraxacum is a large genus of flowering plants in the family Asteraceae, which consists of species commonly known as dandelions. The genus is native to Eurasia and North America, but the two commonplace species worldwide, T. officinale and T. erythrospermum, were introduced from Europe and now propagate as wildflowers. Both species are edible in their entirety. The common name dandelion (/ˈdændɪlaɪ.ən/ DAN-di-ly-ən, from French dent-de-lion, meaning "lion's tooth") is given to members of the genus. Like other members of the family Asteraceae, they have very small flowers collected together into a composite flower head. Each single flower in a head is called a floret. In part due to their abundance along with being a generalist species, dandelions are one of the most vital early spring nectar sources for a wide host of pollinators. Many Taraxacum species produce seeds asexually by apomixis, where the seeds are produced without pollination, resulting in offspring that are genetically identical to the parent plant. en.wikipedia.org/wiki/Taraxacum
Yes, It's beautiful, especially veiled with the fogs we've had hanging over Cheshire for the past few days,
but a structured, rigid beauty, maybe even an elaborate shell,
the energies over the years are strong here.....but I guess a lot of those energies come from their own inner truth.....
I can't help but feel the important essence of what it was once created for has been adapted and shaped by rules, expectations and the interpretations of another.....instead of simply just a space for one's own truth.
Interpretation of image taken years back when I visited Mykonos the first time with my daughter.. Created
for Blind Pig City Memories Challenge.
Having read a bit about Mars I decided to do my visual interpretation of Mars, which consists of fire, rocks, iron, nickel, and sulfur. Its solar system symbol and meaning are the shield and spear of the god of war also representing the male or masculine symbol. Its representing colours are shades of red, silver, and yellow.
It has been on scientists radar for a long time now and they keep on learning more. I just hope that we do not destroy Mars as we are our planet.
With heartfelt and genuine thanks for your kind visit. Have a beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating, stay safe, and laugh often! ❤️❤️❤️
This post is a rivisited interpretation - and a postprocessing exercise - from a photograph I already put on Flickr some time ago: www.flickr.com/photos/robfon/2066300296
I want to say thank you to my friend and great photographer Cyrus Khamak that encouraged and supported me to work on this new version, kindly giving me precious tips and directions with his great talent and experience.
Just few words about the treatment to this photo: it is even more cropped compared to the first post, levels and curves have been touched a little bit and the background has been removed.
Questa fotografia è una diversa interpretazione - ed un esercizio di postprocessing - di un mio post già precedentemente pubblicato in Flickr: www.flickr.com/photos/robfon/2066300296
Voglio ringraziare il mio amico e grande fotografo Cyrus Khamak per avermi incoraggiato e supportato nel lavoro su questa nuova versione, dandomi preziosi consigli e suggerimenti con il suo talento ed esperienza.
Questa fotografia è stata maggiormente croppata rispetto alla versione precedente, i livelli e le curve sono stati modificati e lo sfondo è stato eliminato.
I suggest you, if you still don't know Cyrus, to have a look to his great photostream:
Vi suggerisco, se ancora non conoscete Cyrus, di dare uno sguardo al suo bellissimo photostream:
Do you see the interpretation of one’s soul in one’s ️eye?
f/10, 1/125 sec, ISO-100
#sea #underwaterphotography #marinelife #scubadiving #diving #scuba #ocean #dive #scubadiver #uwphotography #sea #underwaterworld #scubadive #travel #photography #nature #scubalife #underwaterphoto #underwaterlife #uwphoto #sealife
Une interprétation photographique de la chanson de Maxime Leforestier « Comme un arbre dans la ville «
Comme un arbre dans la ville
Je suis né dans le béton
Coincé entre deux maisons
Sans abri sans domicile
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai grandi loin des futaies
Où mes frères des forêts
Ont fondé une famille
Comme un arbre dans la ville
Entre béton et bitume
Pour pousser je me débats
Mais mes branches volent bas
Si près des autos qui fument
Entre béton et bitume
Comme un arbre dans la ville
J’ai la fumée des usines
Pour prison, et mes racines
On les recouvre de grilles
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai des chansons sur mes feuilles
Qui s’envoleront sous l’œil
De vos fenêtres serviles
Comme un arbre dans la ville
Entre béton et bitume
On m’arrachera des rues
Pour bâtir où j’ai vécu
Des parkings d’honneur posthume
Entre béton et bitume
Comme un arbre dans la ville
Ami, fais après ma mort
Barricades de mon corps
Et du feu de mes brindilles
Comme un arbre dans la ville
—————————————————————————————————————-
A photographic interpretation of Maxime Leforestier's song "Like a tree in the city"
Like a tree in the city
I was born in concrete
Stuck between two houses
Homeless homeless
Like a tree in the city
Like a tree in the city
I grew up far from the forest
Where my forest brothers
Founded a family
Like a tree in the city
Between concrete and bitumen
To push I struggle
But my branches fly low
So close to the cars that smoke
Between concrete and bitumen
Like a tree in the city
I have the smoke from the factories
For prison, and my roots
We cover them with gates
Like a tree in the city
Like a tree in the city
I have songs on my sheets
Which will fly away under the eye
From your servile windows
Like a tree in the city
Between concrete and bitumen
I will be torn from the streets
To build where I lived
Posthumous honor parking lots
Between concrete and bitumen
Like a tree in the city
Friend, do after my death
Barricades of my body
And the fire of my twigs
Like a tree in the city
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
Location: Parque Natural del Hondo – Interpretation Centre lagoon complex
Date Photographed: 29 November 2025
The Common Chiffchaff is a regular winter visitor along the Mediterranean coasts of Spain, including the Costa Blanca (Alicante province). Although the species continues to occur in good numbers each winter, local observations suggest a noticeable decline compared to previous decades—reflecting a broader trend affecting many migratory and wetland-associated birds.
Chiffchaffs typically begin arriving on Spain’s Mediterranean coast in October, remaining through the winter period until March. Across its global range, the species breeds widely throughout Europe and western Asia. Populations from the north and east of the range are migratory, undertaking seasonal movements to wintering grounds further south. In contrast, western populations are more often resident or short-distance migrants, sometimes remaining close to their breeding areas year-round.
Within El Hondo Natural Park, Common Chiffchaffs show a strong association with wetland margins and surrounding scrub. Preferred habitats include reedbeds, tamarisk thickets, lagoon edges, irrigation channels, and lightly wooded areas near open water—all well represented around the Interpretation Centre lagoons, where multiple individuals were recorded during this visit.
A small, active insectivore even in winter, the Chiffchaff remains one of the more reliable Mediterranean winter warblers, offering excellent opportunities for photography and close field observation in coastal wetlands like El Hondo.
Beecraigs Park is 370 hectares of exciting and beautiful Country Park. You’ll find it nestled high in the Bathgate Hills near the historic town of Linlithgow. Beecraigs is the largest of West Lothian's 3 Country Parks and offers miles of woodland paths and trails to explore by foot, bike or horse as well as a wide range of leisure and recreational opportunities. The Ranger Service provides advice and activities, you can visit the Animal Attraction and see the Red Deer, Highland and Belted Galloway Cattle and Hebridean/North Ronaldsay Sheep or take a stroll around Beecraigs Loch. www.visitscotland.com/info/see-do/beecraigs-country-park-...
An exhibit of the Beothuk Indian's way of life at the Boyd's Cove Centre. Here is shown a type of canoe that was such an important part of their life.
Sand Dunes National Park, Colorado. Note the photographer in the upper-right.
I used a B&W film imitation (Rollie Ortho 25), included in DxO's FilmPack, which is part of my DxO Optics Pro Raw conversion. I tried several film imitation, including Illford, Agfa, Kodak, etc., but thought that Rollie showed the blowing dust best.
© 2023 Mike McCall
_Spooner Angel_
Grave of Mary J. Spooner (1850-1914)
Olive Grove Primitive Baptist Cemetery
Seminole County, Georgia USA
[7216_hdr-D7500-Neo]
The Prop of Ythsie (pronounced “Icy”) is a striking local landmark which stands on the Hill of Ysthie just east of the village of Tarves. The stone tower is visible from many points in the surrounding area of Formartine, including from parts of the Estate. It was built by the tenantry of Haddo in memory of the 4th Earl of Aberdeen, paying tribute to the extensive improvement works he carried out on the Estate for the local residents. It is still in family ownership, though it is maintained by Aberdeenshire Council for the benefit of its numerous visitors. In years gone by a flag was flown from the top of the Ythsie Tower to herald the beginning of the curling season at the Haddo House Curling Club. haddoestate.com/history/heritage/prop-of-ythsie/
Due to simple optical physics, our lenses turn the received image upside down (and left becomes right). My camera (Fuji X-Pro3 plus Samyang telephoto mirror lens) would then turn everything around again and, in a second step, "correct" the matter by reproducing the original upside-down image. Our own eye/brain combo does the same. We are not even aware that our eyes communicate a completely distorted image to our brains. The image we "see" is a "corrected" one or, perhaps closer to the truth, a composition of a multiplicity of gazes, referenced against our data banks and "edited" according to various sets of criteria. "Seeing" is not a visual reproduction of what is out there, it is rather an interpretation. Don't expect photography to be anything else.
This image is the work of Marisa Marini and offers an interpretation of the lyrics to my song; Is it a dream? The first lines of which go; Sitting alone in the dark of my room, I turn on the light, put on a brave face. Marisa's wonderful image captures the feeling of the protagonists emotional crisis: I wish I had her talent!
"Train bleu" in anderer Interpretation. Am Abend der 04. Juli 2023 erfreute mich dieser ganz in Blau gehaltene Ganzzug, der einheitlich aus Waggons der Gattung Tanpps des Schweizer Unternehmens Wascosa bestand. Zuglok war die 187 321 der Wiener Lokalbahnen Cargo. Seinen Ausgangspunkt hatte der mit Kalisalz beladene Zug in Gerstungen, Ziel war Linz in Oberösterreich. Für die lange Gerade bei Bernhards vor den Toren Fuldas hatte dieser die optimale Länge.
"Train bleu" in another interpretation. On the evening of 04 July 2023, I was delighted by this all-blue block train, which consisted uniformly of wagons of the type Tanpps of the Swiss company Wascosa. The locomotive was the 187 321 of Wiener Lokalbahnen Cargo. The train, loaded with potash salt, originated in Gerstungen and its destination was Linz in Upper Austria. This had the optimum length for the long straight at Bernhards just outside Fulda.
Viewers, please add your own interpretive title if the time and mood should allow. Thought would be fun, as I could not settle on just one idea.
Work by Debra (Rose) Lynch, a.k.a Debbie Golden. We are co-artists on some works. This is entirely her own.
Blessings (as deb always says.)
My Interpretation here you have a besserwisser that never yield under any circumstances so he is best left alone with his opinions out in the nothingness having a dialog with himself :)
Various interpretations revolve around the denomination of Montescaglioso from "Civitas Severiana", for Alessandro Severo who dominated the center, to "Mons Cabeosus", for the wealth of caverns.
In the beginning a Byzantine stronghold, then dominated by various feudal families, the development of Montescaglioso flourished around the Benedictine Abbey of San Michele Arcangelo (1079), rich in beautiful frescoes.
Took a trip up to Lake Bob Sandlin State Park yesterday. I was pleasantly surprised with the turning colors on some of the trails. This particular turn in the bend reminded me of spot in Colorado where I found immense enjoyment during Autumn. I have a similar image I posted here of my two sons walking around another bend. The backside of my children walking is often the only view I am able to capture of them as they seem to always be running from me 😂 I am still trying to rediscover my love for Autumn since moving from Colorado to Texas. It’s different here, from the types of trees to the warmer temperatures lasting so late into the year. It’s been a full year of changes from start to end. It’s surreal that the end of the year is looming ahead. What does it hold? Is it just me or does it seem like every month is the start to a new chapter in a different book that I have yet to figure out… Here’s to an approaching new month just a few days away (November). May it be the best chapter yet. ❤️ love you guys xoxo
William-Adolphe Bouguereau,
Oil on Canvas. 1874
Before I became interested in art, I attended an exhibition of W.A. Bouguereau at the Wadsworth Atheneum in Hartford, Connecticut. I was mesmerized from the beginning and remain so whenever I see his art. Before the pandemic, I was blessed to have another opportunity when the San Diego Museum of Art hosted an exhibition of his work. I chose this painting and photographed it in sections. This girl is so perfect in my eyes that I chose to make it a portrait. I added my interpretation in editing. The original of this painting can be seen at www.bouguereau.org/Enfant-Tressant-Une-Couronne-Child-Bra...
Own image 3553 and textures
Hawaiian Chieftain is a 103-foot square-rigged topsail ketch. She is a contemporary interpretation of a traditional design. She was launched in 1988. For many years, she did hands-on history programs teaching 4th and 5th graders about the exploration and trade along the West Coast in the 1790s. After three years in Port Townsend for restoration work, the Hawaiian Chieftain was re-launched on April 9, 2024. Website: sailhawaiianchieftain.com
Poplar III was built in 1948 for the BC Police and RCMP. She patrolled the coastal waters from Cape Caution to Campania Sound, and for the BC Forest Service she covered the region from Stewart to Hartley Bay. Today, the current owners have made several cruises from Cape Flattery to Prince William Sound. Poplar III is a pleasure to be aboard and her legacy is remembered by folk throughout the inside passage. Many thanks to the marine trades in Port Townsend where the prints of many hands show both skill and care in maintaining this important piece of BC history. Sponsored for the festival by the PT Shipwrights Co-op. This photo was taken at Port Townsend's 2024 Wooden Boat Festival woodenboat.org/