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I took plenty of snaps, but think this is my favourite.
Less than 3 months after being announced that the conversion to a film studio will go ahead, the iconic Littlewoods building is "engulfed in flames".
www.flickr.com/photos/44435674@N00/3437191820/in/photolis...
It joins a long list of notable buildings suffering fires, either before, during or after restoration.
Edit. 4 Sept.
Believed to be Arson.
(Surprise! Surprise!)
Let's rewind the time to October, where I had a brief moment to take those quick arrival shots of Level of Suspense Lukas and Female Icon Dasha. And they're still in the boxes till this day, yikes! I need to hurry and enjoy these fabulous two :)
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Wildlife Photography, Jungle, Cave.
Big Male Monkey starring me down.
This is the mouth of a cave, opening
is directly behind me. Enjoy ...........;-)~
Here's something you might like,
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Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-
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Please No Awards or Group Icons.
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I love that logo.
Ultrafine Xtreme 400@800 developed in the same tank as the Arista Premium - Diafine 3+3. The negs came out very thin and the images grainy. This is fixed with levels tweaked in PS.
Olympus 10 + Zuiko 28 mm f 3.5 ... I love this 28 mm, so encompassing !!
An extract from Praying with Icons
The Vladimir Mother of God
One of the most frequently painted of all icons reminds us of the love that binds Mary and Jesus to each other, and also of the connection between Mary and ourselves, for we too are her children. There are numerous variations, but all of them show Christ in his mother's arms with their faces pressed together. One of her hands holds him, the other draws our attention to him, a motion reinforced by the gentle tilt of her head. There is a subdued sense of apprehension in Mary's face, as if she can already see her son bearing the cross, while Christ seems to be silently reassuring his mother of the resurrection.
This is one of the icons attributed to the Gospel author Luke. While we know of no surviving icon painted by his hand with certainty, according to tradition the original of this icon was his.
The most famous version of the icon, the Vladimir Mother of God, was given by the Church in Constantinople to the Russian Church in 1131. Every movement and use of the Vladimir icon has been chronicled ever since. It was in Kiev until that city was destroyed by the Golden Horde. From there, in 1155, it went to the city of Vladimir in the north. In 1395 the icon moved once again, this time to Moscow, a river town that had grown to be the chief city of Russia.
At present the icon is in a church adjacent to Moscow's Tretyakov Gallery, where it was housed through the Soviet period. On one occasion, during an attempted coup in 1993, it was taken out of the museum by the head of the Russian Orthodox Church, Patriarch Alexei, and used to bless the city -- the kind of action long associated with this icon. Even when it was housed in the museum, it was not unusual to see people in fervent prayer as they stand before this battered image. (There are many good printed reproductions of the Vladimir icon, but nothing I have seen does justice to the original. Partly this is because the surface of the icon, having suffered much damage, reveals level upon level of the overpainting of those who restored the icon over the centuries. We see portions of earlier painting in one area, later retouching in others. The rough terrain of the icon's surface is lost in prints.)
In some versions of the icon -- the Vladimir prototype is one -- Mary appears to be looking toward the person praying before the icon, in others her gaze is slightly off to the side, but in either case her eyes have an inward, contemplative quality. "The Virgin's eyes," Henri Nouwen comments, "are not curious, investigating or even understanding, but eyes which reveal to us our true selves." [Henri Nouwen, Behold the Beauty of the Lord: Praying with Icons (Notre Dame, IN: Ave Maria Press, 1987), p 36.]
Invariably, Christ's attention is directed to his mother. Always there is the detail of Christ's bare feet, a vivid symbol of his physical reality: he walked among us, leaving his footprints on the earth.
In some versions of the icon there is an additional detail of love, the arm of Christ around his mother's neck. This too is in the Vladimir prototype.
In contrast to Renaissance religious paintings with a similar subject, we notice in the icon that while Christ is an infant in size, his body's proportions are those of a man; a baby's head would be much larger. This is intentional. The noble face we see pressed against Mary's cheek is the Lord of Creation and the Glory of God. He wears adult clothing, a tunic and coat woven from gold, the color iconography uses for the imperishable and all that is associated with the Kingdom of God. In these details the icon reveals the real identity of the son of Mary.
Over her dress, Mary wears a dark shawl which circles her head, has a golden border, and is ornamented with three stars (one is hidden by Christ's body) symbolizing her virginity before and after her son's birth. At the same time they suggest that heaven has found a place in her.
The icon's triangular composition not only emphasizes the stillness of the two figures and gives the icon an immovable solidity but is a reminder of the presence of the Holy Trinity in all things.
The center of the composition is at the level of Mary's heart. A much used Orthodox prayer declares, "Beneath your tenderness of heart do we take refuge, O Mother of God." As anyone discovers in coming to know the Mother of God, her heart is as spacious as heaven.
In any version of the icon of the Mother of God of Tenderness, the Vladimir icon being only the most famous example, we see Mary's perfect devotion, a devotion so absolute that God finds in her the person who can both give birth to himself and who will ever after serve as the primary model of Christ-centered wholeness -- the woman whom all generations will regard as blessed. In her assent to the angelic invitation, Mary said not only on behalf of herself and all her righteous ancestors but for all generations, "Yes, Lord, come!" Through her all humanity gives birth to Jesus Christ, and through Christ she becomes our mother.
Because the icon portrays the profound oneness uniting Mary and Jesus, it is a eucharistic icon: in receiving the Body of Christ, we too hold Christ, and are held by Christ.
In the Gospel, we hear Mary praised for having given birth to Jesus and having nursed him. Christ responds by remarking on what is still more important about his mother and all who follow him wholeheartedly: "Rather blessed are they who hear the word of God and keep it." [Luke 11:28] She who gave birth to the Word of God also keeps it eternally.
It was at Mary's appeal that Christ performed his first miracle, changing water into wine at the marriage feast at Cana, and at Cana that we hear her simple appeal to each person who would follow her son: "Do whatever he tells you." [John 2:5] These few words would serve well as another name for this icon.
Praying with Icons web page: jimandnancyforest.com/2005/01/praying-with-icons/
Female Icon Dasha And Out Of Sigh Nadja
(In an attempt to not become a Dasha Exclusive Account I’m trying to space out posting my millions of Dasha photos! Poor Nadja is SO loose in some joints that she needs help to hold a pose, but it ended up giving me some great results!)
My final shot of the photo class was one of a colourful bar at dusk.
The bar is called Iconic and is very eye catching at night with it's lights which are often different colours.
I got a photo of Iconic after dark in back in the winter of 2011:
A striking perspective of Mount Arbel, the iconic landmark rising above the Kinneret, known for its dramatic cliffs and panoramic vistas.
An realistic icon , I released the download link on my DA :http://leon-gao.deviantart.com/art/Villa-144504050
The iconic Point of Rocks station looms over Amtrak's westbound Capitol Limited in a location with plenty of Baltimore & Ohio heritage. (Scanned from a slide)
One of the locations I have wanted to visit for several years is Ancaster on the Nottingham to Skegness line with its fine Great Northern designed signal box and pre-privatisation running-in board as may be seen in this image. On 19 August 2015 East Midlands Trains' 153374 and 156497 are seen arriving at the iconic station whilst working 2S13, the 10.45 Nottingham to Skegness.
Illustrationes florae novae hollandiae, sive icones generum quae in prodromo florae novae hollandiae et insulae van diemen descripsit robertus brown.
Londini :Veneunt apud auctorem,1813.
Download here. Enjoy!
NOTE
- icns, png and icontainer format included
- in 16, 32, 48, 128, 256 and 512px
- 2 icons, with an empty one
*For those who downloaded the Twitter release*
Please redownload this new release, as this one cleared the 1px line at the bottom on the 512 size.
---- W Palermo and Saint Rosalia: 395th feast of Saint Rosalia, Patron Saint of Palermo ----
---- W Palermo e Santa Rosalia: 395° festino di Santa Rosalia, Santa Patrona di Palermo ----
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
click here - clicca qui
the slideshow
Qi Bo's photos on Fluidr
Qi Bo's photos on Flickriver
Qi Bo's photos on FlickeFlu
Qi Bo's photos on PICSSR
Qi Bo's photos on Flickr Hive Mind
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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Saint Rosalia has been celebrated for 395 years, even though it was not always the Patron Saint of Palermo, in fact at the beginning the young Rosalia was not very well known, but she made herself loved by the Palermo people with a prodigious event that took place after her death. Saint Rosalia was born of the noble family of de'Marsi, as a young girl the girl runs away to escape a marriage of convenience, she was eager to dedicate herself body and soul to the prayer and contemplation of Our Lord. The young woman lived as a hermit, first on Mount Quisquina, then in a cave on Mount Pellegrino above Palermo. In this last place, on 4 September 1170, the girl died. From that moment his name seemed destined to oblivion, in fact no one prayed or asked thanks to her, until May 1624, when the city of Palermo was invaded by a terrible epidemic of plague: the legend tells that one day he went on Monte Pellegrino, a hunter who was lost,
the man saw Santa Rosalia appear, who in dialect asked him to warn the Bishop of Palermo that he would find his bones on the mountain; the Bishop went to the place indicated and saw the mortal bones of the Saint. On 15 July 1624, the religious decided to carry the bones in a solemn procession to ask for the miracle of liberating Palermo from the plague: this is how the expected miracle happened, it is said that when the holy bones passed the evil, that afflicted the citizens of Palermo, decreased by intensity, and soon the city of Palermo was freed from the Plague.
From that moment, every July 15, the city of Palermo celebrates its patron saint with the "feast", while every September 4th (the day of Rosalia's death) pilgrimages are made to the Mount Pellegrino cave, where today the Sanctuary is located .
During the evening of July 14th, the celebrations culminate with the parade of the Triumphal Chariot on which stands the statue of Santa Rosalia.
(The theme of this 395th edition of the Festino was "L'inquietudine", the "very big float" in question was created by the inmates of the Ucciardone Detention Center).
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Santa Rosalia è festeggiata da 395 anni anche se non è sempre stata la Santa Patrona di Palermo, infatti ai primordi la giovane Rosalia non era molto conosciuta, però si fece amare dai palermitani con un evento prodigioso avvenuto dopo la sua morte. Santa Rosalia, nasce dalla nobile famiglia de’Marsi, da giovane la ragazza scappa per sfuggire ad un matrimonio di convenienza, lei era desiderosa di dedicarsi anima e corpo alla preghiera e alla contemplazione di Nostro Signore. La giovane visse da eremita, dapprima sul Monte Quisquina, poi in una grotta sul Monte Pellegrino sopra Palermo. In quest’ultimo luogo, il 4 settembre 1170, la ragazza morì. Da quel momento il suo nome sembrava destinato all’oblio, difatti nessuno pregava o chiedeva grazie alla religiosa, fino al maggio del 1624, quando la città di Palermo venne invasa da una terribile epidemia di peste: la leggenda racconta che un giorno si recò sul Monte Pellegrino un cacciatore che si era perso,
l’uomo vide apparire Santa Rosalia, che in dialetto gli chiese di avvisare il Vescovo di Palermo che recandosi sul monte avrebbe trovato le sue ossa; il Vescovo si recò nel luogo indicato e vide le ossa mortali della Santa. Il 15 luglio 1624, il religioso decise di portare in processione solenne le ossa per chiedere il miracolo di liberare Palermo dalla peste: così avvenne l’atteso miracolo, si racconta infatti che al passaggio delle sacre ossa il male che affliggeva i cittadini palermitani diminuiva di intensità, ed entro breve la città di Palermo venne liberata dalla Peste.
Da quel momento, ogni 15 luglio, la città di Palermo festeggia la sua patrona con il “festino”, mentre ad ogni 4 settembre (giorno della morte di Rosalia) si fanno pellegrinaggi verso la grotta del Monte Pellegrino, dove oggi si trova il Santuario.
Durante la sera del 14 luglio, i festeggiamenti raggiungono il culmine con la sfilata del Carro Trionfale sul quale svetta la statua di Santa Rosalia.
(Il tema di questa 395esima edizione del Festino è stato “L’inquietudine”, il carro in questione è stato realizzato dai detenuti della Casa di Reclusione dell’Ucciardone).