View allAll Photos Tagged Neigh
Young and old meet to the south of East Croydon. 387 209 with another class mate, 387 208 heads south on a test run. The end is neigh for the 442s
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
neigh/nā/ Noun: A characteristic high-pitched sound uttered by a horse.
nigh/nī/ Adverb: Near
Harbour Island, Eleuthera, Bahamas, is one of the most beautiful places I have visited.
The luxury resort (Coral Sands) my then companion and I stayed at was expensive, but right on the beach, and absolutely worth the experience.
Relaxing on the talcum powder soft pink natural sand, as the day was ending, I witnessed this pair of horses, making soft neigh sounds, feeling ease as they headed home, nigh the high seas, with a cruise ship passing by in the distance of the shining Caribbean waters.
© 2007-2011 IMRAN
DSCN 1862
Chomping at the bit, these two horses greet you as you walk though the castle. Sometimes I feel sorry for them, all day long they watch as sixty eight of their friends take guests on a carrousel ride. But if you ask them they’ll tell you they have the best view in the park. The castle to one side, and ALL of Fantasyland to the other!
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
Perfect weather yesterday for my birthday 20C in winter, couldn't complain.
"My treasures do not clink together or glitter; They gleam in the sun and neigh in the night."
-Arabian Proverb
~Nathaniel Hawthorne, "The Chimæra," A Wonder-Book for Girls and Boys, 1852 (about Pegasus)
It seems daisies have taken a back seat to horses and foals for me this summer:)
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
Sunday in the neigh-BORE-hood.
Sunday family swan-ride. Shakuji Park, Tokyo, Japan. © Michele Marcolin, 2023. K1ii + DFA 150-450
Did you hear it? ;)
Fyi: A neigh sounds like a squeal followed by a nicker and is very loud.
When a horse neighs with his head high, he is looking for other horses or people.
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
A 30 second long exposure shot of Neigh Bridge Lake, one of my favorite local sunset locations.
Exposure 30
Aperture f/8.0
Focal Length 18 mm
ISO Speed 80
Exposure Bias 0 EV
Angus is posing alone.
Angus and Merida have been fully deboxed.
My first look at the 2 piece Brave Angus and Merida Doll Set. It was released by the Disney Store on Monday May 14, 2012 online and in stores, along with many other Brave merchandise. It's cost is $39.50 US.
The set consists of the Princess Merida, who is a fully poseable 11.5'' doll in her blue formal dress, carrying a bow and arrow, and her faithful companion Angus, a 12.5'' tall black plush horse doll. Angus is 13.5'' to the top of his ears and is 15'' long. He has white hair on his nose and hooves, and neighs for a few seconds when his nose is pressed.
First I photographed the set in the unopened box. Then with the dolls taken out of the box, but still attached to the inner cardboard backing, which slides out of the box like a tray. Finally, the dolls were fully deboxed, and posed separately and together.
Another shot from my Neigh Bridge Lake series. The sunset was stunning that evening.
Exposure 0.3
Aperture f/18.0
Focal Length 18 mm
ISO Speed 80
Exposure Bias -1.3 EV
Sunrise is, mercifully, not quite as early as in high summer but it still required an effort to leave the tent and make a 20 minute drive. Here, dawn was breaking over a beautiful, pastoral Exmoor scene silent save for the occasional neighing of the nearby ponies, Sunrises are often derided as photographic cliches but the experience on mornings such as this are to be treasured. #fuji #fujifilm_uk #fujifilm #fujilove #fujifilm_xseries #scenicbritain #explore_britain #landscapes_of_Britain #ukscenery #moodylandscapes #dramaticlandscapes #photosoftheuk #ig_britishisles #landscape_captures #landscape_photography #landscapephotomag #photooftheday #picoftheday #igdaily #instadaily #discoverlandscape #exmoor #exmoorphotography #sunrise #dawnphoto, #dawn
For this image I created an impression. Before looking at its illustration, it is perhaps worth pointing out several weaknesses to the image. There are issues of scale, with the verraco being clearly too big, and the tree-pole too small. There are also issues of artistic licence, where the wolfpack is also an inanimate mineral outcrop as occasional howls in the landscape blur with the pack's howling identity. Also, the image seems to inhabit both day and night, with the bird-of-prey more eagle or vulture than grand-duc owl, and the distant flock of goats still out on their hill, yet the silence of night is apparent. There are both the dark vistas and the howling wolves of night, and the active fires of day. There are also issues of authenticity - some castros present tight arrays of round houses, lets say the Castro de Baroña, whereas others offer a grid of square houses - for example La Hoya. Sites with a flexibility of space and function, such as Ullaca, also exist. In my image, the 'castro' seems almost to be a hybrid of castro and shepherd's chozos with corral (see past posts).
Everything in the image is intentional. It shows both night and day, both a castro and a croft and a chozos. It depicts a wolf-like element from a landscape that can also howl and birds of prey in both day and night. It is an image that has a flexibility and a need to be finished by the viewer's minds eye.
Pastoral man, with his herds and flocks leaves traces on the land, traces that do not clean, rather they fade into composts. The smell of wool combed by blackberry bramble, the dot-to-dot of pat and dropping clearly marking path, entrance and crossroad. And then the noise: chants of baaaa, moo and neigh: oink, grunt and bleet. Castros, villages, chozos and crofts served individuals and communities, and communities had animals for functions that spread from centralised trade down to individual winter heat. Settlements, inside and outside, towards and away, will have smelt, sound and looked interesting to the instinct and inquisitive assessments of birds-of-prey, foxes, marten and wolves.
Flocks and new-borns will have thus stimulated interest among predators, who are constantly tuning into signals of potential food: eyes in the day, over the wan and even through the night. An otherwise light sleeping and attentive shepherd may slip off his normal guard whilst trading through his local castro, and he might regret his jovial conversation, evening song-and-dance; and above all, his reliance on the attentiveness of others.
The geography of the verraco zone is crossed by deep gorges fed from the waters of regular high sierras, and for all of the long hot 'hells' of summers, central and north western Spain and Portugal do have water. Grasslands are warmed into two real growing seasons of spring and autumn, and local and migrating birds and local mammals enjoy the rich and constantly renewing stocks of dry seed. Many varieties of birds-of-prey look to exploit situations. Vultures scavenge, but can also organise between themselves to make animals run over cliffs and other shock mischiefs. Gosshawks and kites dive, eagles chance firm grips, grand-ducs eat anything from large insects up to the size of a hare, and wolves watch, learn and cooperate. Some scavengers look for the old, the ill or the young or isolated and peck to a point when the lifestyles of scavenger and predator seem to merge.
The Neolithic revolution was a mindset that looked at the living world and tried to observe, select and effect change. Docile, fat and milky offspring over the aggressive and lean. Big roots, sweet fruit and independent grains over the bitter and tight. By the Iron age, it is credible to expect that flacons, hawks, eagles and buzzards joined dogs in being trained to collect small animals for man, and in that then very modern world, it is very possible that people didn't register a great distinction between domestication and training.
Some villages and areas may have sat-back content to work with the 'Neolithic package' of ready to work domesticated animals and plants, but the system itself of "observation, selection and managed action with a target in mind" will have been a mindset and meme that inspired many into a sense of place and epoch. Here, shepherds and pastoralists were the 'computer scientists' of the late ages of prehistory, and its following protohistory.
Finding a way to dissuade birds-of-prey, wolves and foxes from becoming locked by their instincts and inquisitive learning into the growing nodes of society may have been an issue for this Iberian geography. The biomass of Iberian scrub and meadow-grain surely supported more predators than from further to the north, and the many steep deep valleys of the Iberian north, centre and west provided safe zones for packs of wolves away from the most organised hunting party. Getting into the mind of a predator required observation, strategy and a will to change in the wild.
Creating an artifice - a false animal - that could trick troublesome examples of predators, so that they could be either killed, captured or even trained to re-think the new conglomerated and urban demographys of Castro, hamlet, chozos and village, here being the push to form and create verracos.
Knowing that predators do not like to have been seen by the alert and watchful eyes of their potential prey, so favouring fake animals with eyes that are slight and passive.
Knowing that both predators and scavengers are looking out for animals that are alone.
Knowing that the predator's instinct and mind is excited by the rounded shape of a carcase filled with blood, flesh and bone.
Knowing that the predator investigates a potential prey; calculating and placing strategies in line. Knowing that doubts can be appeased by making the details of life clear, with the satiating stimuli of life's animal 'keys' visible for viscerally compulsive predatorial conceptions (eyes, nostril, sexual organs, anus, tail...).
Knowing that predators open carcasses by the anus, the sexual organs and the throat, and making all of these indubitable clear lines, and in so doing, adding to the attraction of the granite artifice.
Showing the horns and tusk as proof-of-concept without weaponizing their image with point and exaggeration, resulting in verraco horns are visible but never threatening and often atrophied.
A static animal with straight legs is either half-asleep, old or ill - all states that regularly occur in nature - and all at the centre of many a predators dream. Ruminating outlines rather than alert beasts about to spring to run or fight.
Verracos seem designed to charm and enthral the instinct of the very predators that could undermine the serenity of man's increasingly expanding and negotiating sedentary.
From high in the sky, the bird of prey that has over several months locked onto the landscape of the castro (and in so doing, taken several young animals), dives. The bird picks up speed with the sun behind its wings. To draw extra confidence around the proposed situation, a pile of manure has been positioned behind the back legs. From behind a temporary screen, the keepers of this verraco make the noises of the manufactured motionless animal, and pull strings to make bunches of grass first obscure and then reveal the stone form in much the same way that a fowler has always learned bird calls and employed decoys from far into hominid pasts. The verraco's team may grunt, or they moo with uncanny realism - calm, serious and unabashed. And as a fishing-rod may come-and-go to tease attention, so it might be the case that a verraco is covered from view until the desaturated landscape of dawn and dusk. Hiding and revealing the verraco would certainly be an art, and contemporary experimental archaeologists that simply place and watch a verraco from afar without a sense of timing and 'theatre', would only be akin to persons watching a magician's dummy hoping to see magic. The diving bird now includes its shadow and swoops to kill. The keepers of the verraco either witness the bird as it is instantly killed by hitting the hard stone, or, they add spear or knife to the dazed and confused. The problem predator has been neutralised and prized feathers, bones and claws are traded to the additional profit of the veracco's guardians.
We may suggest that the large Yaca de Yeltes castro asked that the 'best' team come once a year, and the well 'paid' verraco team have gone as far as installing a field of raised stones to, amongst other advantage, stop inquisitive landed vultures from running a gawk take-off.
On other occasions, the bird-of-prey swoops to catch an offering of meat, and here, with the help that the focus of a verraco provided, this bird is locked into a repeatable narrative, taking the cuts from indents made in the verraco's back. The action of feeding the bird-of-prey will ultimately lead to falconry or hawking - man and animal trained to work and hunt together. Trained birds-of-prey another source of income for the keepers of the verraco. On other occasions, clay is moulded flat into the pits, and a strip of matching back-hide is pinned into the clay so that from above, the verraco matches reality, and from the oblique shaded sides it silhouettes with close proximity. Both utilities from one addition.
Pits in clapper-bridge stones and on carved steps (4:8) had been used aside rivers to focus and attract birds and animals to key spots for generations in the local area, and finding elegant new applications involved simple steps and bridges of creativity in the mind's eye.
Even if they could never attack a large animal, foxes would simply be too inquisitive to the hyper-reality of sound, shape and smell, and in-turn fall prey to the managed situation.
Some localities arranged for a permanent verraco to guard their dynamic community, and this sense of guarding became part of their symbolic importance, with some veraccos just guarding as emblems of mind over wild. Some of these would be smaller and less refined, but still visibly verracos (6:8).
Verracos of bears could be made to attracted naturally short sighted real bears, and the smell of acorns coupled with the sight and sound of an apparent hog could be made to attracted wild boars - unconstrained creative applications, and all for watching local eyes and their vivid stories, as many verracos would move from place to place.
We might imagine that the Yacca de Yeltes verraco stayed on
with the aim of teaching a returning pack of wolves a lesson (wolves can have vast territories and wander the crests and vales as winter pinched the Sierras, Picos and Pyrenees). The associated field of 'standing stones' here stopping the wolves from collecting a definitive line of sight.
Over the period, the specific verraco team had been fed by the population of the castro. They have been offered shelter, and have collected fur and other items for trade. They also handed over a trained eagle in exchange for metal goods and assured contacts. They had been merry, helping with odd jobs of heavy lifting, as these keepers of the verraco are people who have phase-changed from a megalithic heritage and they are strong and liked to be known as strong. During their stay, conversations led to a demand from a new village 5 kilometres away. The village had been having a problem with vultures and a fox. The villagers also believe that a veracco brought luck to their settlement, symbolic security and even social status and credibility. Verracos were seen as more 'intelligent' than the foils of nature.
The village was accessed by a cart track and the verraco team strapped timbers to its side, and with a heave, they lift and sing off to their next 'job'. The verracos pedestal kept the centre of gravity low, and made it easier to transport the weight on and off the cart, and then into the rocky terrain aside the gully behind the village that was funnelling problems. The sedentary life is good, but it is not for everyone. And every time the team puff the verraco back onto the ground, some of its granites crumbles away. On more occasions than they would like to mention, as they walk it towards its new scene of theatre, someone stumbles, and the animal falls onto its face. And as they try to position the verraco between stone outcrops to create natural nuance to its outlines, they trip again, stumble, bash, and jam the forward facing verraco ... and onto pedestal ... then onto legs: again and again. Chips and 'crumbs' falling as granite-sand to never be recognised or counted.
The team had seen time worn and travelled verracos covered with pelts of stitched realism to the detriment of clean lines and silhouettes and apparent details, and on the day they finally stopped to either make or trade for a brand new example, they exchanged their now battered companion to a 'lesser' team, or for use in a competition of strength during a summer festival.
Predators were suspicious of lone sheep and goats, and local people liked to see powerful and vivid animals.
Verracos offered leverage over issues related to the living landscape. Maybe they were paraded once a year and once again fell from the shoulders of young teams with minds stronger than muscles. Maybe some eventually guarded over graves, here still thought to be capable of attracting and dominating the surprise elements of the wild world in controlled and intelligent ways. Confronting powerful 'elements' is seen elsewhere in Iberian culture. Drawing-in spirits of mischief and ill fortune being one of the elements principle of the 'akelarre'. Drawing in the danger of the most powerful bull, being one of the principles of 'La tauromachie'.
And if the main function of the verraco can be summarised as to attract unreasonable wild agitators into situations of weakness, then when the Romans landed on the eastern side of the Iberian peninsula, and when topics of conversation changed and adjusted for this new breed of predator, it is very possible, and indeed perhaps typically human and wry, that a verraco was made of a Roman soldier on all-fours with his detailed behind in the air. In this scenario, the verraco of 'San Felices de Los Galegos' (pictured below) may just have carried Roman costume plundered from battle to the south or east. And as the verracos were positioned aside new urban plots, by natural crags, small creeks and slight gullies, Romans didn't see them as examples of power and social hierarchy, and left them untouched as pastoral inconsequence, to their minds, naturally belittled aside the new Roman columns.
I shall call this hypothesis the 'managing the wild' theory of verracos. Readers should contrast this hypothesis with others.
My last post in this series (8:8) will look at a potential deep root to the principle of drawing-in troublesome elements rather than running after.
AJM 18.11.21
Another shot from Neigh Bridge Lake, Gloucestershire. Shot from a low angle to including the reeds against a backdrop of the golden horizon.
Aperture ƒ/14.0
Focal length 32.5 mm
Shutter 1/6
ISO 100
Part 1
I awoke to the sound of the Ranger Reeve calling out to the horses and the dull clanking of the bell around the white ones neck. My tents rain-fly did a great job of keeping me dry during last night's rain, but as I slept condensation collected on the inside of it and as I sat up my head bumped the roof of the tent and cold drops fell like rain onto my head and sleeping bag. I pulled myself out of my bag and got dressed. I unzipped my tent, then the rain-fly and what drops hadn't fallen yet landed on my back. I put my boots on and headed outside into the cold, crisp, predawn air.
My breath condensed and swirled before me, and out of the darkness a horse neighed. I walked over to the place by the river where I had photographed sunset last night, my pants legs and boots getting wet from the dew covered grasses and onions. As I exited out from beneath the forest canopy the darkness lifted a bit and the head of Leo peaked out over the summit of Mt. Ansel Adams and a faint glow graced the sky to the east. It's amazing how much the forest darkens the night.
I walked back over to the fire pit. Reeve had the horses corralled and tied to the trees, their muzzles buried into bags of oats. He was sitting by a stove with a pot of brewing coffee on it.
“Good morning” I said.
“Mornin',” He replied.
“Do you mind if I get a fire going?” I asked.
“Go for it,” He said.
I removed the rocks I had put there last night to protect it from the rain and brushed away the white ash to awaken the glowing embers nestled deep within. I put the driest kindling I could find after last night's rain and some extra unused toilet paper on the warm orange coals, then I blew on them trying to coax them back to life. After several attempts and getting nothing but smoke that burned my eyes, I was just about to give up but I thought I'd give it one more try and this time the coals burst forth with life and flame, flickering wildly in their dance.
The stars soon faded as the faint glow in the east crept higher. A few puffy clouds began to glow with the faint light. I went back and forth between the fire and the river a few times this morning as well. As the scene grew brighter I saw a mist rising up from the winding river. Once all the stars had faded in the growing light the bases of the few clouds turned pink.
Reeve went down to the misty river and dipped his canteen into the water, took it out and took a drink.
“You don't filter your water?” I asked.
“I've been in these mountains my whole life and I've never had to filter.” He said.
“What about giardia?”
“Never been an issue.” He assured me.
The coffee was now ready and Reeve offered some to the three of us. I don't usually drink coffee, but this time I gladly took some. We sat around the fire as the three of them made breakfast. I added a few twigs every so often to the hungry flames, after each time the fire would swell then once most of the good burnable fuel was consumed it would wane and I would add more. After breakfast had been eaten Michael and Sarah took down their tents and packed up their gear as Reeve came around and collected it so it could be loaded onto the pack horses.
The sun had now crested the ridgeline and was filtering through the boughs of the pines. I headed over to the river bank once again. The mist swirled and rose from it's surface and all the dew on all the grasses shimmered like diamonds in the fresh sunlight.
When I got back to the fire it had burned itself down to just glowing embers. Michael and Sarah then said goodbye and told Reeve that they'd see him back at the range station. They then set out for Tuolumne Meadows without the burden of their packs to weigh them down. Ranger Reeve was putting the final pieces of gear on the backs of the horses when I asked him if he could do me a favor and take my trash out for me, he said he would and I thanked him. It was not long after that that he finished loading up the horses and he was off.
“Stay safe.” he said.
“I will,” I said, then added, “Happy Trails.”
Then he led them away through the trees and I watched as he disappeared into the forest. I was now alone again, with the whole meadow and campground to myself. I have always enjoyed the solitude of the wilderness. Sometimes it's nice to have other people around and other times it's nice to just be out here by yourself, each are their own unique experience. Even though a majority of my time out here I have been alone without the presence of another human being, I have not felt lonely except for on day 7 while out on the Bighorn Plateau at the largest of the Wright Lakes.
I went back down to the river to fetch some water to extinguish the last glowing coals from the morning's fire, but I took a while to sit down upon a log that lay along the bank to watch the mist rising from still surface and to take a moment to meditate before heading back into the trees.
Out here time is meaningless, the days have no name, no shape, no form, they float by like clouds drifting on the breeze, evaporating into the azure expanse of endless sky. There are no hours, minutes or seconds, just the rising and setting of the sun, stars and shape-shifting moon.
Time as we experience it is an illusion, a construct of the human mind, all that exists, has existed or ever will exist is the current, present "now" moment in which we have our being, our consciousness, our existence. The past no longer exists and future doesn't exist yet, which leaves us with right now. All time is, is our memories of past events and our expectation of what is to come but hasn't happened yet. If we could learn to live, fully immersed within the moment, within the "now", time would no longer carry meaning, it would fade into eternity, like the early morning mist, rising from the still surface of this river.
Here is the original photo that Ansel Adams took in this general area
shop.anseladams.com/v/vspfiles/photos/5010119-u-2.jpg
notice the same peak in the distance, I didn’t get the exact location but it is the same river and mountains
I wasn’t going to add songs to these photos from the trip but I have to for this one
Artist : Bee from In Gowan Ring
Song : Whips of Wind
While in Morocco, we visited a Berber meat and vegetable market. Settling in under the cool shade of a tree to sketch, I realized I had a very adorable neighbor! Sketched on site, color added later.
Read more about this day here: artbybernadette.com/a-berber-market-part-2-2/
Gipsy gold does not chink and glitter. It gleams in the sun and neighs in the dark. ~Attributed to the Claddaugh Gypsies of Galway
EASTERN COUNTIES
Still putting in a full day's service, is this neigh on 20 year old Bristol FS5G with ECW body.
LFS70 (70 DPW), first entered service, in December, 1963.
Another glorious sunset at Neigh Bridge. Just me and a duck for company.
Aperture ƒ/16.0
Focal length 18.0 mm
Shutter 1/10
ISO 100
My second moc in round 1 of the iron forge. Built for my second charge, this neigh-ble steed stands in knight’s service, ready to lance a point for horse and honor. Brick by brick, this stable combatant proves it’s always time to hold your horses—right before the joust begins.
I will never tire of taking shots of the sun setting. A beautiful but sometimes sad part of the day with the realisation that another day has passed on life's journey.
Aperture ƒ/20.0
Focal length 26.0 mm
Shutter 1/4 secs
ISO 100
This is the last in a trio of shots from last nights sunset. A 30 second exposure taken using an ND400 filter, which is nearly black to the naked eye. The advantage is you can use longer exposure even in direct sunlight. This filter has given the impression that the water has now turned to ice.
This is why I love using an SLR so much these days, the same scene can be captured many different ways.
Aperture ƒ/20.0
Focal length 50.0 mm
Shutter 30 seconds
ISO 100
After nine years of C-5 Galaxies being flown out of Shepherd Field in Martinsburg, WV the end is neigh. Just out of frame on the right are three C-17 Globemaster III's, the replacement aircraft for the 167th Airlift Wing. I covered the press conference in 2002 when the master of the money, Senator (and Senate Appropriations Chairman) Robert C. Byrd announced that the West Virginia Air National Guard C-130E's would be replaced with C-5A's. He even arranged for a C-5B to be flown in (from Dover I think) for the announcement. As a kid these mammoth airlifters fascinated me. While I understood the physics of flight, it always seemed like magic when a C-5 rolled down the runway, with those GE turbofans groaning, and climbed into the sky.