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Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic, it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.
Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.
The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards. The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.
Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.
Eastern Meadowlark
Sturnella magna
Amazing how these birds are so brilliantly colored on their face, throat, and breast, yet be so well camouflaged on the rest of their body.
I followed this individual around for about half an hour. It sure was vocal!
Okeechobee County, FL
“This artistic manifestation, with its rigorous denial of chromatic texture or overt symbolism, offers a compelling deconstruction of the human condition within the post-modern zeitgeist. The total absence of visual or sensory components, and refusal to allude to the socio-political struggles of our era, reveals a deep-seated existential angst that permeates all of contemporary culture. By challenging the viewer's preconceived notions and subverting traditional artistic tropes, this work invites a profound introspection into the core of our being, forcing us to confront the inherent contradictions and uncertainties of our existence. Its sublime beauty and minimal conceptual framework makes it a truly transcendent example of contemporary art, pushing the boundaries of artistic expression and offering a new paradigm for the future of creative endeavour.”
Professor Ursula Christensen, University of the Arts, New York
For more AI inspired micro stories please visit neural-narrative.blogspot.com/
La Babilonia religiosa está destinada a caer bajo la ira de Dios
El mundo religioso se opone y condena ferozmente a Dios Todopoderoso, cometiendo innumerables maldades, y se ha convertido en un bando de Satanás que se levanta contra Dios. ¡La gran ciudad de la Babilonia religiosa está destinada a caer bajo la ira de Dios! El Apocalipsis predice, "¡Ay, ay, la gran ciudad, Babilonia, la ciudad fuerte!, porque en una hora ha llegado tu juicio" (Apocalipsis 18:10). Dios Todopoderoso dice: "Confiamos en que ningún país o poder pueda interponerse en el camino de lo que Dios quiere lograr. Aquellos que obstruyen Su obra, se resisten a Su palabra, interrumpen y perjudican Su plan serán castigados por Él en última instancia. Quien resiste la obra de Dios será enviado al infierno; cualquier país que lo haga, será destruido; cualquier nación que se levante para oponerse a la obra de Dios será barrida de esta tierra, y dejará de existir" (La palabra manifestada en carne).
Ver más haga clic aquí: www.kingdomsalvation.org/es/videos/the-city-will-be-overt...
Scripture quotations taken from LBLA. Copyright by The Lockman Foundation.
Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.
Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano (facing Bari) and the southern Sasso Caveoso (facing Montescaglioso).
The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.
Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.
Before its integration into the modern Italian state, the city of Matera had experienced the rule of the Romans, Lombards, Arabs, Byzantines, Swabians, Angevins, Aragonese, and Bourbons.
Though scholars continue to debate the date the dwellings were first occupied in Matera, and the continuity of their subsequent occupation, the area of what is now Matera is believed to have been settled since the Palaeolithic (10th millennium BC). This makes it potentially one of the oldest continually inhabited settlements in the world. Alternatively, it has been suggested by Anne Toxey that the area has been "occupied continuously for at least three millennia".
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC who called it Matheola. In AD 664 Matera was conquered by the Lombards[citation needed] and became part of the Duchy of Benevento. In the 7th and 8th centuries the nearby grottos were colonised by both Benedictine and Basilian monastic institutions. After the Arab conquest of Bari in 840, Matera came under Islamic rule. Emancipated from the old Lombard jurisdiction of the gastald of Acerenza in the Principality of Salerno, the town gained regional prominence. In the spring of 867, it was burnt by the imperial troops of Louis II as the first key target in the emirate's conquest; the Chronicle of St Benedict of Monte Cassino calls it a particularly well-defended site. The Franks soon fell out with the Lombards and the Byzantines exploited the local need for protection from Arab raiding and internal Lombard divisions to retake Apulia, which became the theme of Longobardia in 891/2. Already by 887, Matera's local Lombard elite bore Byzantine titles, the monastery of San Vincenzo al Volturno had to conduct business before the Byzantine judge and town notables of Matera, and the Greeks of Matera made up the Byzantine garrison of Naples. The precarious Byzantine rule had to contend with the ambitions of Lombard towns and nobles against the background of frequent incursions from the neighbouring duchy of Capua-Benevento and from Arab Sicily. In 940 Matera was besieged, possibly with local assistance, by the Lombards. On 25 January 982 the army of Otto II camped before the walls of Matera on its way from Salerno to Taranto, ostensibly marching against the Arabs. In 994 Matera was temporarily captured by the Arabs after a four-month siege. The town continued to play a part in Byzantine governance: in June 1019 the chartoularios Stephanos of Matera assisted in the re-foundation of Troia. But civic unrest was also endemic and in 1040 the Byzantine judge Romanos was murdered at Matera by the local auxiliary troops during a wave of assaults on Byzantine officials that swept across the region. After the prominent Apulian rebels enlisted the support of the Normans and defeated the new katepano of Italy at Cannae in 1041, Matera fell within the scope of Norman incursions and struck a deal with the invaders. In retaliation for this, the next katepano Georgios Maniakes, dispatched to Italy with special powers in April 1042, carried out mass executions in Matera in June, only to launch a rebellion of his own in September. After his departure Matera elected William Iron Arm as its count (1042), but like other towns it remained in Byzantine hands despite the Norman advances – in 1054 died Sico, the protospatharios of Matera. The city was seized in April 1064 as an independent acquisition by Robert, Count of Montescaglioso, a seditious nephew of Robert Guiscard, who profited from the involvement of his uncle further south. After count Robert died in July 1080, Matera accepted the rule of his brother Geoffrey of Conversano. Geoffrey's son Alexander joined a revolt against Roger II in 1132, but he fled before the advance of the king to Byzantium and left his son Geoffrey in Matera, whose inhabitants gave the city away to avoid being massacred by the royal troops. Alexander later took part in the Byzantine invasion of Italy in 1156. Lombard aristocrats survived with a reduced status: around 1150, Guaimar (III) of Capaccio, a descendant of Lombard princes, held a sub-fief near Matera from the count of Montescaglioso. Meanwhile, after a period of association with the Byzantine metropolis of Otranto from 968, the episcopal see of Matera was reclaimed by the archbishopric of Acerenza. A new cathedral church of St Eustace was consecrated in May 1082.
After a short communal phase and a series of pestilences and earthquakes, the city became an Aragonese possession in the 15th century, and was given in fief to the barons of the Tramontano family. In 1514, however, the population rebelled against the oppression and killed Count Giovanni Carlo Tramontano. In the 17th century Matera was handed over to the Orsini and then became part of the Terra d'Otranto, in Apulia. Later it was capital of the province of Basilicata, a position it retained until 1806, when Joseph Bonaparte assigned it to Potenza.
A Simple White Rose...
We took a day trip from Mississauga following the Lake shore all the way through Oakville and into Burlington.
We took this shot from the walkway at Oakvilles Gairloch gardens and galleries.
the Gairloch Gardens are filled with incredibly beautiful plants the rose gardens are immaculately tended and lovingly kept...
the single white rose....there is a beauty in the simplest of details, not ornate or overtly busy; but in the simple white lines of a single white rose. a simplicity that flows smoothly from one petal to another; not calling too much attention to the individual parts of the flower but enhancing the whole... in a gentle yet simple way that transcends the visual perception and makes an emotional connection . maybe that is why the rose is called the flower of love..
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2024-09-10, Day 4
An unnamed creek that drains the ice fields surrounding Mount Hoge fans out to reveal the many pathways chosen over the course of hundreds of spring floods as the water readies itself to join the Donjek River which is out of the frame to the right, Kluane National Park, Yukon.
Once the Glacier first came into view, its vast terminus dominated the landscape for miles as we pushed our way southward along the River’s east bank following game trails that bore the signs of Grizzly, Moose, and what were likely Wolf tracks. Though the days remained long, evening began to introduce herself, trailing tresses of lengthening shadow and rich colorful tones. We traveled further than expected on the previous day, so we thought to make camp in a place with a captivating view and stop early enough to allow time to explore the River and the place where the ice arrived at the end of its tortuous and crushing journey.
On the terrain east of the river where we walked, swales filled with sedge and lined with willow ran in narrow strips between heaved, billowing ridges comprised of moraine, cast-off material flung by the immense, sculpting artistry of the mountains themselves. Cresting one of these hills we encountered the scene here, where the ravages of the spring floods presented themselves overtly, leaving no doubt that powerful currents shape this place and give it its life.
After descending through the golden foreground trees and negotiating the cut-bank to gain access to the floodplain, we searched the opposite bench for a place to pitch the tent. Rather than immediately finding anything suitable for the tent, I noticed the print of a Grizzly’s rear foot hardened into the mud - it was more than a foot long (30+ cm) and likely 7-8 inches wide (18-20 cm). Clearly made by a large creature. Just a reminder to make good choices while living amongst dear Ursus, nothing more. We pitched our tent in the elevated meadow above the opposite side of the creek, then hung the food a good distance away off amongst the spruce trees. Finally, we followed the floodplain to the River to find out just what the ice and water had wrought.
I've been a bit tardy catching up with Flickr after the holidays, but I hope to see folks' recent images soon!
Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.
Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.
The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.
Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.
Y Trallwng/ Welshpool ---- "Another building that displays elaborate detail in a similar material and colour and could have a Penson connection is the former Independent Chapel in New St, Welshpool.
The window heads are richly encrusted with moulded nailhead ornament and there is much use of tubular columns. A report of the opening in July, 1845 in the Chester Chronicle describes the front as being ‘built of moulded fire-brick’ and ‘pronounced by many to be a model, uniting good taste with economy.’
Scourfield and Haslam say: ‘The date, 1844, is remarkably early both for the use of terracotta and for such overt Gothic for Nonconformists’. " ----
Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic, it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.
Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.
The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards. The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.
Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.
Persian buttercups (Ranunculus asiaticus) is a perennial plant that can grow to be a foot and a half tall.
They have blooms that resemble roses, with simple or branched stems.
The basal leaves are three-lobed, with leaves higher on the stems more deeply divided; like the stems, they are downy or hairy.
The petals are often highly lustrous, especially in yellow species.
Some species are popular ornamental flowers in horticulture, with many cultivars selected for large and brightly coloured flowers.
What got me 'in' to 'flower-photography', was that I wanted to know more about lighting...
That was 35 years ago, flowers seemed the perfect subject matter, because of their different colours, shapes, textures, great variety and 'characters', I'd had many a garden, grown my own, so, I started out with an advantage, I knew about flowers...
I found a niche in the market, for overt 20 years now people have been 'raving' about them, asking me how I 'do' it?
There is NO magic formula, each flower is unique and treated as such! I do NOT consider myself a 'flower-photographer' but a a photographer who knows how to use lighting well...
Glad you enjoy them.
Thank you for your visit, so very much appreciated, Magda, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Orange, Ranunculus, flowers, peas, ruffles, blooms, portrait, "conceptual Art", studio, black-background, colour, square, design, Nikon D7000, "Magda indigo"
Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.
Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.
The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.
Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.
The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis). This Arian church was originally dedicated in 504 AD to "Christ the Redeemer".
It was reconsecrated in 561 AD, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" ("Saint Martin in Golden Heaven"). Suppressing the Arian church, the church was dedicated to Saint Martin of Tours, a foe of Arianism. According to legend, Pope Gregory the Great ordered that the mosaics in the church be blackened, as their golden glory distracted worshipers from their prayers. The basilica was renamed again in 856 AD when relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of pirates from the Adriatic Sea.
Its apse and atrium underwent modernization at various times, beginning in the 6th century with the destruction of mosaics whose themes were too overtly Arian or which expressed the king's glory, but the mosaics of the lateral walls, twenty-four columns with simplified Corinthian capitals, and an Ambo are preserved. On some columns, images of arms and hands can be seen, which are parts of figures once representing praying Goths and Theodoric's court, deleted in Byzantine times. Renovations (and alterations) were done to the mosaics in the mid-19th century by Felice Kibel. The present apse is a reconstruction after being damaged during World War II.
I am not a big fan of overly manipulated images. Commonly used programs allow us to select out vast portions of an image and change them dramatically. The results can be beautiful but too often the manipulations are overt and obvious. A photo is changed into a digital rendition of what the photographer hoped to see, but didn’t. I much prefer the images that require little processing. These images require significant efforts to visit interesting places, acquisition of photographic skills, and patiently waiting for a moment to reveal itself.
Some days I’m not sure what it bends toward, but some days are encouraging.
Today is Earth Day. So much of my photo work draws from the earth, and celebrates elements that remain relatively unchanged by humanity. It’s nice seeing people paying tribute to the planet and its environment today, in whatever way is meaningful for them, but for me it’s an image of the earth’s natural elements, as it’s shaped itself, free of overt human projections upon it.
And it’s also Poetry Month:
“How beautiful when we first beheld it…
Now the spoiler has come: does it care?
Not faintly. It has all time. It knows the people are a tide
That swells and in time will ebb, and all
Their works dissolve. Meanwhile the image of the pristine beauty
Lives in the very grain of the granite,
Safe as the endless ocean that climbs our cliff…”
— Robinson Jeffers, “Carmel Point”
Fuji X-E2 / XF14mm f2.8
March 2021, on the spring equinox.
(DSCF0479c Adobe 5)
An image of the iconic Forth Rail Bridge, shot on a misty night from Hawes Pier, South Queensferry, Scotland.
Last image from Scotland (until I go back one day), I intend to get out and about overt the next few weeks, I'm sure bridge's will feature somewhere along the way.......:)
F8/3 Seconds/iso100/Nikon D5100/Sigma 17-70mm lens @ 20mm
website:
andrewhowe.4ormat.com/andrew-howe-photography
Facebook : www.facebook.com/andrewhoweimages
There are no other Everglades in the world, as Marjory Stoneman Douglas said. They are wholly unique and no other National Park that I have visited can really compare to the sublimity of Florida’s River of Grass. I find myself to be so lucky to live so close to one of the most powerful and peaceful places I’ve ever been. I am especially thankful and in awe of its healing powers when my visits to the wilderness are a balm for weariness and stress, and the healing refrains of nature give me a reason to look to the future. Happy anniversary, Everglades.
On December 6, 1947, President Harry S Truman, dedicated Everglades National Park, saying;
"Here is land, tranquil in its quiet beauty, serving not as the source of water, but as the last receiver of it. To its natural abundance we owe the spectacular plant and animal life that distinguishes this place from all others in our country."
- In The Everglades, you are on Seminole and Miccosukee land. #FindYourPark
- shot on a #sonya7riv, @sonyalpha #bealpha. Edited in #Lightroom. @lightroom
National Park anniversaries always amuse me. In layman's terms, these places are ageless; they are literally the very landscape we observe and are crafted by the massive and natural forces of earth. Their creation was not sudden or overtly observable. But here we are, ascribing a date to celebrate when *we* decided to preserve that landscape. That’s the real special part about today: it honors our commitment to this fantastic place so that it may last through the ages. May it always be so.
A hot midsummer day after the rain,
cool moisture still clings in the air.
Country roads will show you the way,
perfect weather for a cycling day.
Taken with Auto Reflecta 55mm F1.7@F5.6, 2 frame composite.
This is one of my favorite lenses, but that doesn't mean it's any good. Wide open it's overt softness and busy bokeh is nice when taking artistic close ups, but for something like this it must be stopped down to achieve any sharpness.
Shooting against the light is challenging on modern lenses, and just horrendous on this one. Flaring covers pretty much everything and destroys contrast. Here I've covered the sun with my fingers for one exposure, thus eliminating most of the flaring, and then overlayed it with a clean frame.
Took a trip overt Gunwharf Quays on Wednesday evening for some night shots and found they had put the Christmas decorations up. I remember the days when my father brought the Christmas tree home a day before Christmas Day and that's when our family Christmas started.😊
A cryptic and overtly pretentious title to start the new year but I’m sure you bright buttons will work it out. 😊
Think of one of those little props from the Monopoly set. Yes, that’s the one, the hat! 🎩🐕 🚗 👢🚢
So, yesterday I changed my ‘Idiot’ hat for the ‘Sanctimonious’ one, on account of going for a run in the howling wind and pouring rain after being incapacitated recently due to a severe case of man flu, well I had a sniffle, that counts, Shirley?
The run was quite cathartic and preferable to beating oneself with that wild salmon again on the frozen mountain top, so as a reward I enjoyed a large slab of Christmas cake and a chunk of Wensleydale. You simply must have cheese with Christmas cake, it’s the law!
I also had a nice bottle of red waiting, with my name on it. Well, it says ‘Marques de Something’, so with a bit of artistic licence, that was close enough for me.
Eerrmmm, maybe I didn’t really think this through, what with the calorific balance an’ all!
OK, maybe I’ll just go quietly and put that ‘Idiot’ hat back on!
Fleet Foxes, maybe not my usual sort of band but this is a great track and a good title for this image. The video has some fantastic locations, you just have to forgive the fact that someone got a little carried away with the sliders! Sometimes ‘more’ is, well….. just that! Oh well, here’s to excess!
Happy New Year everyone. May all your wishes come true and your waistlines return to some semblance of normality.
Ultima-thule... The oddity of familiarity is always surprising, unexpected and refreshing. Post-Covid and its legacy of caution and increasingly pervasive, new technologies, rendered a different perspective of a familiar place, more salient and evocative.
Instinctively, nature has become a catalyst for healing, on personal, public and global levels. Further-emphasized by green policies and research, nature now has a relevance that it didn't have previously.
Of course, nature opposes our reliance on new-technologies; an overt manifestation of our inherent condition. The dance of dappled shadows across dimly, sunlit canopies and landscapes seemed redolent of the pandemic and our ensuing freedom.
I'm sure we will be retracing our Pre-Covid steps and expanding our physical and emotional reach for years to come...
Persian buttercups (Ranunculus asiaticus) is a perennial plant that can grow to be a foot and a half tall.
They have blooms that resemble roses, with simple or branched stems.
The basal leaves are three-lobed, with leaves higher on the stems more deeply divided; like the stems, they are downy or hairy.
The petals are often highly lustrous, especially in yellow species.
Some species are popular ornamental flowers in horticulture, with many cultivars selected for large and brightly coloured flowers.
What got me 'in' to 'flower-photography', was that I wanted to know more about lighting...
That was 35 years ago, flowers seemed the perfect subject matter, because of their different colours, shapes, textures, great variety and 'characters', I'd had many a garden, grown my own, so, I started out with an advantage, I knew about flowers...
I found a niche in the market, for overt 20 years now people have been 'raving' about them, asking me how I 'do' it?
There is NO magic formula, each flower is unique and treated as such! I do NOT consider myself a 'flower-photographer' but a a photographer who knows how to use lighting well...
Glad you enjoy them.
Thank you for your visit, so very much appreciated, Magda, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Orange, Ranunculus, flowers, peas, ruffles, blooms, portrait, "conceptual Art", studio, black-background, colour, square, design, Nikon D7000, "Magda indigo"
overt your eyes from my lovely layer of dust!! but this is my wonderful, sweet, obedient cat, that never does anything he's not suppose to - but what is this i see, i was wondering why my iHome was having a few kinks? apparently because this little guy likes to lay on it and bask in the sun! really!? :) he is still such a sweet boy!!
hbw!!
I want to thank everyone for the overwhelming support overt the past few months. Though I draw upon many roots and different sources for inspiration, one of those is undoubtedly the Flickr community. Not only for your inspiring work and art that I get to enjoy every day. But to see the hard work and dedication of others, inspires me to keep trying and keep shooting. For a long time I felt lost and with no real purpose in life. Photography pulled me back to reality and gave a reason to get up every day. Seeing others work as hard if not harder than myself motives me, keeps me grounded and gives me a sense of completion.So thank you everyone, for giving me a place to belong and for giving me the privilege to call some of you my friends.Hopefully this inspiration will never end and I look forward to the day I get to meet and possibly work with some of you. Great weekend ahead everyone and catch up with you guys later! ^__^ Peace!!!
Sara Bob Dylan Series
Flickr 2017 x 100 Challenge 17/100
Sara was first released on Dylan's 1976 Masterpiece- Desire and is fittingly the final song on the album. The title sums up this "hymn" to his wife Sara. They were on the brink of divorce when he wrote Sara, one of his most overtly personal songs- a rarity for Dylan. You can feel his desperation in the gut wrenching refrain "Sara" repeated throughout the song www.youtube.com/watch?v=pcUgWlJFo58
"sweet virgin angel, sweet love of my life."
But really the song is looking back at memories of their marriage and family and perhaps romanticising all the best bits like we tend do when we have lost something that was once profound
" Sleepin’ in the woods by a fire in the night
Drinkin’ white rum in a Portugal bar
Them playin’ leapfrog and hearin’ about Snow White
You in the marketplace in Savanna-la-Mar
and asking for forgiveness, knowing in his heart it is was over:
"Sara, oh Sara
Scorpio Sphinx in a calico dress
Sara, Sara
You must forgive me my unworthiness"
"Sara, oh Sara
Glamorous nymph with an arrow and bow
Sara, oh Sara
Don’t ever leave me, don’t ever go"
They were divorced a year later.
Sitting on the beachfront at Shorncliffe in Brisbane, this lady and her son obviously had some delicious food - substituting for the usual seagulls are Australian White Ibis.
Happy Wing Wednesday.
The days, and the days, and the days
where are they, have they now gone forever?
heroic friends fade away in a mysterious haze
then my mind was flying, now but a fluvial anchor
it's an unusual pain, more akin to suffocation
chocked emotions of lost realisations sinking-in
alerting me like raindrops only just beginning to waken
to touch the surface where numbness weigh's-in
without so much as a shout, more a whisper
ghostly silence follows, awaiting it's new life and new dawn
but why this heart remains earthbound and out of favour?
so many things I cannot answer where light has begone
forever outpaced by time, and again, these legs fail me
a dream begot the nightmare became the reality
how overt the pains outselling peacetime by degree
plummetting coldness holds fort in a Winter waging war surrealistically
where it came from no-one knows, for where it goes is voguish
it's easier to switch times when it's all used up
and to throw all away when it's very contents are all you cherish
the volant of illusionary wishes and mourning for the lives we so worship.
by anglia24
17h35: 08/01/2008
© 2008anglia24
☀
For two people who have passed away recently. Two fabulous characters who never knew one another, but link through me. I'll never forget them, brave souls....rest in peace Uncle Fernand, and TBW.
I have a few more photos in this theme/style to upload - one I just uploaded but then removed again, because I cannot for the life of me get the toning to look right on flickr (and yes, I tried profiles... I think the problem is my laptop). I'll add them later (when I have a proper monitor to work with).
I've missed doing self-portraits. (Other than the 'quick it's 365 i have to take a photo...' shots... I'm still doing 365 but more for myself.)
Today, I took some in the attic... it was so, so hot there. But I'm happy with the photos that came out of the session.
The title explains a little what I was going for. I wanted fragility in this, imperfections, hidden emotions (overt ones, unseen).
I'm baaaaa-haaaaaaaaack :P
Copyright © Karin Elizabeth. All rights reserved.
I will delete comments that contain either of the following: group awards, group invites, admin invites, other sparkly images or .gifs.
I block assholes.
Norber, Yorkshire. Leicaflex, Elmarit-R 28mm, Kentmere 100.
The wilderness still exists within us, even as it does in landscapes like this that have been pasturised (not pasteurised, though that term may represent the overall thrust even better?). Rock remains evident as the overt bone of the universe. A fraction of trees remain. The form of the land - since the last ice age - still manifests in watershed and catchment.
All changes, and who are we? What is our purpose, why are we here?
Upon clearing out her cupboards, my Mum found a large selection of Christmas decorations. Now that her children are both approaching 30, with no grandchildren on the horizon, her fascination with all things Christmassy was fading. No longer did Santa hats make her giggle, or a holly wreath make her smile. Tinsel had mutated from a thing of joy to merely something that left small glittery mess on her carpet. And although I would not consider myself an overtly jolly Christmas holiday maker, I am dramatically sentimental and the idea of throwing away objects that remind me of childish glee, is too much for me to bear. So I left the house with a reindeer stocking full of ornaments just waiting for December to roll around.
φύσις
It simply can't decide what to do
in waves and fronts that pass through
on the surface it's bitterly cold, it's true
yet within hovers a small flicker of renew
this is Springtime whether it weathers or not
the sky never touches the ground nearby in case we forgot
for life didn't begin with our birth nor does it ever finish untying the knot
from the garden to the Heavens a weavers own beauty spot
that sky rings a familiar tune out of season and into the climate of reason?
and still the beacon reveals the arrayment of nature's exhibition season
from these phenomena overt beings misread the signs of their own high treason
against the wilderness and macroscopic matter of the concluding football season
ha! that deflected attention from the back pages to the Champions League at hand
that's neither here nor Moscow, but wholly entrenched throughout all the land
an entreaty on Earth we've arrogantly failed to sign awaiting it's "value" to expand
so a March regelation stirs the human mind, briefly, in an attempt to understand
if you could be anyway right now, I wonder where it would be?
would your choice be reflection, recollection, or a wish to be free
are the eyes of others firmly seeing through your dreams from the tv?
or has a moment away from hysterical human 'interests' afforded a safer guarantee?
it's still your call, but, inexhaustibly no longer is the Earth reserved
time a plenty must so surely reveal a war-torn world closely observed
and learn we must from the elements bestowing upon us gifts so undeserved
Natura - the course of things - it's characteristics most definitely must be preserved.
by anglia24
17h50: 25/03/2008
©2008anglia24
Happy #NationalWildlifeDay! Celebrated on September 4th, National Wildlife Day is about we can do to protect endangered species and their habitats. This bear encounter in @sequoiakingsnps was one of the best wildlife encounters I’ve ever had and perfectly exemplifies how habitats and species are intertwined. The bear might not be overtly threatened but Sequoias and their environments are under constant threats from wildfires and global warming. We have to protect one to save the other. Getting to see this bear was a sublime experience; he paid no attention to us and was content to hunt for roots and berries in the middle of the meadow, about 100 yards from the trail. This gave me ample time and security to set up my tripod and document his work as the sun began to set lighting up the trees around us. It was a perfect moment. Swipe through the gallery to see the sunset, too. A bear and a sunset amongst Sequoias! Time stood still. It was a wonderful moment that’ll be with me for a long time.
:
:
🌐 - In @sequoiakingsnps, you are on Western Mono land. #FindYourPark
- shot on a #sonya7riv, #shotwithhoya’s polarizer with a 70-300 mm lens. Edited in #Lightroom.
#sequoianationalpark #sequoia #bear #wildlife #kingscanyonnationalpark #california #californialove #landscapephotography - #usinterior #nationalparkgeek #nationalparkwonders #flickr #flickrfeature #national_park_photography #nationalpark #nationalparkservice _shots #yes_busa #tlpicks #artofvisuals #agameoftones _shot #lensbible #photooftheday #travel #sonyalpha #bealpha : @sonyalpha @Lightroom @flickr @NationalParkService @USInterior @nationalparkgeek @bestoftheusa_nationalparks @national_park_photographer
This place insists that it's not part of the notorious and largely defunct chain. I have no idea why the tiger appears to be wearing shorts or whether the pancake-bearing elves on unicycles were once something more overtly racist. I'm confused.
one of those 'in the right place at the right time' kinda pics...not overtly, but I was just happy these guys were sitting right there, the light through the clouds and the way the tide was washing in.
cue angelic choirs or something
I have a lot of friends on both sides of the political aisle. My gut tells me that many Americans are quite disgusted and worn out with all of the politicians in Washington, DC. I think intrinsically people realize that DC politicians are owned by very rich and powerful interests. It's never been clearer that what is best for America, what is best for the average person, what is best for our children, what is best for our elderly, our poor, our sick, and what is best for humanity in general, is of little concern to DC politicians. I think most Americans realize the rich are so powerful they can demand tax breaks and legislation that will make them richer and the politicians will give them their wish.
But when Americans see our educational system being threatened and taken over by politicians, overt threats being made by politicians, our healthcare being ransacked, our poorest people being trodden upon, the weight is becoming too much.
When I saw this man, with the weight of the world seemingly bearing down on him, I thought of all these things. I thought of all the people I care about, Republicans and Democrats, the regular ones -- and I know that as a nation, we can be so much more than what we are showing the world now.
Seattle, WA
2025
© James Rice, All Rights Reserved
These Holgaramas have become something like imaginary friends for me. Over the years, they have become infrequent but constant companions, carrying on a conversation regarding perspective and how to photograph the world. A conversation I sometimes forget is happening only internally, and that I often forget to share so wrapped up am I in them. They have whispered many a wonderful insight to me, pointed me in various new directions, subtly or overtly shifted perspectives and shown me new ways to look at the world.
This is a Holgarama I put together several years ago now, but had forgotten once I had finished it. It seemingly has never been up here on Flickr and I have no good reason why other than this image and I did all our conversing in private and then I moved on to other topics with other images, whose conversations became public testaments while this one remained a private correspondence.
But I will be giving a public talk this Saturday evening, September 12th. Virtually of course, and open to anyone capable of setting up Zoom and joining a meeting. I'll be diving into these Holgaramas, the relationship I have formed with them over the years, what they have taught me about photography and looking at how I go about building them. If this intrigues you, I'll post the link below for more info. My talk is on behalf of a local photography club called Photo Club PDX, but it will be open to the public and free for all to join.
So here you go:
www.photoclubpdx.com/events/sept-2020-picture-picture-zeb...
"The BBC has whitewashed a genocide There is nothing subtle about this. Overt genocidal language. Not covered by the BBC either. Lies by omission are still lies. The BBC should have made clear what Israel’s leaders have explicitly said are their actual motives over and over again. They did not do so, and in doing, the BBC whitewashed a genocide." - substack.com/@owenjonesjourno/note/p-171451055?r=3qbxbp&a... ▪️▪️▪️ South Croxton, Swydd Caerlŷr/ Leicestershire
A "House on a Hill" can be a magical place.
My "default setting" as a photographer is to always "get in close" unless I am purposefully shooting a landscape.
One of the many things I get from being a part of Flickr is a continuous challenge, both overt and covert, of my default setting to zoom more.
I see so many images that show more of a shot than I would normally do. So sometimes knowingly, sometimes blind to it, I am able to take in a bigger scene.
Thank you.
A great deal of trouble has been stirring in Her Majesty's Empire. Rogues on the edge of the Sea are rising up, forming a Rebellion of sorts against the Most Honourable and Inexorable Queen. The Imperial Army would not be overtly concerned about such a small, rag-tag movement if it were not for the fact that these rebels have managed to get their hands on some fairly effective military technology. If only Admiral Vader could find that confounded Base of theirs already... Among the many patched-together (but nonetheless dangerous) vehicles employed by these Rebel sea-scum is the dreaded X-Ffin, a swift, perilous craft armed with four deadly torpedo launchers. Outmaneuvering all but the faster Imperial craft, this menace is becoming more and more of a threat as the tides pass over us.
---
Kudos to Saurianspacer on the Lego MBs for coming up with the steampunk-submarine-Star-Wars combo. That man is a genius.
Chuppa, chuppa......are these display Chups in a shop in Mooloolaba, Queensland or do they have cameras in their eyes and are staring, watching passers by? If the eyes follow you, then you will know!
Getting close to pronghorn isn't always easy. The fastest land mammal in North America is also keenly cautious. They were built to outrun the North America's extinct cheetah like cats. Speed alone would not have been enough to keep them safe. Having arrived before the herd, I sat at the base of a sage and remained as quiet as possible, without overtly trying to hide. The pronghorn took notice but apparently didn't find me to be much of a threat as they continued to graze and browse across the open field, moving slowly in my direction. I truly think that they are some of the most elegant and underappreciated ungulates of the west and I relished the opportunity that they provided me for closer observation.
Near year, new build (but same old me). In a marked departure from my usual fare of spaceships and sci-fi, I've built a giant turtle. It was meant to be more overtly alien and Star-Warsy, but I built it a fairly normal-looking head and I was so pleased with it that I couldn't bring myself to alien-ify it.
I'll be honest, this was not the most fun build. The shell took several revisions to get right, and while the internal structure is SHIP-grade solid, all the peripheral bits have a habit of shifting just that little bit to make things difficult. I built the underbelly when it was upside-down, and then flipping it over shifted the weight on the click hinges which then caused it all not to fit together properly. Gravity is, and remains, my greatest nemesis.
Still, I'm pleased with the final outcome. The faff of articulating the shoulders, neck (x2, including a reinforced joint that lets it keep its head up even with the weight, which I'm rather happy with) and all the flippers means it's rather poseable. Flippers are all mixel-jointed and can flex up and down, as I've built in just enough wriggle room in both directions. Again, rather pleased with that feature.
I've tried to texture the belly and flippers with a combination of tan, dark tan, and dark grey, while keeping the head and shell red and dark red. There's some subtle asymmetry on the limbs and shell, despite my usual desire for everything to be perfectly symmetrical. Hopefully it looks suitably organic.
Why is there an exposed 2x4 technic plate on the top, you might ask. Good question. Answers to follow in due course. (No, it isn't going to be the Discworld, although that was a significant inspiration, as far as giant turtles go. This one is named Terry, incidentally.)
This will be making the voyage up to Bricktastic in Manchester in February, as part of a @tealsquadron collaboration. Along with me, obviously, and the ADU/alien invaders I brought to STEAM last time around. Hope to see some of you there!
As I wandered around this bridge trying to find an appealing composition last Fall, a nearby resident came out of his house and struck up a conversation. He explained that locals call it the Wedding Bridge due to frequent visits by photographers and their matrimonial entourages - although the actual name is Arranvale Bridge. It wasn't overtly picturesque on the gloomy day we drove by but converting it to black and white gave it a bit more interest to my eye. The engineers in the crowd will recognize it as a rivet connected warren pony truss.
I had advanced several hundred yards into this scene before realizing I had crossed well beyond my comfort zone. It was a solo winter hike through the back woods. Dense thickets and woodland interspersed with open meadows. All buried under a thick layer of recent snow. This particular section of forest looked no different than the many others I had passed through this day. But it didn't feel the same. It felt uncomfortable being here. Not a necessarily a sense of fear. More one of apprehension; perhaps that inner voice popping into my head. My instant thought was that inertia had carried me well past the point where I might ordinarily have stopped. I've noticed that in driving as well as hiking. I'm convinced that's how many traffic accidents occur. Inner voice goes either unheard or unheeded and smash! Of course there's usually very little reaction time in driving. Hiking is another matter. And especially when out with the camera, I've learned to stop periodically both shooting and movement, and simply take in the environment. It's a matter of giving the inner voice an opportunity to be heard. When I finally pulled up here I realized that the inner voice had been speaking for a while and, preoccupied with snow and cold, I had simply plodded on into this place. Realizing the moment, I stopped dead in my tracks, not wanting to advance and leary about retreating. I looked all around. Again, nothing overtly ominous or threatening, but an overwhelming feeling that I should not take another step forward. I began walking backward, keeping my eyes on the scene as if afraid something would come looming out at me. I paused a few times, just watching. A odd feeling of conflict here, not wanting to be remain but unable to look away. I reached for my camera but instead grabbed the tablet that was slung over my shoulder on a long strap. I love the immediacy of shooting with tablets and smartphone. Of being able to see the results in real time on a large screen. I set it into camera mode and took this photo. It creeps me out now just as much as it did that day.
Lens....Sigma 10-20mm.............The estate of Knightshayes had long been owned by the Dickinson family, Tiverton merchants. John Walrond Dickinson sold the estate to the Amory family in 1867.[5] In the same year, the house was commissioned by Sir John Heathcoat-Amory and the foundation stone laid in 1869. By 1874, the building was complete, although not to Burges' original designs, and work had begun on the interior. However, unlike Burges' partnership with John Crichton-Stuart, 3rd Marquess of Bute, the relationship between architect and client was not successful, Sir John objecting to Burges' designs both on grounds of cost and of style. "Heathcoat-Amory (had) built a house he could not afford to decorate, by an architect whose speciality was interior design." [6] This disagreement led to Burges' sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example built of a medium-sized Burges country house, to the "standard" Victorian arrangement. Its virtues were recognised in its own time; "Knightshayes is eminently picturesque, executed with great vigour and thorough knowledge of detail.."[7] The plan with hall, drawing, morning and smoking rooms, library and billiard room is conventional and the exterior is, by Burges' usual standards, restrained. A massive tower, to have been constructed over the West end, would have given the house "a more overtly romantic silhouette"[8] but only the base was built.