View allAll Photos Tagged PERSPECTIVE
This one would have been better if we could have gone further back to get more of the two of them. Still kind of a cool shot.
PTM 52 Photo Challenge - Perspective
Perspective shots of a canning jar... since my children were being disgracefully uncooperative! :)
It was nice to get away from people shots and work with some "less active" subjects!
Candid shot at the Glastonbury festival 2008.
The festival is held in the village of Piton in Somerset. Somerset is famous for cider. So you have to give it a try!!!!!
Cider is like wine in some respects, there are some excellent subtle delicate ciders and there are some that should be labelled "Weapons Grade".
Too much can leave you out of focus and with a loss of perspective.
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Tiro sincero en el festival de Glastonbury 2008.
El festival se celebra en la localidad de Piton en Somerset. Somerset es famosa por la sidra. Así que hay que darle una oportunidad!!!
La sidra es como el vino, en algunos aspectos, hay algunos excelentes sidras delicados sutiles y hay algunos que deben ser etiquetada como "Armas de grado".
El exceso se puede dejar fuera de foco y con una pérdida de perspectiva.
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Candid Schuss auf den Glastonbury Festival 2008.
Das Festival wird im Dorf Piton in Somerset statt. Somerset ist berühmt für Apfelwein. So haben Sie es zu versuchen!!
Cider ist wie Wein in mancher Hinsicht gibt es einige ausgezeichnete subtile zarten Apfelwein, und es gibt einige, die "Waffen-Grad" bezeichnet werden sollte.
Zu viel kann man aus dem Fokus und mit einem Verlust von Perspektive verlassen.
Bilder vom
PERSPECTIVE PLAYGROUND BERLIN 2017
01. - 24.09.2017
Kraftwerk Berlin
Köpenicker Straße 70
So - Mi 11:00 - 21:00 Uhr
Do - Sa 11:00 - 23:00 Uhr
Weitere Informationen :
perspectiveplayground.com/playgrounds/perspective-playgro...
Das Band
A friend's husband gave her an art-set for Xmas and she didn't know where to start. This is a quick 5-layer Photoshop job intended to suggest a simple flat-colour aerial-perspective exercise.
There is a lot of wisdom and perspective in these astronaut quotes, they have seen the Earth from a different perspective than most of humanity. I would say this this writing comes from a renaissance people. I would love to have their window seat someday, but I am glad that I can view the world through aerial (and space) photography.
"I saw breathtaking expanses of land and ocean and I became keenly aware that the planet below was home. I felt connected with my loved ones when I saw our town as we passed over New England. Of all the amazing views, what stuck in my mind was what I did not see. Where were the lines outlining the borders of the countries?
Rivers, mountains and plains flow across this land indifferent to national borders. It is truly moving to see it with your own eyes from space."
by Cady Coleman (STS-73, STS-93),
"The Earth is enormous, floating quietly in the blackness of space, and it's breathing and revolving. The atmosphere looks so thin that you almost get the impression that it might dissolve into nothingness and float away into space. This doesn't happen, of course, but the shallow depth of this life-sustaining atmosphere gives an impression of disturbing fragility."
Winston Scott (STS-72, STS-87) ,
"Halfway through my second shift on STS-47, this remote part of central Asia appeared. I was captivated by this huge glacial lake cradled between 18,000 foot peaks thrown into the sky as India grinds north into Asia. But the pollution of over-fertilized fields (visible as a light blue streak on the dark blue of the lake) impressed upon me the importance of being good stewards of the Earth for our descendants"
and Jerome "Jay" Apt (STS-37, STS-47, STS-59, STS-79)
From Looking at Earth in Gallery 110
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What draws me to landscapes is their sheer presence against us humans and the awe they carry on their own.
This was a shot I took while on a recent trip to Garmisch as we were heading for the Mount Zugspitze, the topmost point in Germany.
We just looked in awe at the mighty mountains before us and these tall pine trees that camouflaged it.
Yet another temple in Fengdu, China. This one caught my eye where several of the others did not. We were on a trail that was roof level and thus gave us a much better perspective on the intracacies of this mult-level structure. I just think that the detail and the overall architecture is intriguing. The sky was a forboding aspect as well.
In this photo, I am shooting from the angle of her head and you are able to see the rest of her body. This image has an interesting vantage point.
Exhibition 27/7 until 7/8/2016 - Paris
Orangerie du Sénat - Jardin du Luxembourg
Peintre : Lukas Kandl
Sculptrice : Elisabeth Cibot
What's your perspective, from within?
Are you happy? New car and everything, big house, mortgage half payed, even a career, I am impressed!.. But, are you happy? Or do you feel somehow... something... is missing?
Perhaps in dreams you escape, away from your life. Like a soul you travel out of the darkness to a place so bright in spirit, you can be who ever you want. You change, so eagerly even before leaving the edge of darkness, you have already become, her.
Little glimses of life, her life, you experience, enjoy and treasure in this space, in your dreams, but though dreams are said to have no limits, this you find, is not only a dream. This, is real.
You know, as she is always with you, never leaving you side. Even if you banish her by any means, she will always by smiling, invitingly, waiting for you to be nice again and perhaps bye her a pair of nylon stockings. Which is another sign this is not a dream, you need to feel those stockings caress you legs. Bringing them home you feel like a little child before christmas eve and unpacking them you find you simply LOVE the very scent of new stockings. You feel it, almost like a drug. You need a fix, seriously, BADLY at times. At work, you drift away. Going to work, you do it again. In the evening, going to bed, even in the middle of the night you wake up... needing a fix.
You know you can't fight it, this make doing serious crack look like having an sweet tooth, fighting this is fighting you, which you tried, again and again, getting only tired and even more frustrated, getting nowhere.
You tell yourself like a monk repeating his mantra, ”It cannot, must not be, anything but a dream. I can't do it!” again and again you repeat it, trying not to realize.... that you are locking up a young girl in a dark cage, defending it with ”reason”.
”You are protecting her” you say, turning the key in the door, ”and myself” you add, making sure no one shall ever see her pretty face through the cracks, by turning off the light. ”..not to mention the family.. and the children!” you say, walking back into the centre of what we behold above, back into darkness, your home and where you belong.
But from within that dark place where you locked her up, I hear her cry. You see, I am anything BUT what you behold above, in fact on the contrary. And from her prison she WILL see me, reach out through any wall that darkness able manifest and touch my light, and she WILL be comforted.
But make no mistake, don't even think it. I shall tell her only the truth, when she ask about you.
I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.
I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.
I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.
In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?
The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.
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Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.
You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.
In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.
I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.
So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.
But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.
The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.
The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.
However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Simon Knott, June 2006, updated July 2010 and January 2017
Perspective shot from the "Chalk it Up!" event held each year on Houston street in down town San Antonio.
Nikon D700 w/ Nikon 70-200 2.8 vr
"Explored" on October 14 2012 - Glad y'all liked this one
Advertising Agency: Saatchi & Saatchi, Amstelveen, The Netherlands
Creative Director: Magnus Olsson
Copywriter: Saatchi/Saatchi Tribe
Art Director: Saatchi/Saatchi Tribe (Tim Bishop)
Photographer: Calle Stolze
Producer: Jan Willem Wiesenekker
Account Supervisor: Ard Krak
Advertiser's Supervisor: Alexandra van Nieuwenhuyzen
May 17, 2014
This small waterfall has had several different looks over the years from my cameras point of view. Perspective of various subject matter is all about looking at a scene and then working to gain compositions of interest. With this waterfall , I have been to it many times, each time different than the last. Time of year, water flow, clouds, rain, snow, wind, sun all become important factors in the making of a photograph----at least for me. I have always been drawn to seeing the same subject matter differently on each new visit. It seems like a lot of people visit a spot, photograph it and never return. It is like they have a trophy on their mantle or something and it is off the the next great adventure for the same. I am different I suppose in that I want to take my time to really see all of the possibilities that a place has to offer. I will make multiply visitations to an area trying to once again make connections with what is all around me. I suppose it is redundant to some, but for me it is a challenge to photograph in this way. I like challenges. If you want to take a moment to view this falls, look in my TAGs for, Canyon Creek. I have four different takes of the same small falls. Two are crop conversions in black and white, another from a summer visit presented in vertical format and the third is a color horizontal view from the winter season. Do you see why I return and and again? It is all about perspective.
Leading a session with the West Michigan Forum with professional coaches. It was great to see how much happened in 10 minutes with Open Space Technology.
I facilitated another Open Space Technology session with the statewide organization, ICF Michigan, at the 2013 Annual Forum
Here's a quote from one of the attendees:
"I had the opportunity to participate in an Open Space ...where the theme was 'use of social media as a marketing tool'.
Very quickly, the group in attendance identified about 6-8 related topics and then off we went with the freedom to walk around and join in on any group conversation we wanted to.
In one corner of the room was a group huddled around and buzzing about Twitter while another was sitting on the floor talking about blogs.
I was interested in learning about WordPress at the time so I gravitated to a group discussing its use. A long time coaching colleague was also in the group and I learned she had just converted her website to WordPress. She generously offered to help me out which resulted in a couple of very insightful phone calls in the weeks after the meeting.
I really don't think I would have made this connection, and gained the insight I did, if not for the environment Open Space facilitates."
~ Kyle Dooley Kinder, ACC,
Founder - Heart and Head Leadership, LLC
More here on the West Michigan Forum event, including a 30 second video: reveln.com/open-space-on-speed-and-social-business-video-...
>>>>
The statewide organization asked me to coordinate Coach Cafe' Ann Arbor. I was also on the planning team (and resident techie) for the ICF Michigan Annual Forum 2013. (Int'l Coaching Federation, for which I'm a member.)
Our Ann Arbor LinkedIn group is open to coaches who'd like to participate in Coach Cafe' in the SE Michigan area. Search for "Coach Cafe' Ann Arbor" and, if you are practicing coach, ask to join. Also see our website: Coachcafeannarbor.weebly.com/
A video explaining profession coaching (by those external to your immediate organization, is there. There is also a link to an article on how to select a coach.
Coaching by those external to your organization is recommended, as internal coaches and managers, while useful in providing support/perspective, may have PAAR, that is power, authority, accountability & responsibility for your work, and therefore may not be fully objective or fully able to support what is best for your development.
Also see the ICF Michigan Annual Forum website: icfmichiganannualcoachesforum.weebly.com/
See Deb's current REVELN Consulting and "Deb Nystrom" work photos here:
www.flickr.com/photos/stella12/sets/72157630989159568/
Find out more about Deb via: www.REVELN.com and LinkedIn: www.linkedin.com/in/dnrevel/
Deb Nystrom at REVELN Consulting
Deb's Facebook business page: www.facebook.com/RevelnConsulting
as well as
2013 Social Media news:
During International Social Media Week, on Thursday, Sept. 26, 2013
Deb Nystrom and Leslie McGraw offered a social media webinar geared to small business: Scale Back to Scale Up: Your Small Business With Social Media
smw734-efbnend.eventbrite.com/
Here are some samples of curation news by Deb & REVELN:
Talent, Performance, High Performance Teams
www.scoop.it/t/talent-and-performance-development
Change Leadership Watch
www.scoop.it/t/change-leadership-vision
My work photo sets are here:
High Performance Teams:
www.flickr.com/photos/stella12/sets/72157635264520158/
Open Space Technology
www.flickr.com/photos/stella12/sets/72157635187458518/
Retreats and Planning
www.flickr.com/photos/stella12/sets/72157630989159568/
Presentations:
www.flickr.com/photos/stella12/sets/72157634073926394/wit...
Thanks for visiting! ~ Deb
What we see depends on where we are, and what brought us to this view.
Fort Jefferson straight ahead, Garden Key, Dry Tortugas
Dry Tortugas National Park.