View allAll Photos Tagged Permanence
Temppeliaukio Church (‘The Rock Church’) in Helsinki (Timo and Tuomo Suomalainen, 1969), a cave church hewn into a rocky outcrop, emphasizes the eternal nature of stone and thus symbolizes the permanence of the values of the Church in the midst of the temporal and the volatile.
The inner silence of stone is to be found in this church amid the hustle and bustle of the capital. The roughly hewn stone wall and the copper ceiling make up a powerful visual installation in themselves.
Best viewed large
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
A masterpiece of Middle Kingdom sculpture,this statue of the Twelfth Dynasty king Senwosret III encapsulates one basic theme of this installation:the interaction between permanence and change.By the time an artist carved this piece, the seated pose had been part of Egyptian tradition for more than eight hundred years;most of the elements of the costume had been around even longer.However the style of carving-note Senwosret's expressive face-had been in vogue for less than a generation-Brooklyn Museum
Does the Sahara have a voice?
The wind can speak in terrifying roars, whipping the dunes into a fury. The grasses and trees that grow can be heard whispering among themselves. The grains of sand chitter and hiss if you listen.
But the dunes themselves seem mute, getting our attention instead through infinite spectrums of form and color.
Their imposing peaks, their sinuous curves; there is movement in their stillness, humility in their magnificence. They provide the permanence of a mountain range, but flow like a river, shapeshifting before our very eyes.
The milky, pinky taupe colors of morning seem aloof, preoccupied, while the golden caramels of noon belie a deadly indifference as the sun rises to power. The ripening brilliant oranges of evening tease survival, and the seductive, fiery russet reds after sunset celebrate the coming of night, when the desert reawakens and comes to life.
Eventually, all fades into an endless, inky blackness, keeping the desert's secrets well hidden beneath a tapestry of stars.
Does the Sahara have a voice?
I think the desert speaks to all who will listen, even her silence is a symphony. What is she saying? Perhaps only those born of the desert can truly know. Her lessons are many and man's life but a sigh.
“Stars and blossoming fruit trees: Utter permanence and extreme fragility give an equal sense of eternity.”
- Simone Weil
Located at 4970 Dundas Street West, west of the Islington Burying Grounds, this Village of Islington mural, titled Ordinary Folk, Extraordinary Lives, was painted by John Kuna in 2016. The accompanying plaque for this mural says:
Coordinates: 43.647508 -79.530149
Map
This mural commemorates the original founding families of Islington who now rest in the Islington Burying Ground just east of this site, one of the oldest cemeteries in Toronto, dating from the 1840s. While the subject matter is somber, this mural has been infused with light reminiscent of both dusk and dawn to hint at life's cycle. Six windows remind us of our human vulnerability to the passage of time.
The settler families are depicted in a formal and dignified way to suggest their important and permanent role in the community's history. The few precious photos that exist of these original families have been incorporated into the mural design, including members of the Montgomery, Death, Shaver, East and Johnston families. Their faces are generally solemn because subjects were required to remain motionless during the early days of photography.
Each family's headstone is placed to strengthen the composition of the figures and add to their appearance of dignity and gravity. Details of the old tombstones showcase the beauty of their carved emblems and inscriptions. Today, most of the original tombstones have been consolidated into brick friezes to preserve them.
Images of trees taken from the actual cemetery have been used to fill in the background. These have been blended seamlessly with the tombstone motifs as a reminder of growth and renewal, and to show that our past, with its inclusion of permanence, is only a moment in our continuously evolving story as a community.
Ordinary_Folk 1. William Montgomery, his wife Jesse and family
2. Lucy Ellen Death
3. Peter Shaver
4. George Shaver
5. Rev. Stewart East
6. James Johnston, his wife Mathilda and family
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
Fuji X-Pro1 plus Fujinon XF 35/1.4. I am grateful to Ann because by commenting she triggered the idea in me to visualise the following: I have been using lead and zinc for quite a while now in order to make sculptures. These sculptures are rigorously temporary. They have a limited lifetime, mostly only a few minutes. Then I would take them apart and fully dismantle them. So, they are not even disposable because there is nothing to dispose of. I would keep the material and re-arrange it next time in different ways. If this is art, then it would be non-permanent art. The photo I take of it, therefore, adds a false or a fictitious attribute to the sculpture, namely permanence. Nothing could be farther from the truth.
The Amanda Blast Furnace stood along the Ohio River in Ashland, Kentucky for nearly sixty years, operating between the river and the surrounding hills as part of the Armco Steel Works. At 234 feet tall, it was a constant presence on the skyline, but much of its complexity existed out of sight, beneath the structure itself.
This image looks up after operations ended in 2015.
As Ashland City Commissioner Josh Blanton later said, “We hate to see it go, but we’re ready to try to do something else there.”
The structure known as “Amanda” was demolished in February of 2022. These photographs are all that remain of a place built for permanence, but never meant to last.
#abandonedky #historic #blastfurnace #industrialarcheology #industrialheritage #nightphotography #lightpainting #longexposure
Excerpt from toronto.ca:
Visitors will be able to take a break from the everyday and Zen out in this surreal world. A 30-foot (nine-metre) light orb resembling the moon will light up a landscape made of colourful sand. The sculptures—enlarged casts of everyday objects—will hint at future archeological finds. Shifting between a centuries-old tradition, an artist's creative interpretation, and an implied future, the garden plays with motifs of permanence and impermanence creating a work that has the tendency to float in time. This signature style of reimagined architecture continues the artist’s past work—including colour-gradient sand paintings which present raked Zen gardens in a static, vertical format. The artist’s recent shift away from black, white and gray tones became possible with special glasses that correct his colourblindness. These allow him to see a broader, more vibrant spectrum—one he will share with Toronto through this otherworldly and luminous “Lunar Garden.”
The McLaughlin Library at the University of Guelph is a striking example of Brutalist architecture from the late 1960s. Its bold concrete design and geometric lines reflect the era’s focus on function and permanence. As the university’s main library, it serves as a central hub for research, collaboration, and campus life. The building’s façade, with its repeating window patterns and textured surfaces, stands as a reminder of modernist ideals in institutional architecture that continue to shape the university’s identity today.
Cette toute petite grenouille est vraiment difficile à photographier dans la nature,elle se réfugie en permanence sous des tapis de feuilles.
De plus il ne faut pas utiliser de flash pour ne pas les effrayer.
Elle mesure environ 3 à 4 centimètres et pèse entre 3,5 et 4 grammes et se rencontre principalement au Costa Rica au Panama et au Nicaragua.
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Esta pequeña rana es muy difícil de fotografiar en la naturaleza, se refugia constantemente bajo alfombras de hojas.
Además, no hay que usar flash para no asustarlos.
Mide entre 3 y 4 centímetros y pesa entre 3,5 y 4 gramos y se encuentra principalmente en Costa Rica, Panamá y Nicaragua.
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This tiny frog is really difficult to photograph in nature, it takes refuge constantly under carpets of leaves.
In addition, you should not use a flash so as not to frighten them.
It measures about 3 to 4 centimetres and weighs between 3.5 and 4 grams and is found mainly in Costa Rica in Panama and Nicaragua.
Hacienda de San José del Rincón, ubicada en el Municipio de San Gabriel. Actualmente sólo se conserva parte de la casa grande y algunos vestigios de la capilla, la cual ha sufrido una serie de alteraciones en su estructura original. En la imagen se aprecia la casa grande de la hacienda; cuenta con dos niveles sin embargo el periodo de abandono y falta de mantenimiento al que fue sometido el inmueble atentan contra la permanencia del mismo, siendo ahora sólo un vestigio de una época dorada que yace de manera ruinosa
Hacienda San Jose del Rincon: It's located in the municipality of San Gabriel. Currently only preserves part of the big house and some vestiges of the chapel, which has suffered a series of alterations in its original structure. The image shows the big house of the farm (hacienda); has two levels, however, the period of neglect and lack of maintenance that was submitted to the property violate the permanence of it, being now only a remnant of a golden age that lies so ruinous
Sand Dunes, First Light. Death Valley National Park, California. March 31, 2016. © Copyright 2016 G Dan Mitchell - all rights reserved.
The first morning light reveals textures in sand dunes, Death Valley National Park
These dunes, and other like them, are both more ephemeral and more permanent that many may expect. The permanence initially surprised me. I had always imagined the peaks of dunes marching gradually across the landscape like slow motion ocean waves, producing a landscape that would never be the same twice. However, observing certain dunes in Death Valley National Park over a period of time made it clear that the broad features of the dunes are actually very nearly permanent. From year to year the overall form of the dunes remains largely the same — no surprise, perhaps, given that the forces that form them are constant, including the prevailing winds and surrounding geological features. Yet, other things are more ephemeral. Plants come and go, and footprints are erased by the next dust storm. The light is constantly changing, through the daily cycles and the annual cycle.
This was the final morning of this trip to Death Valley. Since dust storms (and rain!) had passed through the previous evening I was certain that I could find areas unmarked by footprints, where the natural patterns produced by wind would be found. I drove to a less popular area near the dunes, loaded up my equipment, and set out across the playa to get to the low dunes I had in mind. I arrived in soft pre-dawn light and began to photograph, trying to work with this subtle light and its extraordinarily low contrast, all the while watching the sky to the east to see when sunlight would strike the dunes. I composed this photograph in that soft light, but as I worked the sun cleared the mountains far to the east and warmer colored light began to more clearly show the sand patterns. I made this photograph during the very brief interval — literally only seconds — when that first light began to softly light the sand and before it struck with full intensity.
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.
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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
October is a symphony of permanence and change.
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Some years ago I was given a Mamiya C220 along with two mamiya 135 SLRs. One of the SLR had a film in it, which, having no idea how to fix the camera, I took out and finished on my Olympus OM-1. As it turns out, the roll had only one picture by mr. Perrain on it, this one. Montreuillon hasn't changed a lot since the Mamiya/sekor DTL 1000 was manufactured, so this picture could have been taken any time in the last fifty years.
Mamiya/Sekor 1000 DTL and Auto mamiya/sekor 1/1.8 f = 55 mm, Fujichrome 200 developped by the DM Fotoparadies and digitalized using kit zoom with macro rings.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
"There is a peculiar kind of bravery in holding onto one's color while the world turns to grey. To watch our Colours Fade is not a sign of defeat, but a silent witness to the depth of the seasons we have endured. Beauty is not found in permanence, but in the vividness of the glow right before the shadow falls."
DSC05925
Shaped with intention as nature's work of art, there is no wrong turn or curve in these structures. The constant flux and change is what makes them beautiful. There is no permanence to their existence but they exude a sense of timelessness.
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
In the past, things were done with more thought to permanence than they are today. I was attracted to this "Frisco Lines" logo on a former SLSF office building in Springfield, MO on Oct. 16, 1999.
Founded in 1904 and dead by 1916, Rhyolite was one of several short-lived boom-towns from the late Gold Rush era. People were drawn to the desert on the edge of Death Valley by the promise of gold found amongst quartz in local mines, and by 1906 the town had all the promising indicators of permanence with the largest population in the area.
Camera: Pentax 645z (Medium format digital)
Lens: HD PENTAX-DA 645 28-45mm F4.5ED AW SR
You are not ruined
Forever
Or ever so
Slightly
Your mistakes
Never become
Scars
Or words branded
With permanence
You are love
So am I
Which makes us
All
Forever
Forgiven
A long exposure on the coast.
License this image at: www.gettyimages.com.au/detail/photo/permanence-at-port-el...
Any objection to the evangelistic methods of our present golden-calf Christianity, is met with the triumphant reply, "But we are winning the lost!"
And what are you winning them to?
To true discipleship?
To cross-carrying?
To self-denial?
To separation from the world?
To crucifixion of the flesh?
To holy living?
To nobility of character?
To a despising of the world's treasures?
To total committal to Christ?
Of course, the answer to all these questions is NO!
~ ~ ~ ~ ~
I am among those who believe that our Western civilization is on its way to perishing. It has many commendable qualities, most of which it has borrowed from the Christian ethic, but it lacks the element of moral wisdom that would give it permanence. Future historians will record that we of the twentieth century had intelligence enough to create a great civilization—but not the moral wisdom to preserve it!
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
The Canal Grande (Grand Canal) which follows a natural channel that traces a reverse-S course from San Marco Basilica to Santa Chiara Church and divides the city into two parts. In Cannaregio region of Venice, Veneto, Italy.
Slightly more than 2 miles (3 km) long and between 100 and 225 feet (30 and 70 metres) wide, the Grand Canal has an average depth of 17 feet (5 metres) and connects at various points with a maze of smaller canals. These waterways carry the bulk of Venetian transportation, as automobiles are banned throughout much of the city.
Traditional poled gondolas are a favourite with tourists but are now vastly outnumbered by motorized public-transit water buses (vaporetti) and private water taxis. Siren-equipped boats belonging to the police, fire, and emergency medical services traverse the Grand Canal at high speed, and barges are responsible for the delivery of goods throughout the city. The connection between Venetians and their city’s main thoroughfare does not end at the grave: funeral barges can be seen transporting the dead to Isola di San Michele, an island northeast of the city that has been the site of Venice’s largest cemetery since the early 19th century.
The Grand Canal is lined on either side by palaces, churches, hotels, and other public buildings in Romanesque, Gothic, and Renaissance styles. Although comparatively few examples of earlier styles remain, a concerted effort has been made to preserve some of Venice’s more famous palaces.
The Ca’ d’Oro, a 15th-century palace designed for Marino Contarini, of the eminent Contarini family, was extensively renovated in the late 20th century, and its ornate facade remains one of the Grand Canal’s most-arresting sights. The Palazzo Pesaro is a remarkable example of the Classical style. Completed in 1710, nearly three decades after the death of its chief designer, Baldassare Longhena, it now houses Venice’s International Gallery of Modern Art, as well as the Museum of Oriental Art.
The Grand Canal is bridged at four points. The oldest, and easily the most famous, span is the Rialto Bridge. Designed by Antonio da Ponte in the late 16th century, the Rialto Bridge crosses the canal at roughly its halfway point. The first Accademia Bridge was built in the mid-19th century at the canal’s east end to facilitate foot traffic.
It was replaced in 1932 by a wooden bridge that was intended to be temporary, but it was later reinforced with steel to lend it a degree of permanence. That same year the Scalzi Bridge was built at the west end of the canal to provide easier access to the city’s railway station. The Constitution Bridge, designed by Spanish architect Santiago Calatrava and unveiled in 2008, lies to the west of the Scalzi Bridge. It links the railway station to the bus terminal and parking complex at Rome Square.
Information source:
...and Rain - this last my Friend
from distant past transmitting
drop by drops in hands
above horizon expected long
ago flashing Rainbows, existence
and reality of Lord in one of
multiple fragments by sharpie
peaks of spectral hues, from early
feelings of calming warmth, such
permanence of naivete's
proximity as obvious symptom,
anticipation of upcoming miracle
embraced by jolt of mellow from
childhood dreams, and streams,
and sparking glares, reality of
every day believe in green longevity
of Forest's leafs, reflecting Light from
sleeping Times, through waters been
firmaments of tangible pulsating
matter to object radiating bliss,
vibrating, subtle trace of memories
by crumbs well known by tactility
of acute senses, reflecting steps of
running passers-buses, and polls,
and rails in nights, and streets still
called my name, by echo far above
all rusty fallen lore, malicious
agendas, without drop of wisdom,
and axioms, aroused by fallacy off
premises, evoking song of Winds
through carcasses of bridges tied by
iron grasps spasmodically suspended
upon Neva-river, still walled by
monumental granite slabs as utter
deviation from modern age of Arcs,
chimeras-towers, and Parthenon's of
Whitest of the Nights in shadows off
steps from sleeping Summer Garden
between eternal marble-tiny guards
projecting brittle hands through
whispering infinity of dropping frozen
blast of crippled snow flakes to paint
somewhere in such distant Alps
fragment - imagine(!) tempera
a fresco on the walls by modern
style with always smiling and
agile Reindeer above with polar
entourage on blue tormented
skies above a Tundra with escort
of grown trees amongst fluidity of
bluish skies and luminosity of ice;
imagine(!) - far above Ding-Dong,
prone to folklore of deepest skies,
all day and night for long eons
deployed, and never since forgotten,
but still Ideal for living all...
"The ideal of happiness has always taken material form in the house, whether cottage or castle; it stands for permanence and separation from the world."
- Simone de Beauvoir
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This shot was taken in Potsdam area, Germany.
Thanks to all for 9,000.000+ views and kind comments ... !
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
La Maison de la Culture de la Province de Namur est devenue Le Delta
Architecture: Philippe Samyn et associés.
Son concept est basé sur le principe du «tiers-lieu», où le public devient acteur·trice, où l’on conçoit autant qu’on reçoit, où la culture est vécue de manière spontanée, naturelle, où il fait bon se rencontrer, partager et, par les interactions que le lieu et son action culturelle susciteront, de générer du sens commun.
Des expositions temporaires d’art contemporain y sont proposées en lien avec la programmation du Delta. De plus, un petit espace muséal est dédié à la visibilité des artistes les plus marquant∙es de l’histoire du namurois ; notamment Evelyne Axell.
Les grands principes sur lesquelles se basent la programmation et les activités du Delta sont :
Une approche plurielle des arts
Le Delta se distingue par son projet culturel et artistique interdisciplinaire : cinéma, théâtre, danse, image animée, musique, mouvement, arts plastiques se mêlent pour composer une programmation riche et diversifiée.
Le soutien à la création
Le Delta favorise la création artistique, encourage l’émergence de nouveaux artistes et aide à leur diffusion. Trois studios de répétition sont mis à leur disposition, des résidences artistiques sont proposées et des concerts émergences sont programmés.
La médiation
Du personnel d’accueil et de médiation circule en permanence dans les locaux et se met à disposition des visiteur·ses pour leur permettre une meilleure appropriation du lieu et des expositions.
The House of Culture of the Province of Namur has become Le Delta
Architecture: Philippe Samyn and associates.
Its concept is based on the principle of the "third place", where the public becomes an actor, where we design as much as we receive, where culture is lived in a spontaneous, natural way, where it is good to meet , share and, through the interactions that the place and its cultural action will generate, to generate common sense.
Temporary exhibitions of contemporary art are proposed there in connection with the programming of the Delta. In addition, a small museum space is dedicated to the visibility of the most significant artists in the history of Namur; especially Evelyne Axell.
The main principles on which the programming and activities of the Delta are based are:
A plural approach to the arts
The Delta is distinguished by its interdisciplinary cultural and artistic project: cinema, theater, dance, animated image, music, movement, plastic arts combine to compose a rich and diversified program.
Support for creation
The Delta promotes artistic creation, encourages the emergence of new artists and helps their dissemination. Three rehearsal studios are available to them, artistic residencies are offered and emerging concerts are programmed.
Mediation
Reception and mediation staff circulate permanently in the premises and make themselves available to visitors to allow them a better appropriation of the place and the exhibitions.
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
*EXPLORED: Thank you!*
This was taken yesterday at Cloudcroft, NM too. We took Sofia to a park up there. It's like right next to the forrest. It's so beautiful... we saw this family arrive and pull out blankets and some books out of their car. They all spread out and did different things. The Mom, I noticed, snuggled under the blanket and read a book then fell asleep. Under these trees. This is the view she had. Isn't it beautiful? I think next time we go, I might do the same. It is so beautiful up there... all the trees are changing colors... the leaves are falling on the ground... you hear the "crunch" of the leaves when you walk through the forrest... very peaceful. The wind was blowing when I took this picture.. Gave way to some awesome BOKEH! Love how this came out.
We didn't go to the Corn Maze. We woke up to RAIN. And there's a LOT of dirt out there. So that would not have been fun. Maybe we can go next weekend. We'll see... Hubby and baby are napping together. And I'm catching up on your streams. Thanks for the comments! =)
docs.google.com/forms/d/1t0pntJJRkU8_xmllcSmgX8EE2p7L4tL3...
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Detainees First
We, Syrians who have survived death or incarceration only by chance, are not spared the trauma of losing family, friends, and loved ones to death and incarceration.
Syrians who have risen up to earn their stolen political rights feel today, after 5 years of hellish war, that the entire world has ganged up to break them, by Vetos in the security council, by disregarding gross war crimes on the ground, or by trading Syrian blood for political agendas. The result is that the Syrian people are still suffering today after they have paid nearly half a million martyrs for the cause of freedom and dignity.
Granted, it is not possible to help those who have passed, but it is our human and moral duty to help the tens of thousands of detained and kidnapped Syrians who are dispersed among the ever-increasing powers of evil, each violating the freedom and dignity of Syrians according to their capacity.
We are not only speaking of prisoners (including women and children) deprived of their freedom, but also of thousands of “disappeared” and kidnapped whose fates are unknown, and of thousands of detainees left to die through starvation, illness, or under systematic torture, which counts as “Crimes Against Humanity” under article 7 of the Roma Statute of the International Criminal Court 1998.
We are speaking about a catastrophe with global dimensions. One that is not only caused by Syrians, but also fueled by the entire world, especially its’ most powerful poles: Russia and the US.
Syrians are not manufacturing the warplanes which kill them, or the heavy weapons which destroy their towns and cities. Their is international responsibility towards the continuance of the incarceration of detainees and kidnapped everywhere in Syria, whether at the hands of the Syrian regime, which has become nothing more than a group of war-lords gathered under the name of a country which, even though a member of the UN, continues to violate its’ resolutions, especially article 12 of UN resolution 2254 (2015), or at the hands of various warlords.
What does the global conscience need so that it may wake up to what’s happening in our country? Aren’t the horrific pictures, shown to the entire world, of Syrians killed by starvation and illness and torture, sufficient to make the world say “enough”?!
We hereby call the international community, international human rights organizations, civil society agencies, and anyone who feels a responsibility towards their humanity, to unite in the face of those who are committing crimes against humanity in Syria. Particularly, we call on the governments of Russia and the US, to activate the Responsibility to Protect (R2P) principle, adopted by the UN in 2005, and work immediately and actively to form an international working group to solve the issue of the detained and kidnapped in Syria.
*** *** *** ***
LES DETENUS D'ABORD
Nous, Syriens qui avons échappé à la mort ou à l’emprisonnement par le plus grand des hasards, il ne nous a pas été donné d’échapper à l’épreuve de la perte de membres de nos familles, de proches et d’amis ou de leur disparition dans les lieux de détention [en Syrie].
Les Syriens qui se sont soulevés pour obtenir leurs droits politiques qui leur sont refusés depuis des décennies ressentent aujourd’hui, après cinq années d’enfer, que le monde entier s’est ligué contre eux pour les briser : tantôt à coups de vetos au Conseil de Sécurité de l’Onu, tantôt du fait des regards détournés pour ne pas voir les crimes de guerre qui sont perpétrés en Syrie, tantôt au travers de l’échange du sang des Syriens contre des intérêts politiques – le résultat de tout cela étant que le peuple syrien subit le malheur jusqu’à ce jour, après avoir perdu plus d’un demi-million de ses enfants.
S’il est impossible pour nous de faire quelque chose pour ceux qui sont morts, il est de notre devoir humain et moral d’aider les dizaines de milliers de Syriens et de Syriennes, retenus prisonniers ou pris en otages par des forces maléfiques toujours plus nombreuses, dont chacune viole la liberté et la dignité des Syriens autant que leur position de force sur le terrain leur permet de le faire.
Nous ne parlons pas ici seulement de prisonniers (dont des femmes et des enfants) privés de liberté, mais bien de milliers de personnes disparues ou enlevées dont personne ne sait ce qu’elles sont devenues, et aussi de milliers de personnes arrêtées livrées à une mort certaine – de faim, de maladie ou du fait de tortures systématiques –, ce qui relève des crimes contre l’humanité qualifiés par l’article 7 du Statut de Rome du 17 juillet 1998. Ce dont nous parlons, c’est d’une catastrophe humaine d’ampleur mondiale, d’une catastrophe humaine dont les Syriens ne sauraient être tenus pour seuls responsables, mais à laquelle contribue le monde entier (et pas seulement ses deux principaux pôles, la Russie et les États-Unis).
Ce ne sont pas les Syriens qui fabriquent les avions de guerre qui les tuent, ni les armes lourdes qui les massacrent. Il y a une responsabilité internationale dans la poursuite de la captivité des personnes arrêtées et enlevées détenues dans toutes les régions de la Syrie tant par des seigneurs de guerre que – et surtout - par le régime syrien lui-même devenu un seigneur de guerre – au nom d’un État qui a toujours son siège à l’Onu bien qu’il viole en permanence l’article 12 de sa Résolution 2254 (adoptée en 2015).
Que faut-il encore à la conscience du monde pour qu’elle se réveille enfin au spectacle de la tragédie qui se déroule dans notre pays ? Les images horribles qui ont été diffusées dans le monde entier montrant des Syriens morts de faim, de maladie ou sous la torture ne suffisent-elles pas pour que le monde dise enfin : « Trop, c’est trop ! » ?
Nous appelons la communauté internationale, les organisations mondiales de protection des droits humains, les instances de la société civile et tous ceux et celles qui sont conscients de la responsabilité qui découle de leur appartenance au genre humain à s’unir face à tous ceux qui perpètrent des crimes contre l’humanité en Syrie. Nous exhortons en particulier la Russie et les États-Unis à faire respecter et à faire mettre en œuvre le principe de la responsabilité en matière de protection des civils que le Conseil de Sécurité de l’Onu a décrété par sa Résolution 1894 (du 11 novembre 2009) et à œuvrer sans délai à former un groupe de travail international chargé de trouver une solution au problème des personnes emprisonnées et des personnes enlevées en Syrie.
This photo (with a touch of filter added in post-processing) was taken at the Olds College Botanic Gardens and Wetlands on 4 July 2015. I am adding the description that I wrote under a previously posted image taken on the same trip. It was an interesting and enjoyable outing, including seeing the barn and a cluster of mushrooms.
"Yesterday, 4 July 2015, was the Nature Calgary annual bus trip, and this year it was a visit to the Olds College Botanic Gardens and Wetlands. The College is approximately 95.0 km north of Calgary, roughly a 55 minute drive. This once-a-year outing always feels so good for everyone - no driving, simply relaxing on a bus. We had about three hours there, which sounded short, but in fact worked out quite well.
The mission of the College is:
"Our goal is to develop a Botanic Garden on the Olds College campus, which introduces, conserves, and maintains a diverse, well-documented and accurately labeled collection of prairie hardy plants.
Our collections will preserve our natural heritage, expand the role of Olds College as a Centre of Excellence in Horticulture, and gain formal recognition with the Canadian Botanical Conservation Network (CBCN) and the American Public Garden Association (APGA).
Olds College Botanic Garden will enhance and support education, training, demonstration, and applied research programs that span the generations and encourage the exchange of information and ideas with industry, students, other botanical gardens and the public.
The Botanical Garden will also raise awareness with the public regarding the importance of sustainable environments."
About the College:
"Not just a walk down the garden path, the gardens are designed to meet the instructional needs of courses and programs on campus, and are used as the location and subject matter for research projects. The Botanic Gardens are an aesthetically beautiful, diverse and well-maintained garden and constructed wetlands. Highlights include our collections of hardy peonies, lilies and roses, natural areas, a wide variety of aquatics, herb garden, fabulous annual displays each year and much more.
The Gardens are comprised of three phases spread over 25 acres and are populated with a wide ranging collection of prairie hardy plant material, both native and ornamental. The most established parts of the garden are the Central Portion opened in 2002.
The third and most recent phase of our Botanic Gardens is the East Portion which contains the Treatment Wetlands, opened in early September of 2013.
The three phases when considered together include naturalized landscapes, specialty gardens, walking trails, demonstration plots, an arboretum and 20 constructed treatment wetlands and display ponds. The area is complete with two public gazebos, an amphitheater and event areas. The Botanic Gardens & Treatment Wetlands has the ability to host weddings, reunions, graduations, workshops, and boasts 1.3 kilometers of trails throughout the gardens and wetlands.
Botanic gardens are quite different from other public garden spaces or show gardens. To be able to be identified as a botanic garden, several criteria must be met. For example, botanic gardens must:
Be open to the public
1. Exhibit a degree of permanence
2. Use a scientific basis as the foundation for their collections
3. Document and monitor the collection
4. Communicate information to other gardens, institutions and the public
The Botanic Gardens and Treatment Wetlands at Olds College is dedicated to meeting all criteria and continuing to expand its value to the college and extended community."
Hellfire Pass (Thai: ช่องเขาขาด, known by the Japanese as Konyu Cutting) is the name of a railway cutting on the former Burma Railway ("Death Railway") in Thailand which was built with forced labour during the Second World War, in part by Allied prisoners of war. The pass is noted for the harsh conditions and heavy loss of life suffered by its labourers during construction. It was called Hellfire Pass because the sight of emaciated prisoners labouring by burning torchlight resembled a scene from Hell.
Hellfire Pass in the Tenasserim Hills was a particularly difficult section of the line to build. It was the largest rock cutting on the railway, coupled with its general remoteness and the lack of proper construction tools during building. A tunnel would have been possible to build instead of a cutting, but this could only be constructed at the two ends at any one time, whereas the cutting could be constructed at all points simultaneously despite the excess effort required by the POWs. The Australian, British, Dutch and other allied Prisoners of War were required by the Japanese to work 18 hours a day to complete the cutting. Sixty-nine men were beaten to death by Japanese guards in the six weeks it took to build the cutting, and many more died from cholera, dysentery, starvation, and exhaustion (Wigmore 568). However, the majority of deaths occurred amongst labourers whom the Japanese enticed to come to help build the line with false promises of good jobs. These labourers, mostly Malayans (Chinese, Malays and Tamils from Malaya), suffered mostly the same as the POWs at the hands of the Japanese. At least 69 Allied POWs - of the 400 who died - were beaten to death by their Japanese guards, during the 12 weeks it took to build Hellfire Pass.
The railway was never built to a level of lasting permanence and was frequently bombed by the Royal Air Force during the Burma Campaign. After the war, all but the present section was closed and the line is now only in service between Bangkok and Nam Tok Sai Yok Noi.
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
The semi-permanence of an Oak tree and the final stage of the annual cycle of a Hydrangea head merged together.
I took a walk in a nearby Pine plantation yesterday afternoon... looking for a very particular arrangement of trees that would allow me to capture a "pre-visualised" shot.
I didn't manage to find that particular arrangement of trees... but I did manage to find one or two other compositions that I quite liked. This is one of those.
So why am I so obsessed with sun-stars these days? There are a couple of good reasons for that...
1. The sun is what trees live for. I feel that including the sun in a forest photo best describes that special relationship.
2. I love the juxtaposition between the rigidity and permanence of the trees, and the fleeting ethereal nature of the sunbeams.
3. I enjoy photographing sun-stars in the forest because these scenes are so incredibly difficult to capture accurately. I always like to challenge myself photographically.
4. While it might take some skill to capture and accurately present an interesting forest scene that includes a sun-star, getting the perfect sun-star at the perfect moment is mostly about luck.
5. I like sun-stars because they're impossible to fake in Photoshop (at least, I haven't managed it yet). The number and shape of the rays is directly related to the number of aperture-blades of your camera.
6. I like sun-stars... mostly because I think they look cool. :)
Have a lekker weekend everyone!