View allAll Photos Tagged Persistence
Shot this guy at Black Lane on the CSX St. Louis Line Sub near Caseyville, IL.. Waited for over half an hour for this thing to finally move, and the waiting sure paid off.
I decided I didn't really like the idea I had to "start over fresh" on a new account, so I'll continue using this account for now. It was kind of a spur of the moment idea to start over fresh, anyway.
No doubt, some will find this ugly. But to the rest of you who find ALL of Nature beautiful...
First, my apologies to Salvador Dalí and his haunting painting, "The Persistence of Memory," from which I borrowed for the latter part of the title.
What you're looking at is a leaf that has fallen perfectly centered to drape and fold itself neatly over a branch - and there to remain over time to slowly decay. The tree is deep in thick woods, so the leaf has not blown away. I have no idea how many season cycles it has taken for the leaf to reach this stage in it's decomposition, but I would guess at least a couple.
I was lucky - as I was walking through the woods on a nice Fall afternoon in finding sunlight "winking" at me from off to the side of the path. I found it to be coming at me through the few transparent/translucent sections remaining in this persistent beauty.
Sorry for the inevitable few green light spots in the photo, but they came with the angle required in order to get the shot and light I wanted. So be it - Nature is never perfect nor neat.
"Love is probably the strongest emotion that you can feel.
It's very natural -
and I wouldn't want to say easy -
but natural and comfortable to write about,
and there are so many different forms of it,
millions of layers -
you could write forever about it."
~ Shawn Mendes ~
When macular degeneration took away much of her ability to see "the whole picture" Jane gave up oil painting for paper collage . . . just another way to express the many layers of her long, phenomenal life, shared in an infinite array of mediums.
Jane loved Sedona and visited there every September to absorb the landscape and interpret it on canvas or in journals.
I'm blessed to be surrounded by her art in every corner of my home, so her spirit will live on forever.
PERSISTENCE OF THE HORIZON / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.
Knowing trees, I understand the meaning of patience. Knowing grass, I can appreciate persistence.(Hal Borland
Press "L" for lightbox for better view!!
Thanks very kindly for any gracious comment, views and invites. Much appreciated!.... Peace and love be with you.
Namaste.
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All rights reserved. Copyright © Aum Kleem All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without my written explicit permission.
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A big tree had come down in the sandstone slot that marks the entrance into Mermaid's Cave. A Banksia had also taken a tumble, but was still alive, and growing over the fallen tree. Life finds a way! [Blue Mountains, NSW]
This fella found me particularly annoying, and flew to three different perches to try to shake me. Persistence pays!
"Nothing in this world can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent.
— Calvin Coolidge
Dedicated to my daughter, who persists in everything, including climbing 500 foot sand dunes, where you slide back 2 feet for every 3 feet you ascend.
“Persistence is the twin sister of excellence. One is a matter of quality; the other, a matter of time.” – Marabel Morgan
These tiny little white flowers are very presistent......trying to survive the bitter cold weather. They are only about 1/4 inch in diameter and so sweet.
...longing for warmer weather myself!
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Outlining a Theory of General Creativity .. on a 'Pataphysical projectory
Entropy ≥ Memory . Creativity ²
stratified as:
Memory . Creativity ² = ∪ { Mimesis . Catharsis ² }
Mimesis . Catharsis ² = ∪ { Metabolê . Catabolê ² }
Metabolê . Catabolê ² = ∪ { Mitosis . Cytosis ² }
Mitosis . Cytosis ² = ∪ { Molecula . Chymia ² }
Molecula . Chymia ² = ∪ { M . c ² }
. . and . . M . c ² = ∪ { E }
. . whe(re)n . . ∪ { E } ≤ Entropy
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Study of the day:
Rien ne sert de mourir, il faut savoir disparaître.
There is no point in dying, we must know to disappear.
( Jean Baudrillard )
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Quelle est l'épaisseur des apparences, Jean, vue de l'hyporéalité ?
. . . .. siaM ! ercalumis nu'd ellec ,fej emêm al tnemetcaxE-"
. . . "! secnerappasèd releppa sel ed siamrosèd ètnet tôtulp sius ej
What's the thickness of appearances, Jean, seen from the hyporeality ?
. . . .. tuB ! murcalumis a fo eno eht ,fej emas eht yltcaxE -
. . . ! "secnaraeppasid" meht llac ot detmet erom m'I ..
approximate deciphered translation with the hyporeal authorization of Jean:
. . . - Exactly the same jef, the one of a simulacrum ! But ..
. . . I am more tempted now to call them "disappearances" !
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . | . pOla. |
Persistence pays off! So happy to have finally seen the elusive black-backed woodpecker. Well worth the wait as he was so busy pecking, he paid no attention to his admirers.
After several failed attempts (done by cloud, DVT leading) I finally bagged this shot at Huttons Ambo. 68029 “Courageous” heads 1F62 1034 Scarborough-York.
I saw these flowers poking through the fence on my way to work when it was foggy out. I made a mental note to go back after work and when I did, these lovely clouds were out to make the perfect backdrop. I was laying on my back shooting as cars were driving by : )
A Catawba rhododendron (Rhododendron catawbiense) hangs on, barely. This is part of a disjunct/relict community of typically montane plants, in the Hollow Rock area of New Hope Creek.
Pentax K-1, pixel-shift mode
Mirex tilt/shift adapter
Pentax-A 645 macro 120/4
Iridient Developer
I am in the tedious and exciting process of scanning and editing forgotten and found images from the 50s. It's quite moving to discover places that are no more, people that are most likely gone and parties nobody remembers. I have fallen in love with that wonderful shot and decided it deserved to be shared. It also seemed to illustrate a song I enjoy:
www.youtube.com/watch?v=1dmh1cZQuXk
When I’m traveling far from home
On the wide horizon
I can feel you’re still around
And the dream overtakes me
Then I know, you’ll stay in this moment
We’ll go where it’s flowing
You’ll be what you want to be
Right here, with me
When I’m out here on my own
And it all cuts through me
I see you’re safe alone
Ah, then it hits me
And I know, you’re here in this moment
Right where it’s flowing
You are what you want to be
Right here, with me
Stay in this moment
Go where it’s flowing
You are what you want to be
Right here, with me . . . with me . . . with me. . .
The photograph turns an ordinary outdoor stairway into a study of age, texture, geometry, and persistence. Nothing dramatic is happening, but the arrangement rewards close looking.
The visual interest comes from several contrasts:
Organic versus constructed: weeds and fallen leaves occupy a structure made from stone, timber, and metal.
Old versus new: the worn, irregular steps contrast with the smooth, rigid railing.
Warm versus cool: orange-brown leaves and rusted surfaces stand against blue-gray stone, black metal, and pale sky.
Horizontal versus vertical: the broad stair treads form strong horizontal bands, while the railing divides the frame with severe vertical and diagonal lines.
Order versus disorder: the stairs and railing impose a system, while leaves and plants spread unpredictably through it.
Formal analysis commonly considers line, shape, color, texture, form, and space; all are unusually prominent here.
Description
Weathered outdoor steps rise across the frame in layered horizontal tiers. Their surfaces appear to combine rough stone or concrete with heavy, dark timbers. Dry leaves have collected in the recesses, forming streaks and clusters of copper, ochre, and brown.
Small plants emerge from gaps between the steps and around the retaining wall. A black railing rises near the right side, while a bright metallic handrail enters diagonally from the lower right and continues beyond the upper edge. Behind the upper wall are grasses, tree foliage, and an overexposed area of sky.
Strong sunlight strikes the upper surfaces and leaves much of the lower stairway in shadow, emphasizing relief, erosion, cracks, and accumulated debris.
Discussion
Composition
The stair treads create a slow upward visual movement from bottom to top. That movement is interrupted by the railing, which acts almost like a graphic barrier across the naturalistic scene.
The large diagonal silver rail is particularly assertive. It appears close to the camera and partly blocks the steps. Rather than functioning merely as an obstruction, it creates depth by establishing three spatial layers:
the near railing,
the stairs and leaves,
the trees and sky beyond.
The black vertical post sits close to the right third of the frame and provides a stable structural anchor. The image therefore feels organized even though its subject is decay and scattered vegetation.
Texture
Texture is the photograph’s strongest quality. The viewer can distinguish:
rough masonry,
cracked and grainy timber,
brittle leaves,
smooth painted metal,
reflective bare metal,
delicate stems and grasses.
The raking sunlight makes these surfaces appear tactile. Tate describes texture and mark-making as important visual components that can range from controlled structures to irregular patterns; here, actual weathering performs the role that marks might perform in a drawing or painting.
Subject and meaning
The image can be read as a modest urban landscape about time and adaptation. The stairs were constructed to control movement, yet leaves, soil, and plants gradually reclaim every available opening. The plants are not presented as a grand wilderness. They are small, opportunistic, and persistent.
There is also an element of ambiguity. The stairs imply a destination, but the photograph does not show where they lead. The railing suggests human passage, yet no person is present. This gives the scene a slightly abandoned or transitional character.
As art
The photograph works best as an observational study rather than a conventional scenic view. Its subject is not simply “stairs”; it is the relationship between repeated forms, accumulated material, and encroaching vegetation.
The composition is intentionally somewhat uncomfortable. The bright rail is large, close, and partially obscuring. That prevents the scene from becoming picturesque. It makes the viewer conscious of standing beside the stairway rather than looking at it from an idealized distance.
Requested for publication by Mark Batty Publisher
for "Everyman’s JOYCE" of "W. Terrence Gordon, Eri Hamaji & Jacob Albert”
“Picasso merely shrugged and declined the invitation to illustrate an edition of Ulysses, dismissing Joyce as an obscure writer that all the world can understand ... Can, not does.”
Through the power of illustration the Everyman’s Series illuminates complex bodies of work by some of the 20th century’s most vital thinkers. Picasso’s assessment of James Joyce as a writer that “all the world can understand” speaks to how a perspective that favors the visual can see through dense texts, allowing meaning to take shape. W. Terrence Gordon’s examination of the James Joyce canon and its impact on the world, both in terms of literature and culture at large, provides accessible and singular evaluations of why Joyce, no matter how impenetrable his books may seem on the surface, continues to attract readers today. In Everyman's Joyce, Gordon’s close readings and biographical insight gel with contemporary visual cues that usher Joyce into the 21st century.
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Etude du jour:
La bêtise et le cynisme sont-ils les derniers noms d'Entropie ?
En Birmanie ? En Chine ? En Tchétchénie ? A Guantanamo ? A Gaza & Cisjordanie ? . .
Study of the day:
Are silliness and cynicism the last names of Entropy ?
In Burma ? In China ? In Tchétchénie ? In Guantanamo ? In Gaza & West-Bank ?. .
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