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Il ne rentre plus dans le cadre, je suis au 300 mm, alors séance portraits !!!
Merci pour vos visites et commentaires
Thank you for your visits and comments
Grazie per le vostre visite e commenti
Muchas gracias por vuestras visitas y comentarios
Mother had bemoaned that "I wear a bikini even though no man would want me." I think different. They're not all staring at your daughter . . .
Dipping into my photo archives in past weeks I found this shot in the Pornic file. Until I became used to it, the naming of places after important dates did seem a particularly French custom. This date resonates with me and brings to mind the concluding pages of my father's diaries.
In the early hours of 8th May 1945, my father was in a column of prisoners being marched away from the PoW camps. They had reached the German-Czech border, after a 'stopover' in a tin mine at Zinnwald. My dad saw the guards shine their torches down and feared they would have no option but to sleep on the wet ground. He suggested to his pals that they leave the column.... Which they did. Unnoticed.
There followed a time of living on their wits for food and shelter, plus a few adventures, until they met three American ex-PoWs, who had found a 15 cwt truck. My dad and his mates hitched a lift to Pilsen where they were officially registered as recovered allied PoWs by the Third US Army.
There followed a flight to Reims in France and thence onward to England where my dad finally arrived home to his wife at 4.30 p.m. in the little village of Claydon, Suffolk on 25th May 1945.
I was born the following year - nearly a Christmas baby. A new little family; a different life.
As my Flickr friends who have read the story know, the help of a fellow member of a local U3A Photography Group has been invaluable to me in publishing, in paperback and kindle format, my father's diary account of his WW2 service, captured at Tobruk, subsequently as a PoW in N. Africa, Italy and Germany:
www.amazon.co.uk/Till-We-Meet-Again-Gunner/dp/154404870X
My royalties are donated to the Red Cross, without whose food parcels sent to the PoW camps, my father felt that 'a lot of us wouldn't have come back'.
These wintertime visitors are always a treat and so the encounters are always special to me. The one that was one his perch stepped down into the shallow water to join the second Roseate Spoonbill that arrived a few minutes later. So, it was now a double your pleasure moment with the Spoonbills while the White Pelican stretched and contorted off in the distance on Horsepen Bayou.
DSC05514uls
i added some orange and white. still a few changes to make, but i'm happier with this version than the last.
© 2017 Eric Adeleye Photography. All rights reserved.
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Younger me
Cascades glacées autour du camp de base du Nevado Illimani (6438m) dans la Cordillère royale bolivienne.
D'après diapositive.
Icy waterfalls around Nevado Illimani base camp (6438m) in the Bolivian Cordillera Real.
According to slide.
La technique de cramponnage en pointe avant est une technique où les pointes avants des crampons sont plantées dans la glace en escalade glaciaire ou coincées en escalade mixte ou dry tooling. Elle est utilisée dans les parois très raides, verticales voire en dévers. Elle a longtemps été opposée à la technique du cramponnage à dix pointes ou technique française. En effet, même si le cramponnage en pointe-avant semble plus naturel, dans des pentes faibles (moins de 45°), il est préférable d'utiliser la technique du cramponnage à dix pointes pour soulager les chevilles
L’église de San Nicolás de Bari est l’un des joyaux les plus fascinants de la Communauté Valencienne. À tel point qu’elle est populairement connue sous le nom de la Chapelle Sixtine de Valence, tout comme l’église de la Virgen del Ara en Estrémadure. Cette dénomination si particulière provient de sa restauration en 2016, bien qu’elle ait été classée Monument Historique Artistique National depuis 1981. Située dans le centre historique de la ville c’est le parfait exemple de la coexistence d’un édifice à l’architecture gothique du XVe siècle avec une décoration baroque frappante du XVIIème siècle.
Les fresques de l’église de San Nicolás de Bari et de San Pedro Mártir à Valence brillent à la suite de leur dernière restauration. Il est difficile de ne pas rester stupéfait en contemplant les chapelles, les autels et les voûtes de l’église, soignés dans les moindres détails. Plusieurs restaurations eurent lieu tout au long de son histoire, comme celle qui fut faite sur ordre de la famille Borja entre 1419 et 1455. C’est à ce moment que la voûte à nervures gothique de la nef centrale fut réalisée.
Deux cents ans plus tard, entre 1690 et 1693, l’intérieur de l’église fut recouvert d’une décoration baroque. Dans le même temps, des fresques furent ajoutées à la nef centrale qui représente des scènes de la vie des deux saints patrons de la paroisse, San Nicolás de Bari et San Pedro Mártir. La conception en fut réalisée par Antonio Palomino et la peinture par son disciple Dionís Vidal en 1700. Les peintures montrent des scènes de leur enfance, de leur prédication, des miracles accomplis et de leur mort.
Sur les peintures, vous pouvez observer des ouvertures fictives qui évoquent le ciel. Quant aux scènes de la vie des saints, la voûte est divisée en deux parties, correspondant à chacun des saints. Les deux convergent dans le presbytère créant une gloire des anges et des architectures fictives. Ce sont près de 2 000 m2 de peinture qui témoignent de la magnificence de l’église.
The Church of San Nicolás de Bari is one of the most fascinating jewels of the Valencian Community. So much so that it is popularly known as the Sistine Chapel of Valencia, just like the Church of the Virgen del Ara in Extremadura. This particular name comes from its restoration in 2016, although it has been classified as a National Historic Artistic Monument since 1981. Located in the historic center of the city, it is the perfect example of the coexistence of a building with 15th century Gothic with striking 17th century Baroque decoration.
The frescoes in the Church of San Nicolás in Bari and San Pedro Mártir in Valencia shine following their latest restoration. It is difficult not to be amazed contemplating the chapels, altars and vaults of the church, cared for in every detail. Several restorations took place throughout its history, such as the one that was made by order of the Borja family between 1419 and 1455. It was at this time that the Gothic ribbed vault of the central nave was made.
Two hundred years later, between 1690 and 1693, the interior of the church was covered with Baroque decoration. At the same time, frescoes were added to the central nave which depict scenes from the life of the two patron saints of the parish, San Nicolás de Bari and San Pedro Mártir. It was designed by Antonio Palomino and painted by his disciple Dionís Vidal in 1700. The paintings show scenes from their childhood, their preaching, miracles performed and their deaths.
On the paintings, you can observe fictitious openings that evoke the sky. As for the scenes from the lives of the saints, the vault is divided into two parts, corresponding to each of the saints. The two converge in the presbytery creating a glory of angels and fictional architectures. Nearly 2,000 m2 of painting bear witness to the magnificence of the church.
...plus c'est la même chose.
When I used to frequent Tonbridge West Yard in the 1980s, taking the long way round from school to the station, there were usually a few 73s on show - albeit not the re-engined variety. GBRf's 73963 waits for its next task as 73141 shunts RHTT wagons in the background.
Locomotives: GB Railfreight Class 73/9 73963 "Janice" and Class 73/1 73141 "Charlotte".
Location: Tonbridge West Yard, Kent.
Seen approaching the Halfway House junction in Cheetham Hill, from the Salford side of Bury Old Road, the Manchester/Salford boundary passing down the middle of the road at this point. 64003 - new originally to CT Plus - maintains GNW livery but with added Orbits markings, one of three so treated.
17/02/2020.