View allAll Photos Tagged Precise
I cannot be precise as to exactly where this is - all I can say is we were driving west on 61 from Frackville and came across it - a quick U-turn took us to this grade crossing. Somewhere near Mount Carmel, from memory? Perhaps someone will be able to pinpoint it. Looks like a Reading & Blue Mountain local - a pair of Geeps doing the honours. Around 9-30 am, 31 October 2022.
Ladakh (Inde) - Tout photographe, même épuisé, doit être préparé à l’imprévu. Ces deux photos ont été prises alors que j’étais dans le taxi qui m’emmenait à Lamyuru. Je n’ai pas eu beaucoup de temps pour me préparer car la scène m’est apparue à la sortie d’un virage. J’ai juste eu le temps d’ouvrir la fenêtre du véhicule et de déclencher alors que nous contournions le camion accidenté. La seconde photo qui montre le camion couché sur le flanc a également été prise en roulant.
Le hasard fait parfois bien les chose car lorsque j’ai pris la première photo, je n’avait pas vu la plaque du camion sur laquelle était inscrit « good luck ». L’humour se cache parfois dans les détails. Je dois préciser que le chauffeur est sorti indemne de cette sortie de virage hasardeuse. C’est lui qui semble téléphoner (chemise rose) à son patron pour lui dire que le chargement sera probablement livré avec un peu de retard.
Ces deux images m’offrent une parfaite transition pour la série de la semaine prochaine qui sera consacrée à la « Route de la mort » reliant Manali (Himachal-Pradesh) à Leh (Ladakh).
Good luck
Ladakh (India) - Any photographer, no matter how exhausted, should be prepared for the unexpected. These two photos were taken while I was in the taxi taking me to Lamyuru. I didn't have a lot of time to prepare as the scene appeared to me as I came out of a corner. I just had time to open the vehicle window and fire as we rounded the wrecked truck. The second photo which shows the truck lying on its side was also taken while driving.
Chance does things well sometimes because when I took the first photo, I had not seen the plate of the truck with "good luck" written on it. Humor is sometimes hidden in the details. I must point out that the driver got out of this hazardous corner exit unscathed. It is he who seems to call (pink shirt) to his boss to tell him that the cargo will probably be delivered with a little delay.
These two images offer me a perfect transition for next week's series which will be devoted to the "Death Road" from Manali (Himachal-Pradesh) to Leh (Ladakh).
www.fluidr.com/photos/barrentrees
Copyright © Debbie Friley Photography - All Rights Reserved
It was such a blast watching this amazing Osprey dive down with incredible precision and catch his lunch! Have a great weekend!
Wonderful footage of an osprey catching fish. www.youtube.com/watch?v=nA3LtXnNIto
Hovering at moderate height, the osprey dramatically plunges down feet first to snatch fish from the water's surface. A shake of the head as it emerges from the water; the osprey carries its skilfully captured prey with its long talons.
This Osprey get's God's work Ethic:
*2 Thessalonians 3:10 "... If anyone is not willing to work, let him not eat."
*Colossians 3:23 Whatever you do, work heartily, as for the Lord and not for men,
*Proverbs 14:23 In all toil there is profit, but mere talk tends only to poverty.
A large door with intricate design in historic Rome. The doors in Rome are big, bold and strong and they symbolize the strong desire Rome has to be one of the most innovative, economically and politically sound cities in the world. There were numerous terms for the door in Roman times. Ostium included both the doorway and the door. It was also applied to either of these, but fores and janua are more precise words for the door itself. Doors opened inward; outer doors were provided with bolts and bars. Locks and keys were heavy and clumsy.
Morning view to the eastern side of Crast' Agüzza. We made the traverse along Bellavista to Piz Palü.
I did some research with my precise swiss maps and Google earth and was relatively sure that the huge massif at the horizon should be Gran Paradiso although I thought about Monte Rosa first given its shape and altitude. Anyhow, Marco who should know this region best told me (see below) that indeed it is Monte Rosa with its huge eastern wall.
When to Harvest Grapes
The precise time for picking grapes is dependent on the location, length of growing season, variety of grape, crop load and the intended use of the grape. Heavy crop loads take longer to mature. The optimum time for harvesting grapes will vary year to year as do environmental conditions — sometime after the berries turn color (veraison).
Color – Harvesting grapes for use in jellies or wine making must occur at just the right stage of maturity for maximum sweetness. Grapes change color from green to blue, red or white, depending upon the variety. Color is one of the indicators of ripeness. However, it is not the most reliable indicator, as many varieties of grapes change color well prior to ripening. Still, when completely ripe, the whitish coating on the grapes becomes more evident and the seeds turn from green to brown.
Size – Size is another gauge of the ripening of grapes. When mature, the grapes are full size and a bit less firm to the touch.
Taste – Hands down, the best way to ascertain if your grapes are ripe enough to harvest is to taste them. Sample the grapes three to four weeks prior to the approximate harvest date and continue to taste the grapes as they mature. Try to take samples at the same time of day from a variety of areas on the vine.
“At the sight of the crowds, his heart was moved with pity for them because they were troubled and abandoned,* like sheep without a shepherd. Then he said to his disciples, “The harvest is abundant but the laborers are few; so ask the master of the harvest to send out laborers for his harvest.”
- Matthew 9:36-38
Jazz is dead?
Wrong!
Jazz...lives!
Atlanta (East Atlanta Village), Georgia, USA.
28 September 2024.
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▶ Photographer's notes:
☞ To be precise, the placard is not a mistaken musical manifesto but an advert for a concert by an eponymous band that performs jazz-tinged covers of Grateful Dead tunes.
☞ Image taken during the East Atlanta Strut: a street festival "always on the fourth Saturday in September, combining a parade, a street festival with live music, artists' markets, and a 'porchfest' to show off the entire East Atlanta Village neighborhood." More photos: here.
***************
▶ Photo by: YFGF.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
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▶ Camera: Olympus OM-D E-M10 II.
— Lens: Olympus M.40-150mm F4.0-5.6 R
— Edit: Photoshop Elements 15, Nik Collection (2016).
▶ Commercial use requires explicit permission, as per Creative Commons.
Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
Precise location no longer known. Advice welcome.
110509 655
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All images are the property of the photographer and may not be reproduced, copied, downloaded, transmitted or used in any way without the written permission of the photographer, who can be contacted by registering with flickr and using flickrmail.
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Well, to be precise, Skinners Bottom is almost a mile from here and the location is perhaps closer to Scorrier - but why let geography spoil a crass title?
A shot taken almost three years ago from the Sawmills Lane overbridge, which also happens to span the A30 - the main trunk road between Exeter and deepest Cornwall.
It's cold, windy and raining directly into the lens of the pocket camera which I'm doing my best to shelter from the elements under an open cagoule - which of course means I'm getting wet. However, it's an opportunity that can't go to waste and this is the first of two shots I took at this spot, albeit the one which didn't make the cut at the time. Arguably better than the original offering though with the truck just sneaking into the frame and kicking up a decent amount of spray from the wet road.
The train is an unidentified class 150 working what I believe is First Great Western's late running 1.45pm Penzance - Plymouth (2P87) service. In an attempt to identify the unit I did try a search on Flickr, but it seems no-one else was daft enough to be out and about snapping trains down this neck of the woods on this day.
The truck belongs to Maen Karne, who identify themselves as the "south west’s leading fully independent supplier of bagged and loose aggregate". Good to see them delivering the goods in the inclement weather - even though a depression sweeping in from the Atlantic hardly makes the news in these parts!
14th January 2016
Excerpt from Wikipedia:
The Church of Our Lady is a historical building in Kalundborg, northwestern Zealand, Denmark. The precise date of construction is not known with any certainty, though its architecture indicates the early part of the 13th century. With its five distinctive towers, it stands on a hill above the harbour, making it the town's most imposing landmark.
The church is built of red brick, indicating that it was constructed no earlier than 1170 when brick was first used in Denmark.
At the time when the church was built, a small medieval town stood on the hill. It was originally fortified by Snare's castle but this was replaced in the 14th century by Kalundborg Castle, now in ruins, with its ring walls and ditches. Much of this has now disappeared but the old churchyard walls are still intact. Two brick houses from 1500 form part of the boundary walls and a few brick houses near the church are evidence of the prosperity the town enjoyed in the 15th century.
The central tower of the church collapsed in 1827 due to structural flaws and incautious repairs inside the church. Collapse did not cause any injuries but many medieval furnishings were destroyed .
As the church had fallen into a state of disrepair by the beginning of the 19th century, restoration work was carried out first from 1867 to 1871 under the leadership of Vilhelm Tvedes when the central tower was rebuilt, and later from 1917 to 1921 when the three entrances and the windows were reconstructed under architects Andreas and Mogens Clemmensen. From the square nave, four arms of equal length stretch out to a polygon terminal. These proportions have been compared to the description of the New Jerusalem in the Book of Revelation. While the original barrel vaults of the transepts are still in place, the columns in the nave and the vaults have been reconstructed.
The medieval sacristy (1400) along the north wall of the chancel is well preserved. In about 1500 it was given an upper storey.
The plan is in the form of a Greek cross with four arms of equal length. The window arches as well as the pilasters and sunken columns inside the church suggest the involvement of Lombard builders from northern Italy. It is said to be Denmark's most important contribution to architecture during the Middle Ages.
The church's central tower, known as Mary's tower (after the Virgin Mary), is 44 m tall and square-shaped while the four lateral towers, each 34 m tall, are octagonal. The other towers are also named after saints: St. Anne's to the east, St. Gertrude's to the west, St. Mary Magdalene's to the south and St. Catherine's to the north. The four columns supporting the central tower are made of granite, providing additional strength. With five towers in all, the church is unique.
The architecture reveals similarities with the Church of the Holy Sepulchre, as well as with grouped towers in the great churches of France and the Rhineland. In particular, both the church's age and its architectural style have much in common with Tournai Cathedral in the south of Belgium. The masonry, on the other hand, is comparable to that of other early brick buildings in the area such as St. Bendt's Church in Ringsted.
Spider webs are precise lightweight structures made of spider silk, a family of proteins (spidroins) produced by different glands for different purposes: dry, load-bearing frame and radial threads, and elastic capture spirals coated with sticky glycoprotein droplets.
The silk is both strong and tough, stretches substantially, and “supercontracts” when wet (the fibers shorten, pre-tensioning the web and improving vibration transmission). Many species recycle material by eating their old webs. The web also functions as a sensory organ: vibrations reveal the direction and nature of a disturbance, and some spiders actively pluck the threads to communicate. Besides glue-based webs, there is cribellate silk: a woolly nanofibril fluff without adhesive.
A spectacular behavior is “ballooning,” in which fine silk threads carry spiders on updrafts and electrostatic forces. Stabilimenta can reflect UV light, potentially luring prey or warning larger animals to avoid collisions. For humans, webs are useful (catching mosquitoes) and inspire tough, biocompatible materials.
São Paulo SP, 2025
Passos precisos, por caminhos imprecisos
Precise strides, along imprecise paths
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passosprecisos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #brstreet #fotoderuabr #saopaulo #saopaulocity #sampalovers #spstreets #supersaopaulo #saopaulo_originals #spstreets
the meeting room was cold. he stood, the argument unfolding. the gesture repeated itself, a rhythm of concentration. skin touched glass, searching for the precise word. the point of contact was the point of decision.
It's commonly known as the Kibel - the longest produced trainset in the world. Its nickname comes from a slang term, denoting a toilet - the word itself however, is a polonised version of the German word for a bucket - Kübel. I assume a bucket could have been synonomous with a toilet in the 19th century :). Hence the name Kibel might sound familiar to our Western neighbours.
EN57-1184 - one of the last two Kibel units in the white and black livery was photographed on the 30.11 while running as the train 55409 from Laskowice Pomorskie to Gdynia Gł., as it was accelerating after leaving the passenger stop Majewo.
Photo by Piotrek/Toprus
Comment added by Jarek: to be more precise, the word "kibel" came to colloquial Polish speech directly from prison slang, as ordinary buckets (so here the German word "Kübel" appears) used to serve as toilet in prison cells.
Orphan infant elephants are a challenge to raise because they remain fully dependent on their mother's milk for the first two years of life and partially so until the age of four. In the decades the Sheldricks spent together in Tsavo, they never succeeded in raising an orphan younger than one because they couldn't find a formula that matched the nutritional qualities of a mother's milk. Aware that elephant milk is high in fat, they tried adding cream and butter to the mix, but found the babies had trouble digesting it and soon died. They then used a nonfat milk that the elephants could digest better, but eventually, after growing thinner and thinner on that formula, these orphans succumbed as well. Shortly before David's death, the couple finally arrived at a precise mixture of human baby formula and coconut. This kept alive a three-week-old orphan named Aisha, helping her grow stronger every day.
Nombre común: gavilán pollero, aguilucho de ala rojiza, gavilán caminero, taguato común, Pupa, aguililla caminera, busardo caminero, gavilán chapulinero o guío
Nombre científico: Rupornis magnirostris
Nombre en inglés: ROADSIDE HAWK
Nombre en alemán: Wegebussard
Nombre en francés: Buse à gros bec
Lugar de la foto: Tejares, Manizales- Caldas- Colombia
2150 msnm
Visualizar en pantalla completa
View in full screen
Im Vollbild anzeigen
Afficher en plein écran
EN TIEMPO DEL COVID
Estando en compañía de mi esposa Norma Cecilia, sentados en la terraza de nuestra casa, observamos como posó este gavilán, en una rama ubicada al frente de la vivienda. Inmediatamente tomé la cámara y me dispuse a tomar una fotografía, con tan buena suerte que el “Gavilán caminero” voló hacia otra rama que se encuentra aún mas cerca del sitio donde estábamos y como era de esperarse, obturé e hice una ráfaga fotográfica. En ese preciso instante recibí una llamada telefónica de mi pariente José Alberto Arias Escobar. Contó que se encontraba disfrutando de su único nieto; por mi parte le expuse la grata aventura en que estaba con el ejemplar de por medio, y fue tanta la emoción de haber logrado la captura de este bello espécimen, que no dudé en ofrecérselo, como efectivamente cumplo hoy. Con él hay gratos recuerdos del ayer, inolvidables acordes de guitarra llegan a mi memoria y melodías que aún suenan . Esperemos que la pandemia haga el milagro de volver a juntarnos para compartir y recordar esos bellos momentos, disfrutando de estas imágenes que nos permite la naturaleza. Un abrazo
IN COVID TIME
At about 2.30 pm, being in the company of my wife Norma Cecilia, sitting on the terrace of our house, we observed how this sparrowhawk posed, on a branch located in front of the house. Immediately I took the camera and prepared to take a photograph, with such good luck that the "Hawk walking" flew to another branch that is even closer to where we were and, as expected, I shot and took a photographic burst. At that precise moment I received a phone call from my relative José Alberto Arias Escobar, with whom I had not spoken for several months. He said that he was enjoying his only grandson, for my part I explained the pleasant adventure he was with the copy in between, and the emotion of having captured this beautiful specimen was such that I did not hesitate to offer it to him, as I actually comply today. With him there are pleasant memories of yesterday, unforgettable guitar chords come to my memory and melodies that have played. Let's hope that the pandemic does the miracle of coming back together to share and remember those beautiful moments, enjoying these images that nature allows us. A hug
Bac Ha (Vietnam) - Pas la peine de préciser que nous sommes toujours sur le marché aux buffles. Ce qui a attiré mon attention, c’est l’harmonie des couleurs entre le pelage des bovins et les vêtement de l’homme. La scène me semblait amusante. Il s’agit d’un boucher qui cherche un animal a exposer façon puzzle sur l’étal de son échoppe. Cela dit, il faudrait être naïf pour s’étonner du sort réservé à la quasi-totalité des buffles présents sur ce marché.
The buffalo terminus 2
Bac Ha (Vietnam) - Needless to say, we are still on the buffalo market. What caught my attention was the harmony of colors between the cattle's coats and the human's clothing. The scene seemed amusing to me. It's a butcher looking for an animal to display like a puzzle on his stall. That said, you'd have to be naive to be surprised by the fate of almost all the buffaloes present in this market.
[REPOST in BW]
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Colloquially (with more precise definitions being available), the second full moon in a calendar month is known as a blue moon; it coinciding with Hallowe'en only happens once every 19 years.
There are multiple mini-headlands either side from which to view the castle. Having walked the cliff-top path to the Memorial and back and sheltered in the car, I checked an app to see the moon just below the horizon, so set forth to brave the elements once again. Starting with the cliffs to the right, there wasn't much moon to be seen behind the clouds and compositions were suboptimal, so I returned to the bridge over the end of the gorge and waited. Over the course of half an hour or so, the clouds skittered past in interesting patterns and the moon rose clear of the castle, bathing the landscape in silvery light.
Technicalities: this is an extreme HDR image; retaining detail in the full moon and shadowy rocks simultaneously is a dynamic range of nearly 23EV. I shot two HDR sequences, both 5 * ±3EV centred on ISO3200, f/3.5, 1/8s.
Processing is similarly extreme: I averaged all the images together using imagemagick, ran multiple tonemapping algorithms in LuminanceHDR, blended the results in Affinity, where I also finalized the tonality and added some dodging and burning.
Despite visiting the castle many times over the years, I've never really been happy with a composition made along the gorge, so I'm particularly gratified that this worked out well - even including rim-lighting as the moonlight shimmers through the grass.
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
In the frame is a family moment frozen in time: an adult Spot-breasted Woodpecker (Colaptes punctigula) alongside its fledgling in the dense greenery of Puerto Nariño, Colombia. The birds' golden-olive plumage, adorned with precise black spots and highlighted by the adult's vivid red nape, blends seamlessly into the Amazonas habitat, a testament to nature's intricate design and the challenges of avian parenting.
From a photographer's perspective, capturing such a scene is about embracing the unpredictable ballet of wildlife. It requires a harmony of patience, anticipation, and respect for the subject's natural behavior. I focused on the contrast between the woodpeckers' detailed plumage and the soft bokeh of the forest, a technique that draws the viewer's eye directly to the life and story within. The subdued lighting of the Amazon canopy adds a moody tone, enriching the narrative of survival and kinship.
©2023 Adam Rainoff
Once Upon a time in the West … there was a road from the Midwest to the West. To be more precise, from Chicago to Los Angeles. The road was called Route 66. The road was replaced by a modern interstate highway system and the old Route 66 which connected all the little towns between Chicago and Los Angeles lost its funding. Route 66 went into decay and many of the little towns too.
Some old parts of Route 66 are still there and in the meantime Route 66 transcends into a myth and glorified in a Pixar movie - Cars 1 & 2.
Present image was done somewhere along a preserved portion of it. The little town of Amboy is lost in the Mojave Desert.
Nikon D800E
Nikon 24-70mm f/2.8
1/160s at f/13
RAW ISO 100
04/20/2015
Interested in a photo tour through the American Southwest, Brazil, Bolivia, Namibia or Tuscany? I can help you with it and make you come back with unique shots.
_______________________________
Image is under Copyright by Peter Boehringer.
Contact me by email if you want to buy or use my photographs.
_______________________________
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
I sought to capture that precise moment when modern architecture aspires to invisibility—those blank storefronts, empty, awaiting a brand that doesn't yet exist. By framing the solitary figure against this impeccable geometry, I wanted to question the nature of contemporary urban space: one that erases as much as it welcomes. What struck me was the contrast between the pedestrian's mobility and the frozen immobility of the storefront, between the everyday gesture and suspended commercial anticipation. Black and white seemed the only honest response: an absence of color to reflect an absence of meaning, a raw texture of concrete and glass that screams its silence.
The Common Sailor butterfly has a stiff gliding characteristic when flying and uses the thermals to aid their flight, they are very precise when weaving around using short and shallow wing flaps to propel them around. The eggs are globular and are covered in a network of hexagonal ridges which have raised tiny spikes which sometimes look like sea urchins. When the caterpillar emerges it spends its early days hiding in curled up dead leaves and only comes out to feed. The chrysalis resembles a withered leaf and is suspended from a leaf or stem.
AUXÍLIO MÚTUO
Em zona montanhosa, através de região deserta, caminhavam dois velhos amigos, ambos enfermos, cada qual a defender-se, quanto possível, contra os golpes do ar gelado, quando foram surpreendidos por uma criança semimorta, na estrada, ao sabor da ventania de inverno.
Um deles fixou o singular achado e exclamou, irritadiço:
Não perderei tempo. A hora exige cuidado para comigo mesmo. Sigamos à frente.
O outro, porém, mais piedoso, considerou:
Amigo, salvemos o pequenino. É nosso irmão em humanidade.
Não posso, - disse o companheiro, endurecido -, sinto-me cansado e doente.
Este desconhecido seria um peso insuportável. Temos frio e tempestade. Precisamos chegar à aldeia próxima sem perda de minutos.
E avançou para diante em largas passadas.
O viajor de bom sentimento, contudo, inclinou-se para o menino estendido, demorou-se alguns minutos colando-o paternalmente ao próprio peito e, aconchegando-o ainda mais, marchou adiante, embora menos rápido.
A chuva gelada caiu, metódica, pela noite adentro, mas ele, amparando o valioso fardo, depois de muito tempo atingiu a hospedaria do povoado que buscava.
Com enorme surpresa porém, não encontrou aí o colega que havia seguido à frente.
Somente no dia imediato, depois de minuciosa procura, foi o infeliz viajante encontrado sem vida, numa vala do caminho alagado.
Seguindo à pressa e a sós, com a idéia egoísta de preservar-se, não resistiu à onda de frio que se fizera violenta e tombou encharcado, sem recursos com que pudesse fazer face ao congelamento.
Enquanto que o companheiro, recebendo, em troca, o suave calor da criança que sustentava junto do próprio coração, superou os obstáculos da noite frígida, salvando-se de semelhante desastre.
Descobrira a sublimidade do auxílio mútuo... ajudando ao menino abandonado, ajudara a si mesmo.
Avançando com sacrifício para ser útil a outrem, conseguira triunfar dos percalços do caminho, alcançando as bênçãos da salvação recíproca.
* * *
As mais eloqüentes e exatas testemunhas de um homem, perante o Pai Supremo, são as suas próprias obras.
Aqueles que amparamos constituem nosso sustentáculo.
O coração que amparamos constituir-se-á agora ou mais tarde em recurso a nosso favor. Ninguém duvide.
Um homem sozinho é simplesmente um adorno vivo da solidão, mas aquele que coopera em benefício do próximo é credor do auxílio comum.
Ajudando, seremos ajudados. Dando, receberemos: esta é a Lei Divina.
Baseado no cap. 16 do livro
Jesus no lar, Neio Lúcio
Text in English
MUTUAL HELP
In a rocky mountain, through a desert region, two old and ill friends were walking along a path. Trying to defend themselves against the cold wind as best as they could, they suddenly ran into a semi dead child lying on the road, at the mercy of the wintry winds.
One of them starred at the remarkable finding and exasperatedly shouted:
I’ll not waste my time. At this time, I have to look after myself. Let’s move forward.
The other one, who was more merciful, objected:
My friend, let’s save the little one. He’s our brother in mankind.
I can’t, said his companion, his voice hardened, I feel tired and ill.
This stranger would be an unbearable burden. It’s cold and there’s a storm coming. We need to reach the nearest village without wasting any more time.
And he left in large strides.
The kindhearted traveler, however, bent over the little boy, took a few minutes holding him close to his chest and, while nestling him a little closer, slowly went on his way.
The cold rain fell ceaselessly all through the night and the merciful traveler, sheltering his valuable bundle, only reached the village’s lodge after a long time.
To his surprise, however, he did not find his friend, who had left earlier, there.
Only on the following day, after long and thorough searching, was the unlucky traveler found, lifeless, in a ditch along the flooded path.
Having walked alone and in a hurry, with the selfish idea of self-preservation, he could not resist the cold snap that had gotten worse and fell, soaked, with no resources to struggle against the freezing cold.
Meanwhile, his companion had received the comforting heat from the child he was holding close to his own heart, and therefore could surpass the obstacles of the chilly night, saving himself from suffering a similar tragedy.
He had discovered the sublimity of mutual help… By helping the abandoned child, he had helped himself.
By sacrificing himself so as to be useful to another person, he had managed to triumph over life troubles, attaining the blessings of reciprocal salvation.
* * *
The most eloquent and precise witnesses of a man, before the Supreme Father, are his own works.
Those whom we help constitute our own future support.
The heart we help will become, sooner or later, a resource in our favor. Let nobody doubt it.
A lonely man is simply solitude living ornament, but he who cooperates to benefit his neighbor is a creditor of mutual help.
By helping others, we will be helped. By giving, we will receive: that is God’s Law.
Based on the book Jesus no lar, chapter O auxílio mútuo, by Neio Lúcio.
©2006 Kris Kros
All rights reserved
About Pagodas
A pagoda is one part of a temple's structure, and we can trace the origin of pagodas back to India. A pagoda has its origin in old Indian culture. The Indians made pagodas as tombs, called stupa, before Buddhism began, but the shape of it was completely different from a Japanese or Chinese one. "Stupa" is from a word which means "to accumulate" in Sanskrit, which is the ancient language in India. Its shape was like a dome, and most of them were made from soil or stone. The Indians stood one pole in the center of the dome from the land to above the top of it (like an axis), and they buried bones of the cremated dead (They were mainly saints or heroes) under the pole. They thought of the pole as a symbol of the center of the universe, which collected the energy of the universe and controlled the birth of everything. A stupa showed completeness and the balance of the energy in the universe. It was representing the universe itself. People always worshiped it.
This idea was taken over in Buddhism. Buddha asked to have his bones put in a stupa after he died, so his pupils made stupas after his death. Then, they had made stupas as the symbol of the tomb of Buddha. For this reason, a stupa was the most significant structure in a temple.
In the sixth century, Buddhism came to Japan, and then Buddhism architecture was introduced with it. However, while it was coming through China or Korea, the shape of the pagoda was modified, from a dome to a several-level one, which can be seen from the word pagoda now. It was because in China they had plenty of wood and superior techniques in wooden architecture, as well as Japan, so, they built pagodas as precise structures from wood.
The shape of Pagodas was very different from the original one, but it did not necessarily lose the original meanings. We can see that from the center-pillar of it. This stands in the center of a pagoda, from under the ground to high above the top roof of a pagoda, and beautiful stones which were replacing real bones of Buddha were buried under it like in India. The part of the pillar above the top roof is called So-rin and this is the form summarizing stupa. This shows that a pagoda was thought of as Buddha tomb also in Japan.
Highest position: 2 on Wednesday, August 16, 2006
This is a scene from Ipstones Edge (Blackheath NR to be precise). The image is full of possible interpretaitons I guess.
My own title. 'Invocation'. is not meant to suggest any kind of religious connotations (although there would nothing wrong with interpreting it that way) but of magical tales where nature is able to invoke forces of good and evil. Its a sense that you get just being in that special, remote and ancient site but here it's enhanced by a few post processing effects
SN/NC: Morus Nigra, Moraceae Family
Morus nigra, called black mulberry or blackberry (not to be confused with the blackberries which are various species of Rubus), is a species of flowering plant in the family Moraceae, native to southwestern Asia, where it has been cultivated for so long that its precise natural range is unknown. It is known for its large number of chromosomes, 308 (44x ploidy). Other mulberry species are sometimes confused with black mulberry, particularly black-fruited individuals of the white mulberry, but black mulberry can be distinguished by the uniformly hairy lower leaf surface. Morus nigra is a deciduous tree growing to 12 m (39 ft) tall by 15 m (49 ft) broad. The leaves are 10–20 cm (4–8 in) long by 6–10 cm (2–4 in) broad - up to 23 cm (9 in) long on vigorous shoots, downy on the underside, the upper surface rough with very short, stiff hairs. The edible fruit is dark purple, almost black, when ripe, 2–3 centimetres (0.8–1.2 in) long, a compound cluster of several small drupes; it is richly flavoured, similar to the red mulberry (Morus rubra) but unlike the more insipid fruit of the white mulberry (Morus alba). It is very popular in Brazil where its leaves are used to feed the silkworms used to produce silk. (Silkworm moth, (Bombyx mori), lepidopteran whose caterpillar has been used in silk production.
A Amoreira-negra, Amora, Amora-negra, Amora-preta, Amoreira, Amoreira-do-bicho-da-seda, Amoreira-preta são os nomes mais comuns da nossa popular amora e a árvore que a produz, amoreira. Ela é uma árvore decídua, cujo fruto, a amora, é apreciado no mundo todo. Seu porte é médio, alcançando de 4 a 12 metros de altura. As folhas são simples, ovadas a cordiformes, cartáceas, de margens serrilhadas ou dentadas e recobertas por uma pilosidade que as torna ásperas ao toque. As mudas podem apresentar folhas lobadas. As inflorescências surgem no final do inverno e são do tipo espiga, pendentes, onde se reúnem flores brancas minúsculas. Os frutos são pequenos aquênios, carnosos e negros quando maduros, reunidos em infrutêscências. Apesar de ser frutífera, a amoreira não deixa de ser ornamental. Sua copa é ampla, fornecendo sombra fresca no verão e permitindo a passagem de luz no inverno, com a queda das folhas. É perfeita para pequenos pomares domésticos, pois é rústica e não necessita de cuidados especiais para frutificar em abundância. O plantio dessa espécie só não é recomendado para arborização ao longo de ruas e avenidas, assim como estacionamentos, pois a queda do frutos e folhas suja os automóveis e o chão. Por ser facilmente dispersada pelos pássaros, a amoreira-negra pode se tornar invasiva em alguma situações.
Morus nigra, morera negra o moral negro es una especie de árbol perteneciente a la familia de las moráceas, nativa del sudoeste de Asia, siendo cultivada por tan largo periodo que su rango natural preciso es desconocido. Es un árbol pequeño deciduo que alcanza 10-13 m de altura. Hojas de 1-2 dm de longitud y 6-10 cm de ancho (llegando a 23 cm de largo en brotes vigorosos). El fruto comestible es negro púrpura, a veces bien negro, maduro de 2-3 cm de largo, en racimos de varias drupas pequeñas; ricamente saborizado, similar al Morus rubra, y diferente a la más sosa fruta de Morus alba. Ha sido largamente cultivado por su fruta comestible, y plantada y naturalizada en el oeste de Europa, Ucrania, y en China. Posee una ramificación densa, con ramas largas, divergentes y extendidas y ramillas lisas de coloración pardo-castaña. En conjunto constituyen una amplia copa, difusa y redondeada, con frecuencia irregular y de crecimiento rápido.
Le Morus nigra, ou mûrier noir, est originaire du sud-ouest de l'Asie. Son principal signe distinctif est la face inférieure de ses feuilles, uniformément duveteuse. Il est prisé pour ses fruits violet foncé, riches en saveur. Une curiosité botanique : il possède 308 chromosomes (ploïdie 44x). Note : Bien que votre texte mentionne son utilisation pour les vers à soie au Brésil, c'est principalement le Mûrier Blanc (M. alba) qui est utilisé pour cela.
Il Morus nigra, o gelso nero, è originario dell'Asia sudoccidentale. Il suo tratto distintivo principale è la pagina inferiore delle foglie, uniformemente pelosa. È apprezzato per i suoi frutti di colore viola scuro, dal sapore intenso. Una curiosità botanica: possiede 308 cromosomi (ploidia 44x). Nota: Sebbene il vostro testo ne menzioni l'uso in Brasile per i bachi da seta, è principalmente il Gelso Bianco (M. alba) ad essere utilizzato per questo scopo.
Morus nigra, de zwarte moerbei, is inheems in Zuidwest-Azië. Het belangrijkste kenmerk is de uniform behaarde onderkant van de bladeren. Hij wordt gewaardeerd om zijn smaakvolle, donkerpaarse vruchten. Een botanische curiositeit: hij heeft 308 chromosomen (44x ploïdie). Opmerking: Hoewel uw tekst het gebruik in Brazilië voor zijderupsen vermeldt, is het vooral de Witte Moerbei (M. alba) die voor dit doel wordt gebruikt.
Morus nigra, die Schwarze Maulbeere, stammt aus Südwestasien. Ihr Hauptmerkmal ist die gleichmäßig behaarte Blattunterseite. Sie wird für ihre geschmackvollen, dunkelvioletten Früchte geschätzt. Eine botanische Kuriosität: Sie besitzt 308 Chromosomen (44-fache Ploidie). Hinweis: Obwohl Ihr Text ihre Verwendung für Seidenraupen in Brasilien erwähnt, wird hierfür primär die Weiße Maulbeere (M. alba) verwendet.
モルス・ニグラ（黒マルベリー）は、南西アジア原産です。主な識別点は、葉の裏側が均一に毛で覆われていることです。風味豊かな濃紫色の果実が高く評価されています。植物学的好奇心：308本の染色体（44倍体）を持ちます。注：原文ではブラジルでの蚕の餌としての使用に言及していますが、この目的で主に使用されているのは白マルベリー（M. alba）です。
黑桑（Morus nigra） 原产于西南亚。其主要识别特征是叶片下表面 uniformly 覆盖绒毛。其深紫色果实风味浓郁，备受青睐。一个植物学奇闻：它拥有 308 条染色体（44 倍体）。注意：虽然您的文本提到它在巴西用于养蚕，但主要用于此目的的其实是白桑（M. alba）。
موروس نيجرا (التوت الأسود) موطنه الأصلي جنوب غرب آسيا. السمة الرئيسية المميزة له هي الجانب السفلي لأوراقه المُغطى بشكل موحد بالشعيرات. ويُقدر بسبب ثماره بنية اللون الغنية بالنكهة. من الغرائب النباتية: أنه يحتوي على 308 كروموسوم (44x تعدد الصبغيات). ملاحظة: على الرغم من أن نصك ذكر استخدامه في البرازيل لدود القز، إلا أن نوع التوت الأبيض (M. alba) هو primarily المستخدم لهذا الغرض.
Monument représentatif de l'architecture moderne, cette église des « gens de mer » symbolise la renaissance de la ville détruite en 1944. Sa tour-lanterne, qui domine du haut de ses 107 m l’ensemble des quartiers reconstruits, est tout à la fois un phare visible à des dizaines de kilomètres au large et une « stèle en mémoire des disparus ».
La fin de la Seconde Guerre mondiale marque en effet la destruction de la ville du Havre lors d'une intense campagne de bombardements, entre les 5 et 11 septembre 1944, provoquant la mort de près de trois mille personnes. Les dégâts matériels sont tels qu'elle est la grande ville la plus dévastée de France et l’ancienne église Saint-Joseph, modeste édifice de quartier, n'échappe pas à la destruction. Elle est reconstruite à partir de 1951 par Auguste Perret, architecte précurseur du béton armé.
L'église Saint-Joseph accompagne également le renouveau de l’art sacré — notamment grâce aux vitraux de Marguerite Huré — et l'émergence de l’abstraction lyrique au cours des années 1950. Son plan carré au centre duquel se dresse le maître-autel, entouré par les fidèles, anticipe également les évolutions liturgiques que le concile Vatican II introduit au cours de la décennie suivante.
Marguerite Huré (1895-1967) est une artiste peintre française et un maître-verrier considérée comme l'introductrice de l'abstraction dans le domaine du vitrail religieux. L’église Saint-Joseph est l’une de ces œuvres remarquables. Elle ne compte pas moins de 6500 verres, situés dans de hautes verrières verticales capables de filtrer la lumière extérieure. Dès votre entrée, vous serez surpris par ce contraste intérieur/extérieur. Les tonalités des verres en fonction de l’orientation et l’agencement selon une symbolique précise des couleurs et des formes.
A monument representative of modern architecture, this church of the "seafarers" symbolizes the rebirth of the city destroyed in 1944. both a lighthouse visible tens of kilometers offshore and a "stele in memory of the disappeared".
The end of the Second World War marks the destruction of the city of Le Havre during an intense bombing campaign, between September 5 and 11, 1944, causing the death of nearly three thousand people. The material damage is such that it is the most devastated large city in France and the old Saint-Joseph church, a modest neighborhood building, does not escape destruction. It was rebuilt from 1951 by Auguste Perret, a precursor architect of reinforced concrete.
The Saint-Joseph church also accompanies the revival of sacred art - in particular thanks to the stained glass windows of Marguerite Huré - and the emergence of lyrical abstraction during the 1950s. Its square plan in the center of which stands the master- altar, surrounded by the faithful, also anticipates the liturgical developments that the Second Vatican Council introduced during the following decade.
Marguerite Huré (1895-1967) is a French painter and a master glassmaker considered to be the introducer of abstraction in the field of religious stained glass. The Saint-Joseph church is one of these remarkable works. It has no less than 6,500 glasses, located in high vertical windows capable of filtering outside light. As soon as you enter, you will be surprised by this interior/exterior contrast. The tones of the glasses according to the orientation and the arrangement according to a precise symbolism of colors and shapes.
I could have thrown these pictures away I say. Truth I probably could not. The sky was rather fruity and the out of focus view, confirmed with every setting available gave me some bright results to share. This is one picture in five edits.
Do not blame the Helios-44 2 it needs an adjustment to be made and secured. This Helios 44 ƒ2 one of the much vaunted Soviet copies of the Carl Zeiss Biotar 58mm ƒ/2 the Soviet manufactured ones with sought after wonderful bokeh both from factory standard output and also now with a growing multitude of modern fanciful adjustments many making dream like pictures. The adjustment to reach to reach precise Star Focus is possibly going to feature in later uploads.
© PHH Sykes 2024 also edited © PHH Sykes 2025
phhsykes@gmail.com
“Helios-44 is a Soviet copy of the Carl Zeiss Biotar 58mm ƒ/2 lens produced under the Helios lens brand.[1] The lens was made in the Soviet Union and Russia, primarily for the M42 lens mount.”
I could have thrown these pictures away I say. Truth I probably could not. The sky was rather fruity and the out of focus view, confirmed with every setting available gave me some bright results to share. This is one picture in five edits.
Do not blame the Helios-44 2 it needs an adjustment to be made and secured. This Helios 44 ƒ2 one of the much vaunted Soviet copies of the Carl Zeiss Biotar 58mm ƒ/2 the Soviet manufactured ones with sought after wonderful bokeh both from factory standard output and also now with a growing multitude of modern fanciful adjustments many making dream like pictures. The adjustment to reach to reach precise Star Focus is possibly going to feature in later uploads.
© PHH Sykes 2024 also edited © PHH Sykes 2025
phhsykes@gmail.com
“Helios-44 is a Soviet copy of the Carl Zeiss Biotar 58mm ƒ/2 lens produced under the Helios lens brand.[1] The lens was made in the Soviet Union and Russia, primarily for the M42 lens mount.”
The precise origins of the temple are unclear but its importance as a holy site almost certainly dates from prehistoric times. The stone bases of Pura Penataran Agung and several other temples resemble megalithic stepped pyramids, which date back at least 2,000 years. It was certainly used as a Hindu place of worship from 1284 when the first Javanese conquerors settled in Bali. By the 15th century, Besakih had become a state temple of the powerful Gelgel dynasty.
The temple is on the southern slopes of Mount Agung, the principal volcano of Bali.
The complex is made up of twenty-three temples that sit on parallel ridges. It has stepped terraces and flights of stairs which ascend to a number of courtyards and brick gateways that in turn lead up to the main spire or Meru structure, which is called Pura Penataran Agung. All this is aligned along a single axis and designed to lead the spiritual person upward and closer to the mountain which is considered sacred.