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Got this group of on lookers taking in the local carnival for Parkville Days 2024. It was hot and muggy but still always a fun walk around.
A volte bastano pochi secondi ed una foto apparentemente da cestinare viene salvata dal primissimo raggio di Sole della giornata che decide di illuminare proprio il treno, mentre la nebbia che nascondeva ogni cosa alla vista si dissolve all'improvviso per rimanere solo quel tanto che basta ad impreziosire la scena.
Title: 'Agreeable friends
they ask no questions;
they pass no criticisms.' George Elliot
Year: 2015
Location: Port Lincoln Marina, South Australia
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This is Kiki my little powerhouse, Mexican Chihuahua x French Bulldog... she is uber attentive, vocal, super inquisitive, very protective, funny, playful and gets insulted if you don't understand her.. lol
That question was heard several times on our drive through a handful of small towns in Western Pa. on Saturday. When we told people it was a Lamborghini they all said "oh yeah". It's a lot of fun introducing people to the Aventador and seeing there reaction as our group of exotics drove by.
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The droplets from the thrashing tail of the fish form an almost perfect '?' in the air.
This Great Crested Grebe must be a juvenile, I think, as it was relatively unsuccessful in its fishing attempts. Usually, they bring up a fish every 10 - 20 dives. This bird made at least 50 dives before surfacing with the Perch in question.
One has to move carefully when stalking a fishing Grebe - they get easily spooked by movement on the bank and swim away - I have learned to only move whilst they are underwater and remain very still when they are on the surface, even if they are 20 metres away.
I liked her badge…..”Why does free speech cost so much”… now there’s a question. A jubilee poster in Liverpool one.
Art work at Taken at Waitakaruru Arboretum Sculpture Park.
From the description:
Bernie Harfleet states that his artistic practice is based
on what effects and motivates humans and in particular the dark and unspoken aspects of human society. He uses a range of media including painting, sculpture and photography to examine and question.
For 14, Harfleet looks at the statistics of domestic violence.
On average 14 women are killed in NZ by a member of their family each year. These women's names are briefly known to the general public before they become yet another number.
Le courage, l'incompréhension, le défi, la tristesse, la peur et pleins d'autres sentiments marquent souvent le regard des gens. Mais que peut-on lire dans les sentiments de cet escargot ?
Entre nous, j'en ai chié pour n'avoir que les deux yeux nets au même moment, mon regard devait être agacé 😅
Leider inzwischen Geschichte sind die Einsätze der "Taucherbrille" vor den UIC-Y-Wagen im Böhmerwald. Der SP 1702 von Klatovy nach Železná Ruda-Alžbětín wird seit Fahrplanwechsel aus zwei Triebwagen der Reihe 847 gebildet. Am 27. Oktober 2024 konnte ich die bestens gepflegte "Blitz-Brille" 754.022 vor besagtem Zug zwischen Špičák und Železná Ruda město fotografieren.
Unfortunately, the use of the ‘diving goggles’ in front of the UIC Y coaches in the Bohemian Forest is now history. Since the timetable change, the SP 1702 from Klatovy to Železná Ruda-Alžbětín has been formed by two class 847 railcars. On 27 October 2024, I was able to photograph the well-maintained 754.022 in front of the train in question between Špičák and Železná Ruda město.
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Berlin, Germany – 2018, November 04
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Konyaltii Beach at the west side of Antalya.
Inner peace is not a question of external circumstances, rather of internal readiness.
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Gustave Courbet - Le Désespéré
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> Il y a des regards qui traversent le temps sans jamais s’éteindre. Celui-ci en fait partie.
Peint entre 1843 et 1845, Le Désespéré est une œuvre de jeunesse de Gustave Courbet, bien avant qu’il ne devienne le chef de file du réalisme. Ici, il ne représente ni paysage, ni scène sociale, mais lui-même, ou du moins, une version intensifiée, presque théâtrale, de son être intérieur.
Les yeux grands ouverts, les mains dans les cheveux, le visage sous tension, tout semble figé dans une seconde d’intensité extrême. Est-ce de la peur, de la folie, ou une mise en scène de l’émotion à son point de rupture ? Courbet explore, teste, exagère… et capte quelque chose de profondément humain.
Recréer ce regard aujourd’hui, même à travers un avatar, c’est tenter de capter quelque chose d’insaisissable : une intensité, une faille, une humanité. Car certaines expressions ne se copient pas, elles se ressentent.
Entre passé et présent, réel et virtuel, ce regard continue de nous fixer. Et peut-être, au fond, de nous interroger.
(Avec les moyens du bord, et les limites propres aux avatars, notamment dans l’expression du regard, cette image se veut avant tout un hommage. Une tentative d’évocation, plus qu’une reproduction, guidée par l’admiration pour cette œuvre intemporelle.)
> Some gazes travel through time without ever fading. This is one of them.
Painted between 1843 and 1845, The Desperate Man is an early work by Gustave Courbet, long before he became the leading figure of Realism. Here, he depicts neither landscape nor social scene, but himself,or at least, an intensified, almost theatrical version of his inner self.
Wide-open eyes, hands clutching his hair, a face drawn tight with tension, everything seems frozen in a split second of extreme intensity. Is it fear, madness, or a staging of emotion at its breaking point? Courbet explores, experiments, exaggerates… and captures something deeply human.
Recreating this gaze today, even through an avatar, is an attempt to grasp something elusive: an intensity, a fracture, a shared humanity. Because some expressions cannot be copied, they must be felt.
Between past and present, real and virtual, this gaze still fixes itself upon us. And perhaps, deep down, it questions us in return.
(Working with the tools at hand, and the inherent limitations of avatars, especially in capturing such a powerful gaze, this image is intended as a tribute rather than a reproduction. An attempt to evoke, rather than replicate, a timeless masterpiece.)
from rilke: “try to love the questions themselves, like locked rooms and like books written in a foreign language. do not look for the answers. they cannot now be given to you because you could not live them. it is a question of experiencing everything. at present you need to live the question. perhaps you will gradually, without even noticing it, find yourself experiencing the answer.”
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
La Basilique de Fourvière recèle bien des merveilles et des curiosités, parmi elle: sa crypte !
Sous la basilique, crypte ou deuxième église?
La Basilique de Fourvière cache un grand mystère: la crypte. Sous l’église haute que nous présentons dans un autre article, un espace présentant les mêmes proportions accueillent toute personne s’y présentant. Alors est-ce une crypte? Est-ce une église basse? Les débats sont ouverts car nul n’est vraiment d’accord à ce sujet.
Et si nous en revenions aux définitions des mots? Dans le vocabulaire chrétien architectural, une crypte est une chapelle souterraine, généralement placée sous le chœur d’une église. Son origine est liée au culte des martyrs, elle servait à cacher, aux yeux des profanes, les tombeaux des martyrs.
A Fourvière, point de tombeau, d’une part. Et surtout, même si cet espace est bien souterrain, les proportions sont bien trop vastes et couvrent l’ensemble de l’église haute, pas seulement le chœur.
Les voûtes, qui ont moins de 10 m de hauteur, sont soutenues par des piliers flanqués de 38 colonnes cannelées.
Encore une question! En effet, l’église basse de Fourvière est dédiée à Joseph? Ou devrait on dire à saint Joseph? Joseph fut l’homme juste, que Dieu donna comme époux à Marie, mère de Dieu. Il fut donc le serviteur fidèle et prudent, à qui Dieu confia la Sainte Famille. Mais est-il saint pour autant? Ce n’est qu’au XV° siècle que Joseph reçut le titre de saint.
Pierre Bossan imagine l’église basse dédiée donc à saint Joseph comme l’entrée principale de la basilique. La symbolique est belle: le fidèle devait “aller à Marie par Joseph”, passant ainsi de l’obscurité de la crypte à la lumière de la basilique.
Joseph bénéficie donc d’une représentation particulière, et rare dans l’architecture chrétienne, dans la basilique de Fourvière. Sur l’autel, une statue le représente portant l’enfant Jésus Au pied se de la statue, un ensemble sculpté évoque sa mort.
That is the question. Thunderstorm June 17th, 2022. View previous image => for Not Cropped.
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This is the photo that started the conversation with questions that perhaps can't be answered. I've always liked and hated this shot. The larger Blue-eyed Darners are known to perch in a vertical position and, in 11 years, I've managed to capture just one of these three-inch beauties. It's funny that I was able to catch five of these in flight with an SX10 in 2010, but never just resting.
But the question came up, should I Photoshop all the grass out or would that be cheating? Opinions varied and still do. My problem was that I've never learned Photoshop, and although I think it's fantastic what can be done with the software, I also think there's a limit as to what changes can be made.
Besides, I have a mid-level software program which I use for some edition. Certainly cropping. Maybe a little contrast, but I rarely touch the color. Guaranteed that my Cardinal Meadowhawk is the brightest red you've ever or I've ever seen.
Over the years, I diddled with this shot. The only thing I could do is put a vignette around it, but that still left most of its habitat. I actually started the summer of 2019 trying to find another perched as this, but no luck. So, like it or not, here's my one and only Blue-eyed Darner Mosaic (aka, Mosaic Darner) in all its grassy splendor.
Ogni tanto mi piace usare il tele (200mm) per catturare i treni, l'effetto prospettico non è niente male ;-)
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Je n'ai pas boudé mon plaisir de photographier sous toutes les coutures cette fresque murale sur le thème de la Commune de Paris, rue de la ferme Savy (où furent situées les dernières barricades), au bas du parc de Belleville à Paris. Une fresque réalisée à l'occasion des 150 ans de la Commune par l'artiste Question Mark (projet des Amies et Amis de la Commune)
In the frosty wonderland of the Arctic, a playful seal emerges from the snowy blanket, its sleek body curving like a question mark. With a twinkle in its eye, the seal lifts its head from the glistening snow, as if on a mission to crack the code of the great celestial puzzle above. Its whiskers twitch with curiosity, and its eyes squint in a comically contemplative manner as it gazes upward toward the sunlit sky. Perhaps, in that whimsical moment, the seal is not merely looking for fish or a friendly game of ice-bound antics. No, it appears to be in search of the cosmic riddles that dance in the sunlight, wondering if the secrets of the universe are hidden among the clouds or if the answer to life's mysteries lies in the sparkle of the snowy expanse.
Question : S'agit-il d'une scène de rue ou d'une sainte scène ?
...En tout cas, ce ne sera pas la dernière.
....The little Veronicas made me a dress with their petals to meet the Moon....
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Veronicas series continues.... this time macro.... always the best to see closer beauty :)
I still have some ideas!! :)
Answer to the friends’ questions about how I made the previous photo...... Mirror Mirror Mirror :))
Have a wonderful week ahead!! ♥
It was late at night, at the end of another Saturday night demonstration in Jerusalem.
The policemen were evacuating the last young and enthusiastic protestors (this time without any violence).
She sat at the main junction were the demonstration took place; probably a bit tired.
*
Many argue these demonstrations are 'the best show in town'; I tend to agree. A photographer can return from them with a cam full of photos.
I can't recall any other 'photographic workshop' in Israel, in which I took so many photos :- )
Will the demonstrations have any effect?
This is the million Dollars question, no one knows to answer.
At least they are a great fun :- )