View allAll Photos Tagged Refinement
The first three members of a fleet of Enviro 400MMCs operating with Go North East from Consett depot, began in November 2019. They carry the attractive X lines branded livery with three shades of green applied.
An additional eleven of the type were introduced in September 2020 to allow other fast X routed services to become premium seated with the now customary refinements of public transport.
Goal: Communicate how using creativity to move an audience is not only hard work, but requires the refinement of ourselves and the "blood, sweat, and tears" of experience.
Audience: Sunday|Mag
Direction: We decided to go with a literal approach, thus the idea of a factory with "blood, sweat, & tears" generators was born.
Project: Article Artwork
Other info: This is the final product, but I am continually working on building a better approach to using texture in illustrations...so any PS brushes or tutorial suggestions any of you have would be much appreciated.
I shot this in front of Capitol (East), Washington DC. The purpose of the picture is to show beginners how to frame the shot to utilize the maximum length (Corner to corner) of the picture. You can get the entire field in focus by using a small aperture(11 or 16 in the old system) I also chose to keep the top level of the poles horizontal. Further refinement is possible by cropping, but this is a raw picture. Please comment freely.
some peace,comfort and refinement in the afternoon...
some tea
some lemon
lemon tea
enjoy the weekend,all
going to indulge in some shopping,some diwali bazaars .....
How many licks will it take to get to the center of this pop?
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Created in comfyui using a picture of myself in SL, a combination of controlnet nodes, and refinement tools.
another SOOC and proof that we (dakota.morrison and I) did see orchids that day. this one was gorgeous and i think we both got very similar shots. see below her beauty captured.
Explore #290
#121: As of 9/24/25, of my 4000+ pics, this is listed as #121 in most # of views.
#404: As of 2/19/21, of my 3100+ pics, this is listed as #404 in most # of faves.
#739: As of 12/15/21, under Flickr's popularity rankings of my 3100+ pics, this is listed as #739 in "interestingness."
For a fun interlude, this is a close-up/alternative image based off one of my popular pics posted here on flickr in the last year+. This particular image was generated with the help of the FaceApp application, where I took a photo of the original "1994-Halloween pic4" pic I've posted here, then just applied a filter in FA. This was done in part to help with the graininess or the poor lighting in the original - and to have some fun with the refinement. What do you think? :-)
Lamborghini Diablo VT (1993-98) Engine 5709cc V12 (348 cu in Production 400
LAMBORGHINI SET
www.flickr.com/photos/45676495@N05/sets/72157623795819738...
The Lamborghini Diablo was introduced in 1990 replacing the long running Countach. With initial design by Marcel Gandini then by Tom Gale (Chrysler), the car was manufactured between 1990-2001 with a facelift in 1999, and selling 2884 units.
The Diablo VT was introduced in 1993. Although the VT differed from the standard Diablo in a number of ways, by far the most notable change was the addition of all wheel drive, which made use of a viscous center differential (a modified version of LM002's 4WD system) and providing the name VT (viscous traction). The drivetrain could redirect up to 25pc. of torque to the front wheels to aid traction during a rear wheel slip, improving the cars handling. ther improvements debuting on the VT included front air intakes below the driving lamps to improve brake cooling, larger intakes in the rear arches, a more ergonomic interior with a revised dashboard, electronically adjustable dampers, four-piston brake calipers, power steering, and minor engine refinements. Many of these improvements, save the four-wheel drive system, soon transferred to the base Diablo, making the cars visually nearly identical.
Thankyou for a massive 57,349,503 views
Shot 28.10.2016 at The Alexandra Palace, London REF 124-123
The initial outline of my idea to illustrate my granddaughter's passion for books. Refinements are in the pipeline - more appropriate page images and Max will be wearing a better dress.
The C403o frame from Veldisfall Land Systems is a further refinement of the C213o frame. This model was originally designed as a military frame, but has found more use in remote mining operations and civilian security than on the battlefield.
The build is another riff on the the legs from LEGO 7's alternate 31032 red dragon model. The legs are modified slightly from the original and the C213o. My goal was to retain the general shaping and aesthetic without totally breaking 7P scale. Unfortunately, the frame is about 13 bricks tall and can't stand square in my sizing box.
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Built for Mobile Frame Zero - a tabletop wargame.
Mobile Frame Hangar (MFZ Community Forums).
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The Nikon F90X (N90s in the U.S. market) was the second and final version of what I call the third generation of semi-pro 35mm autofocus SLRs from Nikon. The second generation, the F801/F801s (N8008/N8008s), introduced reliable autofocus, together with built-in autowind and rewind, spot metering, a new single control wheel interface, and other features, to the semi-pro line. (Note: an even earlier Nikon autofocus design, the F501 (N2020), had early first generation autofocus capability and a completely different interface and viewfinder display.) The F90/F90x continued virtually the same interface and body design as the F801/F801s but upgraded the level of technology, especially in its final incarnation, the F90X. The F90X is the epitome of Nikon's single focus point autofocus film SLRs. The F90X's interface was changed and enhanced with the subsequent F100, which introduced dual control wheels. The F100 also adds multiple focus and spot metering points, together with support for modern vibration reduction/image stabilization (VR) lenses and slightly more flexible custom settings. While the F100 is in some ways a better film camera to use today than the F90X, the F90X already included 3D Matrix Metering, which is the biggest exposure metering advance in the industry until the later color matrix metering of the F5 and F6 (and subsequent digital SLRs). The F90X also supports the built-in Silent Wave motors of modern Nikon lenses. In spite of its technical advances over the F90X, the F100 has an even more severe problem than the F90X with decomposition of the rubbery surface of its camera backs. If you don't need support for VR and are looking for a low-cost high-tech AF body in the used market, the F90X could be just what you want.
With the big picture out of the way, let's look at the features and functions of the F90X in more detail. The original F90 appears to have been rushed out in 1992 to quickly upgrade the F801s as a way to compete with Canon in a rapidly developing market. However, the F90X was released less than two years later with a long list of major and minor refinements. Today, you would definitely want the F90X over the original F90. The biggest improvements in the F90X over the F90 were improved autofocus, and the ability to adjust P, S, and M modes in 1/3 stop increments rather than one stop increments. According to Nikon, both the F90 and F90X used the CAM246 AF detection system, so AF improvement from the F90 to F90X was presumably due to better software.
The F90X is an amazing camera. The F800 already felt very advanced, moving from an F3HP, when the F801 was released in 1988. But after upgrading from the F801 to the F90X, one really appreciated the more responsive autofocus, the addition of spot metering (I never moved to an F801s), and most of all 3D Matrix (multi-pattern) metering. The 3D matrix metering of the F90X enabled more accurate exposure metering, especially for flash photography with dedicated Nikon electronic flashes, by incorporating subject focus distance information from AF-D lenses into the exposure calculation. The F90X is optimized for use with AF-D lenses, either Nikkor lenses or from third-party manufacturers such as Sigma and Tamron. The F90X works with non-autofocus Ai lenses, but with such lenses, you can only use center-weighted and spot metering (no matrix metering) and you can only use the Aperture Priority and Manual exposure modes (no Program or Shutter Speed Priority modes). Also, the set aperture of non-AF lenses does not appear in the viewfinder since there is no optical ADR like on most earlier Nikon bodies. The F90X (unlike the previous F801/F801s) auto-focuses with later G-type lenses (with no aperture ring and Silent Wave focusing motor). While you cannot adjust the aperture of G-type lenses directly on the F90X, a very simple solution is to shoot in Program mode, but use Flexible Program by turning the control wheel to step through equivalent aperture/shutter speed combinations while keeping the EV fixed. (This works a bit like exposure lock on electronic Contax bodies.)
The size and weight of the F90X is a very reasonable 755g, especially by the standard of the F4 or F5. It is an incremental increase in size and weight over the F801/s. In addition, although the user manual only indicates four AA-type alkaline, manganese or NiCd batteries, both Nikon and my personal experience confirms that the F90X also works fine with relatively lightweight AA lithium batteries. Overall, the camera/battery combination, even with alkaline batteries, is perfect both for stability and also portability. I have personally only used alkaline and lithium batteries and both types last for a very long time, although of course not as long as the button batteries in older manual focus cameras, such as the F3 or FM2N. The F90X owner manual indicates a battery capacity of 50 rolls of 36-exposure film at 20 degrees Celsius. This is much more than the battery capacity of my F6, especially with a power-hungry VR lens attached to the F6. The F90X has a very solid and comfortable feel, with a metal interior, matte-type rubberized grip surfaces, and heavy-duty matte composite plastic exterior plates. The F90/X body design includes a molded hand grip that is very stable and comfortable, but does not excessively add to the dimensions of the body. The covering material on the F90/X is not as rubbery or tactile as newer Nikon bodies, but still offers a fine grip.
There was a well-known problem with the rubberized material on the exterior of the camera back. A few years ago, the rubberized material on on at least some samples of the F90/X started to decompose and become a sticky goo. The same problem happened to the back of my own F90X, which became extremely sticky and completely unusable. Fortunately, my camera tech was able to procure a new replacement back and make the camera like new. The new back, like the old, is indeed plastic except for the pressure plate and other hardware. Still, the construction of the new back is very solid and it fits snugly onto the camera body when closed, without any irritating play. I am not sure about the composition of the exterior surface of the new back. It is a very attractive matte black finish, that must either be some type of composite material, or a very fine sprayed on layer. In any event, it appears to be very durable and hopefully long-lasting.
With the F90X generation of Nikon bodies, if you want to adjust certain functions, such as auto exposure bracketing, multiple exposure operation, interval timer, film imprinting, etc., you will need to add a MF-26 Multi-Control back. You can also use the optional Data Link System and AC-2E card to adjust more settings, download stored data, etc.
The viewfinder of the F90X has a relatively low 92% image coverage. Such coverage is more appropriate for the era when people used mounted slides, which cut off the edges of the frame, but is more limiting in today's age when film is scanned directly after processing at the lab. On the other hand, you can crop the scanned images in Photoshop if necessary. You just need to keep in mind at the time of shooting that your image will include a bit more than you can see. The viewfinder display is well-organized, and the brightness of the soft green horizontal LCD display is just right for both bright and dim environments. The viewfinder eyepiece does not include an adjustable diopter. However, Nikon still makes a full range of single diopter lenses in current production. The F90X takes the same diopter lens as the F3HP, F801/S, F90 and F100.
Dual film advance modes of single frame and continuous High ( 4.3 fps) and Low (2.0) speed, offer more than enough speed for casual shooting.
As mentioned above, the exposure metering system of the F90X is extremely advanced. It has second generation software and three additional central segments in addition to the five metering segments of the FA and F801/s (plus spot), for a total of 8 segments. In addition, the new "3D" technology of the F90x increases the accuracy of the multi-segment metering system even further, especially for flash photography, with concurrent and later AF-D compatible lenses. Center-weighted metering is of course included, and is designed with a 75% weighting, which had become the new Nikon standard for center-weight, more like the 80% center-weight of the F3 than the 60% weight of classic Nikon camera meters. The 3mm spot meter had become standard since the earlier F801s. One of my few complaints about the design of the F90X is that the selected exposure metering system is not displayed in the viewfinder, unlike on many later models. Glasses wearers will prefer the selected exposure metering system to be indicated in the viewfinder so they can switch among the metering systems without putting your glasses on, especially since the control wheel interface makes it difficult to confirm the selected system by feel alone. The LCD display on the top of the camera duplicates much of the same information as the viewfinder display, plus additional information such as metering system and ISO. The exposure meter is very sensitive, covering EV -1 through EV 21 in matrix and center-weighted, and EV 3 to EV 21 for spot metering.
Although the F90X only has a single focus area, autofocusing is quite responsive. Of course, the focusing technique in the day of the single autofocus point was to focus on the appropriate object, lock the focus with the shutter release button or AF lock, recompose, and shoot. The focus indicator also works very well with most manual focus lenses (with greater than f/5.6 aperture). Just focus manually until the round digital in-focus indicator is displayed in the viewfinder; there is no need for a central focusing aid on the focusing screen, although you can also manually focus with the matte screen itself. The central focus area can be easily switched between Spot and Wide by pushing a button on the top right of the camera and turning the control wheel; which area you have selected shows up in the viewfinder display so you can switch back and forth with your eye to the viewfinder. The Wide autofocus area is actually quite large, covering more than half of the outer central circle of the viewfinder image. The autofocus system appears quite adept at following moving subjects that stay within this expanded focusing area.
The F90X has all of the required PASM exposure modes and then some. The camera adds Ps "Vari-Program" modes that automatically set the recommended shutter speed and aperture combinations for seven separate photographic situations, such as Portraits, Portraits with Red Eye Reduction, Landscape, Sports, Close Up, etc. However, anyone who properly knows their way around a camera, or wants to learn, has no need for these Vari-Program settings. Unlike exposure metering systems, it is extremely easy to adjust your exposure modes with your eye to the viewfinder; just push the Mode button on the top left of the camera and turn the control wheel to select the correct mode. The selected mode is always clearly indicated at the bottom of the viewfinder. Program mode is extremely useful, even for photographers who are expert at manual camera setting. In a pinch, the camera's Program mode can adjust exposure fully automatically. More commonly, however, it is convenient to let the camera select the correct EV and the approximate shutter speed/aperture combination in Program mode. You then simply turn the control wheel in Program Mode after you have metered the scene to select the exact shutter speed/aperture combination that you want in 1/3 stop increments. This technique becomes even more useful when using newer G-type lenses, which have no aperture ring, since you have no secondary control dial to change the aperture directly. Manual mode works very well with AF lenses that have aperture rings; the digital analog readout in the viewfinder indicates exposure deviation in 1/3 stop increments, although, unlike some later designs, it only displays the range of +-1 EV to save display real estate. Although you can't see exactly how far you you are when greater than +- 1 EV, I never found this to be a practical limitation.
The F90X has a highly advanced shutter. Using the control wheel, you can directly set the shutter speed in 1/3 stop increments all the way from 1/8000 sec. to 30 seconds. Standard electronic flash maximum synch speed is a modern 1/250 sec.
Exposure compensation of +- 5 EV is easy to set by pushing a button on top of the camera and turning the control wheel, with the amount of compensation visible in the viewfinder display in 1/3 stop increments. The camera also has an AE-Lock lever on the back for your right thumb. I find that I usually prefer to use Manual Mode rather than the AE-Lock lever.
One small advantage of the F90X as a fully electronic camera is its ability to easily set the self-timer delay between 2 to 30 seconds. Just push the appropriate button on the top left of the camera and turn the control wheel to set. It can be used as an alternative to a remove control cable. On the other hand, one disadvantage of fully electronic cameras, such as the F90X, is that you need to use a special electronic remote cord (MC-20) (rather than a standard mechanical cable) when taking Bulb exposures. Also, Bulb exposures can wear down the battery. Better to use a fully mechanical body if you plan to take lots of long Bulb exposures. (On the other hand, the MC-20 can automatically close the shutter after up to 99 hours, 59 minutes, 59 seconds! The MF-20 back, and apparently the AC-2E card, also provides this function.)
The F90X has easily interchangeable focusing screens. The single available optional screen adds a grid.
The MB-10 Multi-Power Vertical Grip is available if you need more battery longevity and bigger camera grip with vertical shutter release.
As already mentioned, with its 3D technology, the F90X is amazing for flash photography. If you know what you are doing, you can get great flash photographs even with non-TTL mechanical bodies. But TTL flash control is much more convenient, and the F90/x enhances the level of TTL matrix flash metering by, for the first time, incorporating focus distance from the lens into the exposure calculation. Just make sure to use AF-D type lenses or better, and one of the compatible Nikon electronic flash units. The most advanced concurrent flash with the F90X was the SB-28, which allows full use of the F90X's flash exposure features. The F90X also supports monitor pre-flash with the SB-25/26/28. (Later flashes, such as current production modern Nikon flashes, also work fully with the F90X. I usually use a current production SB-800 flash, even on the F90X.) Another nice feature of the F90X's flash technology is 3D Multi-Sensor Balanced Fill Flash. This function automatically reduces the output of the flash to supplement ambient light. Of course, is you want more precise control, fill-flash can also be set with appropriate manual flash negative compensation directly on the flash unit. Other flash features available with the F90X/SB-28 combination is Rear-Curtain Synch for motion photography and red eye reduction.
One generally unnecessary feature that has been omitted from the F90X is mirror lock-up (MLU).
To conclude, the F90X was and continues to be an amazing camera. The F90/X were the first semi-pro Nikon to incorporate 3D metering technology. It felt fun and was effective to use the camera with AF-D or newer lenses. The F90X offered virtually every function that you could think of, at least with its various accessories. The camera feels great in your hands and has a good form factor and weight for both travel and large lenses. Really the only limitation that irritates me about the F90X is that I can not use Matrix Metering, and there is no viewfinder display of the selected aperture, with manual focus lenses. In practice, this should not impact the quality of your images, but it is certainly less convenient. (Thankfully, this limitation was finally fixed in the F6 and some high-end Nikon DSLRs). The real limitations of the F90X today are its single focus point, its lack of support for VR lenses, and its lack of a second control wheel for G-type lenses. Thus, in the film world, you would need an F100 or F6 (and the consumer grade F75/F80) to get maximum benefit out of the newest generation of lenses. The control wheels and rubbery grip are more ergonomic on the F100 and F6, compared with the F90X.
Copyright © 2016 Timothy A. Rogers. All rights reserved.
(DSC_6109fin2)
Most faience is blue or green, so the blue-gray, yellow, brown and white colors on this exquisite vessel are rare refinements. The duck is depicted with such detailed naturalism that the underside even has delicately modeled webbed feet.
Photographed at the Walters Art Museum, Baltimore, Maryland.
The Magnum MK5's styling is bold and innovative. The aggressive yet purposeful design blends sleekness with forward thinking. The Magnum MK5's exterior styling extends into the cockpit where a modern look showcases controls that have been precision CNC machined out of aircraft grade aluminum and race-inspired seats molded in carbon fiber.
The MK5 displays an impressive power-to-weight ratio of 460bhp per tonne that delivers a mind-blowing 0-to-100 km/h acceleration in 3.2 second, while amazing handling conveys confidence and predictability. Extremely easy to drive fast, the Magnum MK5's high-end refinement and race-level technology deliver a fully immersive experience that is pure and exhilarating.
A docile alien lifeform surveys a field of crystals before harvesting them for refinement.
So I really like these large curved parts, finally got my hands on some, although I would have liked them in grey. Anyway, this is the result of playing around with them this evening.
Yes the base is MB, i have so many of them just lying in a box, I thought I would break one out for this shot becuase it just seem to fit.
#271: As of 4/27/22, of my 3200+ pics, this is listed as #271 in most # of views.
#362: As of 4/27/22, of my 3200+ pics, this is listed as #362 in most # of faves.
#1052: As of 11/15/21, under Flickr's popularity rankings of my 3000+ pics, this is listed as #1052 in "interestingness."
For a fun interlude, this is a close-up/alternative image based off one of my popular pics posted here on flickr in the last year+. This particular image was generated with the help of the FaceApp application, where I took a photo of the original "2018-12-13 video3-snap7" pic I've posted here, then just applied a filter in FA. This was done in part to help with the graininess or the poor lighting in the original - and to have some fun with the refinement. What do you think? :-)
Well, finally, after a long hiatus I am posting something. Humvee model, design from @tiger_1_3_1 on Instagram, with my refinements aimed at eliminating some "illegal" techniques, the camouflage is 100% taken from @brickbattlefield - I really hate reproducing camos in Lego, so I am really glad someone already made the vehicle in appropriate colors which I could copy onto my build.
Overall, 10/10 build, some clever techniques were used here, and most of the parts are easily available in necessary colors. Deals with Tiger are a treat!
Photos were taken with phone camera and with daylight being light source, I think it came out remarkably okay, for my photo skills lol. I will definitely get a proper lightbox and a lamp someday, it's just low on my priority list and I have problems with storage space (there's none).
You can expect more posts in coming weeks, as I did build some stuff over the last months, a lot of it are smaller things, not sure if I will drop them into single post or separate ones, I will see I guess.
This sumptuous and opulent ballroom is unique in the palace for the refinement of its Empire-style decor. Lorenzo Santi began the works on the design in 1822, and Giuseppe Borsato completed the decoration in 1838. At both ends, the room is bounded by loggias intended to house the orchestra; above the gilded Corinthian capitals of these fluted columns in polished stucco are two small apses that make the upper area of the ballroom into an oval. The centre of the ceiling is frescoed with Peace, surrounded by the Virtues and the Geni of Olympus. Painted by Odorico Politi, the work is a clear reference to the restoration of the Hapsburgs after the Napoleon period. At the end of the room there are two sculptures in Vicenza stone by Antonio Canova depicting Orpheus and Eurydice. Produced in 1777, they come from the garden of the Villa Falier in Asolo. The handling of the bodies and of their relation with the space around them clearly reveals how the young artist’s Late Baroque style was being changing for a revolutionary feeling in sculptural mass.
Visita il Museo Correr --- --- --- The room for which the church of San Geminiano was destroyed. --- --- --- en.wikipedia.org/wiki/San_Geminiano,_Venice
My replica of the gorgeous couch by JumboCollection. I made it a LE of only 3. The first piece is an iridescent, pale pearly rose couch accented with the sparkle of Aurora Boreale Swarovski crystals. An embodiment of luxury and refinement!
Single exposure with way to high iso, some "refinement" in LR/PS It´s the lighthouse Knarraróssviti and a former dairy processing facitlity, Rjómabúið að Baugsstöðum (the Creamfarm at Ringstead ;) ) from early 20th century, powered by the water wheal seen in the picture. When the creek froze (as in this picture) there was no power. Operated in the first half of last century. Now a museum. The Milky way is also there.
Treasure of the Sierra Madre was filmed here by John Huston:
Starring Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett, Barton MacLane, Alfonso Bedoya, Jay Silverheels and others, including a cameo by John Huston. Tampico is an oil producing area which was portrayed in the movie. Pemex, the Mexican National Oil Company owns production and refinement of products and several large coastal cities are centers of this activity including Tampico.
Photo taken with Konica AutoreflexA 35mm camera with Vivitar Series 1 70-210mm f3.5 zoom w/macro
A mecha beast for the Nindroid Army :D Still a wip so lets see how this goes ^^ This is a mechanized version based on the frame i used for my shin godzilla but given some refinements
Budapest
Tomb of Guttmann Family
Architect: Béla Lajta, 1908
Secession - premodern style
View the architect's works in my set: www.flickr.com/photos/37578663@N02/sets/72157645708831478
About Lajta Béla: lajtaarchiv.hu/az-archivumrol/?lang=en
Lajta Béláról: lajtaarchiv.hu/az-archivumrol/
"His mature work, striving to look beyond the eventualities of the fin-de-siècle and to create a modern yet enduring style is characterised by reducing mass to basic geometrical shapes, arriving at monumentality through the simplicity of form and the refinement of the choice of materials as well as clearly projecting the interior arrangement of the building onto the divisions of the facade. Lajta arrived at simple geometrical monumentality partly through studying historic architecture, so his work often uses abstract allusions to typical elements of the architecture of the ancient Middle East, Greek and Roman antiquity and other historic periods. He never gave up using ornamentation, thus his characteristically transformed, mostly folk art inspired motifs make a significant contribution to the general character of his buildings."
Oil tank and oil refinery factory in Thailand with smoke and frame from refinery process, industrial, power, energy and environment concept
Canción cristiana | La fe se obtiene con el refinamiento
www.kingdomsalvation.org/es/videos/with-refinement-comes-...
I
Si entiendes los actos de Dios en el camino de la vida,
Él se te aparecerá, Él te guiará desde dentro.
Si no puedes obedecer Sus palabras,
Dios no puede realizar Su obra.
Si te falta fe y pierdes la esperanza en Dios, ¿cómo vas a sentirlo?
Si tu fe es real, si tu fe no tiene dudas, si le abres tu corazón,
Él te perfeccionará, iluminará tu vida.
Si tu fe, si tu fe es real. Si tu fe, si tu fe es real.
II
En la adversidad y los problemas,
el hombre no puede ver el alcance de la obra de Dios, esto requiere fe.
La fe se obtiene sólo con el refinamiento,
o no puede evolucionar.
Si tienes nociones que no puedes abandonar, y empiezas a dudar,
te hundirás en los refinamientos.
Esos son los momentos cuando más necesitas la fe, tu fe.
Si tu fe es real, si tu fe no tiene dudas, si le abres tu corazón,
Él te perfeccionará, iluminará tu vida.
Si tu fe, si tu fe es real. Si tu fe, si tu fe es real.
Oh… Oh… Oh… Oh… Oh… Oh… Oh… Oh…
III
Si tu fe es real, si tu fe no tiene dudas, si le abres tu corazón,
Él te perfeccionará, iluminará tu vida.
Si tu fe, si tu fe es real. Oh…
Si tu fe es real, si tu fe no tiene dudas, si le abres tu corazón,
Él te perfeccionará, iluminará tu vida.
Si tu fe, si tu fe es real. Si tu fe, si tu fe es real. Oh…
De “Seguir al Cordero y cantar nuevos cánticos”
Escuchar más: Música cristiana de alabanza
A heavy refinement of my old Lex Luthor power-armour, featuring improved shaping and extra meanness.
Here to crush Superman and steal all the cakes.
One with a preset drop/reach, and the other with an adjustable strut that the user will cut to fit. The alpha testing provided the proof of concept, and this version has the suggested refinements. I'm pretty content with this version of the docking mechanism, and I expect that the beta testing will lead to small batch CNC production of the proprietary bits that go into the docking mechanism.
The unit on the right shows the docking button free of the barrel. When the bag is removed, this little button will be the only remnant visible on the outside of the bag. The bit of aluminum strap that is attached to the button will be inside of the bag, anchored to a simple internal stiffener.
As envisioned, the Dock-It™ core (barrel, button, spindle) will be made available without the mounting tab that is shown on these test units. Instead, the stainless spindle will have a plain end with a couple cm that can be bonded into a 3/8" x .028 tube. This will allow builders the freedom to create an attractive strut which attaches wherever (bar, stem, steerer) works best for the situation.
www.kingdomsalvation.org/es/experiencing-gods-refinement....
Himno de la Palabra de Dios
EXPERIMENTAR CÓMO DIOS
REFINA AL HOMBRE
ES LO MÁS SIGNIFICATIVO
I
Al ver el estado
del hombre y su actitud
frente a Dios,
Él hizo una obra nueva,
para que el hombre pueda tener
conocimiento de Él
y obedecerle,
tanto amarle
como darle testimonio.
Así el hombre
debe experimentar
cómo Dios lo refina,
así como Su juicio,
cómo poda y trata al hombre,
sin esto el hombre
nunca conocería a Dios
y no sería capaz
de amarlo realmente.
Dios refina al hombre
no sólo con una finalidad,
sino para conseguir
varios efectos.
Sólo así Dios obra
el refinamiento de aquellos
dispuestos a buscar la verdad;
para que
la determinación y el amor
de los hombres hacia Dios
sean perfeccionados por Él,
sean perfeccionados por Él.
II
Tal refinamiento
significa mucho para
los que buscan la verdad
y anhelan a Dios.
Tal refinamiento
significa mucho para
los que buscan la verdad
y anhelan a Dios.
III
Durante el refinamiento,
Dios hace público
Su justo carácter
y Sus requisitos.
Y provee más iluminación
y poda más y realiza
más tratos reales.
Al comparar los hechos
con la verdad,
hace que el hombre se conozca
mejor a sí mismo.
Le da un mayor
acceso a la verdad
y una mejor comprensión de
Dios refina al hombre no sólo
con una finalidad,
sino para conseguir
varios efectos.
Sólo así Dios obra
el refinamiento de aquellos
dispuestos a buscar la verdad;
para que
la determinación y el amor
de los hombres hacia Dios
sean perfeccionados por Él,
sean perfeccionados por Él,
sean perfeccionados por Él.
De "La Palabra manifestada en carne"
What you hear in the audio, is a National Guard Jet, being scrambled from Grand Junction, Colorado.
Its intent; to overwhelm a Targeted Individual (Me), a United States Citizen, on American soil. To get a true depth of the intensity, put on a pair of headphones and listen. I did not increase the gain, in the audio.
The 1st thing you hear, is me asking Koda, if he wanted to stay in. I was gathering my Half-wit Documentation Devices, before stepping out of our motorhome. This was 8:45 pm, 7-31-22. It was still light outside. I was bringing in our solar panels. I cut 1 minute 40 seconds, from the beginning, while I gathered my gear. I was outside when I said “They’ve been waiting all day for that”.
You can hear me ask Koda, if he wanted to stay in. He gave me the, Fuck Yes, Dad Look. He knew what to expect. Those involved in Gang Stalking (Domestic Terrorism), wait for this very moment. They will seize upon it; harassing Koda, and I, as I bring the panels daily. Sometimes they will use kids, motorcycles, remote toy cars, ATVs, vehicles; anything to generate a lot of noise. The noise and Village Idiot presence, are part of the Psyops; intended to overwhelm a target. These conspired acts are repeated day, after day. This, along with attacks from Direct Energy Weapons; will often push a Targeted Individual over the edge. The Target having nowhere to turn to, in the United States of America. This stimuli, just happened to be a National Guard Jet; scrambling from their Grand Junction, Base.
The base is only about 25 miles, by road. A lot less, in statute miles (by air). It only took the pilot a couple of minutes to get here. I had the Half-wit Documentation Device, setting by a window. I walked around the back of the motorhome, to gather my panels. I heard the Sonic Boom (about 40 seconds into the audio). It may have been covered by my voice a bit. I thought it was thunder at first. The Jet dove, directly at and over, our motorhome. You can hear it overwhelm, my voice. You can also hear me, not getting worked up over it. This has happened so many times, Koda and I expect it. It happened in Arizona, and Wyoming too. Even, a couple of times in California. This base just happens to be closer to our camp. It also shows I, like other Targets, am under 24 hour illegal surveillance.
Ask yourself; how many veterans, United States Citizens, will be overwhelmed by this? Is this why we need 880 billion, in Defense Spending?
Combine this, with daily doses, of continued noise, harassment, Direct Energy Attacks, and sleep deprivation. Combine this, with parents, using and teaching their children, to do the same. Combine this, with Law Enforcement turning their backs on you. Combine this, with medical and administrative staff; gaslighting, hatefully and vindictively, harassing you, preventing or intellectually delaying you from authorized care. Combine this, with career legislators, ignoring your plees, as they fill their coffers with riches. All of this happens to Targeted Individuals, in the United States of America, EVERY FUCKING DAY! This is Gang Stalking (Domestic Terrorism).
You won't hear CIA Director, William Burns, talk of this during his televised interviews. While, unknowing United States Citizens, are being used as test subjects, in the refinement of Direct Energy Weapons.
You won't hear this from FBI Director, Christopher Wray, as he criticizes other Nation for doing the same.
You won’t hear this from Secretary of Veteran’s Affairs Denis McDonough. As veterans lay dying, waiting for vile, vindictive, medical and administrative staff; to provide the care they were promised. You won't hear this from president after president; as they send our men and women to war. Then, turns their backs on us, when in need.
This is the Real United States of America! Don’t let anyone, I mean anyone, tell you different.
I don’t want your pity, your money, or fame. I want you to know the truth about what we call Leadership, or lack of. I want you to know what actually happens to Veterans, Citizens; that dare to speak out against the monstrosities, committed daily, by our government agencies. I am a Patriot. I love this country. I hate what the controlling powers are doing to it, and its people. Knowledge, Truth and Exposure are powerful tools. Expose the Truth!
All photos and content in my photostream are free to download, copy, print and share. All I ask, is you maintain my copyright logos on all prints. Thanks for visiting our photostream
A cúpula (o Domo), no interior do Panteão, em Roma.
The Dome, at Pantheon's Interior, in Rome.
A text, in english, from Wikipedia, the free encyclopedia:
Pantheon, Rome.
The Pantheon (Latin: Pantheon, from Greek: Πάνθειον, meaning "Temple of all the gods") is a building in Rome which was originally built as a temple to all the gods of Ancient Rome, and rebuilt circa 126 AD during Hadrian's reign. The intended degree of inclusiveness of this dedication is debated. The generic term pantheon is now applied to a monument in which illustrious dead are buried. It is the best preserved of all Roman buildings, and perhaps the best preserved building of its age in the world. It has been in continuous use throughout its history. The design of the extant building is sometimes credited to Trajan's architect Apollodorus of Damascus, but it is equally likely that the building and the design should be credited to Emperor Hadrian's architects, though not to Hadrian himself as many art scholars once thought. Since the 7th century, the Pantheon has been used as a Roman Catholic church. The Pantheon is the oldest standing domed structure in Rome. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft).
n the aftermath of the Battle of Actium (31 BC), Agrippa built and dedicated the original Pantheon during his third consulship (27 BC). Agrippa's Pantheon was destroyed along with other buildings in a huge fire in 80 AD. The current building dates from about 126 AD, during the reign of the Emperor Hadrian, as date-stamps on the bricks reveal. It was totally reconstructed with the text of the original inscription ("M·AGRIPPA·L·F·COS·TERTIVM·FECIT", standing for Latin: Marcus Agrippa, Lucii filius, consul tertium fecit translated to "'Marcus Agrippa, son of Lucius, Consul for the third time, built this") which was added to the new facade, a common practice in Hadrian's rebuilding projects all over Rome. Hadrian was a cosmopolitan emperor who travelled widely in the East and was a great admirer of Greek culture. He might have intended the Pantheon, a temple to all the gods, to be a kind of ecumenical or syncretist gesture to the subjects of the Roman Empire who did not worship the old gods of Rome, or who (as was increasingly the case) worshipped them under other names. How the building was actually used is not known.
Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio's book appears to be the only near-contemporary writing on the Pantheon, and it is interesting that even by the year 200 there was uncertainty about the origin of the building and its purpose:
Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens. (Cassius Dio History of Rome 53.27.2)
The building was repaired by Septimius Severus and Caracalla in 202 AD, for which there is another, smaller inscription. This inscription reads "pantheum vetustate corruptum cum omni cultu restituerunt" ('with every refinement they restored the Pantheon worn by age').
In 609 the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to Santa Maria ad Martyres, now known as Santa Maria dei Martiri.
The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation which befell the majority of ancient Rome's buildings during the early medieval period. Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:
Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary] which at one time was called the Pantheon, and had been founded in honor of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.
Much fine external marble has been removed over the centuries, and there are capitals from some of the pilasters in the British Museum. Two columns were swallowed up in the medieval buildings that abbutted the Pantheon on the east and were lost. In the early seventeenth century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers built by Maderno, which were not removed until the late nineteenth century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior and the great bronze doors have survived, although both have been extensively restored.
Since the Renaissance the Pantheon has been used as a tomb. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Architects, like Brunelleschi, who used the Pantheon as help when designing the Cathedral of Florence's dome, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. This led the Roman satirical figure Pasquino to issue the famous proverb: Quod non fecerunt barbari, fecerunt Barberini ("What the barbarians did not do, the Barberinis [Urban VIII's family name] did")
In 1747, the broad frieze below the dome with its false windows was “restored,” but bore little resemblance to the original. In the early decades of the twentieth century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Also buried there are two kings of Italy: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. Although Italy has been a republic since 1946, volunteer members of Italian monarchist organizations maintain a vigil over the royal tombs in the Pantheon. This has aroused protests from time to time from republicans, but the Catholic authorities allow the practice to continue, although the Italian Ministry of Cultural Heritage is in charge of the security and maintenance.
The Pantheon is still used as a church. Masses are celebrated there, particularly on important Catholic days of obligation, and weddings.
The building is circular with a portico of three ranks of huge granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment opening into the rotunda, under a coffered, concrete dome, with a central opening (oculus), the Great Eye, open to the sky. A rectangular structure links the portico with the rotunda. Though often still drawn as a free-standing building, there was a building at its rear into which it abutted; of this building there are only archaeological remains.
In the walls at the back of the portico were niches, probably for statues of Caesar, Augustus and Agrippa, or for the Capitoline Triad, or another set of gods. The large bronze doors to the cella, once plated with gold, still remain but the gold has long since vanished. The pediment was decorated with a sculpture — holes may still be seen where the clamps which held the sculpture in place were fixed.
The 4,535 metric ton (5,000 tn) weight of the concrete dome is concentrated on a ring of voussoirs 9.1 metres (30 ft) in diameter which form the oculus while the downward thrust of the dome is carried by eight barrel vaults in the 6.4 metre (21 ft) thick drum wall into eight piers. The thickness of the dome varies from 6.4 metres (21 ft) at the base of the dome to 1.2 metres (4 ft) around the oculus. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft), so the whole interior would fit exactly within a cube (alternatively, the interior could house a sphere 43.3 metres (142 ft) in diameter). The Pantheon holds the record for the largest unreinforced concrete dome. The interior of the roof was possibly intended to symbolize the arched vault of the heavens. The Great Eye at the dome's apex is the source of all light in the interior. The oculus also serves as a cooling and ventilation method. During storms, a drainage system below the floor handles the rain that falls through the oculus.
The interior features sunken panels (coffers), which, in antiquity, may have contained bronze stars, rosettes, or other ornaments. This coffering was not only decorative, but also reduced the weight of the roof, as did the elimination of the apex by means of the Great Eye. The top of the rotunda wall features a series of brick-relieving arches, visible on the outside and built into the mass of the brickwork. The Pantheon is full of such devices — for example, there are relieving arches over the recesses inside — but all these arches were hidden by marble facing on the interior and possibly by stone revetment or stucco on the exterior. Some changes have been made in the interior decoration.
It is known from Roman sources that their concrete is made up of a pasty hydrate of lime, with pozzolanic ash (Latin pulvis puteolanum) and lightweight pumice from a nearby volcano, and fist-sized pieces of rock. In this, it is very similar to modern concrete. No tensile test results are available on the concrete used in the Pantheon; however Cowan discussed tests on ancient concrete from Roman ruins in Libya which gave a compressive strength of 2.8 ksi (20 MPa). An empirical relationship gives a tensile strength of 213 psi (1.5 MPa) for this specimen. Finite element analysis of the structure by Mark and Hutchison found a maximum tensile stress of only 18.5 psi (0.13 MPa) at the point where the dome joins the raised outer wall. The stresses in the dome were found to be substantially reduced by the use of successively less dense concrete in higher layers of the dome. Mark and Hutchison estimated that if normal weight concrete had been used throughout the stresses in the arch would have been some 80% higher.
The 16 gray granite columns Hadrian ordered for the Pantheon's pronaos were quarried at Mons Claudianus in Egypt's eastern mountains. Each was 39 feet (11.8 m) tall, five feet (1.5 m) in diameter, and 60 tons in weight. These were dragged on wooden sledges when transporting on land. They were floated by barge down the Nile and transferred to vessels to cross the Mediterranean to the Roman port of Ostia where they were transferred back onto barges and up the Tiber to Rome.
As the best-preserved example of an Ancient Roman monumental building, the Pantheon has been enormously influential in Western Architecture from at least the Renaissance on; starting with Brunelleschi's 42-meter dome of Santa Maria del Fiore in Florence, completed in 1436 – the first sizeable dome to be constructed in Western Europe since Late Antiquity. The style of the Pantheon can be detected in many buildings of the nineteenth and twentieth centuries; numerous city halls, universities and public libraries echo its portico-and-dome structure. Examples of notable buildings influenced by the Pantheon include: the Panthéon in Paris, the Temple in Dartrey, the British Museum Reading Room, Manchester Central Library, Thomas Jefferson's Rotunda at the University of Virginia, the Rotunda of Mosta, in Malta, Low Memorial Library at Columbia University, New York, the domed Marble Hall of Sanssouci palace in Potsdam, Germany, the State Library of Victoria, and the Supreme Court Library of Victoria, both in Melbourne, Australia, the 52-meter-tall Ottokár Prohászka Memorial Church in Székesfehérvár, Hungary, Holy Trinity Church in Karlskrona by Nicodemus Tessin the Younger, Sweden, The National Gallery of Art West Building by John Russell Pope, located in Washington, D.C, as well as the California State Capitol in Sacramento.
The present high altar and the apse were commissioned by Pope Clement XI (1700-1721) and designed by Alessandro Specchi. In the apse, a copy of a Byzantine icon of the Madonna is enshrined. The original, now in the Chapel of the Canons in the Vatican, has been dated to the 13th century, although tradition claims that it is much older. The choir was added in 1840, and was designed by Luigi Poletti.
The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari (1686) painted by an unknown artist. The first chapel on the right, the Chapel of the Annunciation, has a fresco of the Annunication attributed to Melozzo da Forli. On the left side is a canvas by Clement Maioli of St Lawrence and St Agnes (1645-1650). On the right wall is the Incredulity of St Thomas (1633) by Pietro Paolo Bonzi.
The second niche has a 15th century fresco of the Tuscan school, depicting the Coronation of the Virgin. In the second chapel is the tomb of King Victor Emmanuel II (died 1878). It was originally dedicated to the Holy Spirit. A competition was held to decide which architect should be given the honor of designing it. Giuseppe Sacconi participated, but lost — he would later design the tomb of Umberto I in the opposite chapel. Manfredio Manfredi won the competition, and started work in 1885. The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy. The golden lamp above the tomb burns in honor of Victor Emmanuel III, who died in exile in 1947.
The third niche has a sculpture by Il Lorenzone of St Anne and the Blessed Virgin. In the third chapel is a 15th-century painting of the Umbrian school, The Madonna of Mercy between St Francis and St John the Baptist. It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing. It was moved to the Chapel of the Annunciation, and then to its present position some time after 1837. The bronze epigram commemorated Pope Clement XI's restoration of the sanctuary. On the right wall is the canvas Emperor Phocas presenting the Pantheon to Pope Boniface IV (1750) by an unknown. There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St. Anastasio (1725) by Bernardino Cametti.
On the first niche to the left of the entrance is an Assumption (1638) by Andrea Camassei. The first chapel on the left, is the Chapel of St Joseph in the Holy Land, and is the chapel of the Confraternity of the Virtuosi at the Pantheon. This refers to the confraternity of artists and musicians that was formed here by a 16th-century Canon of the church, Desiderio da Segni, to ensure that worship was maintained in the chapel. The first members were, among others, Antonio da Sangallo the younger, Jacopo Meneghino, Giovanni Mangone, Zuccari, Domenico Beccafumi and Flaminio Vacca. The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini, Cortona, Algardi and many others. The institution still exists, and is now called the Academia Ponteficia di Belle Arti (The Pontifical Academy of Fine Arts), based in the palace of the Cancelleria. The altar in the chapel is covered with false marble. On the altar is a statue of St Joseph and the Holy Child by Vincenzo de Rossi. To the sides are paintings (1661) by Francesco Cozza, one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right. The stucco relief on the left, Dream of St Joseph is by Paolo Benaglia, and the one on the right, Rest during the flight from Egypt is by Carlo Monaldi. On the vault are several 17th-century canvases, from left to right: Cumean Sibyl by Ludovico Gimignani; Moses by Francesco Rosa; Eternal Father by Giovanni Peruzzini; David by Luigi Garzi and finally Eritrean Sibyl by Giovanni Andrea Carlone.
The second niche has a statue of St Agnes, by Vincenco Felici. The bust on the left is a portrait of Baldassare Peruzzi, derived from a plaster portrait by Giovanni Duprè. The tomb of King Umberto I and his wife Margherita di Savoia is in the next chapel. The chapel was originally dedicated to St Michael the Archangel, and then to St. Thomas the Apostle. The present design is by Giuseppe Sacconi, completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze. The frieze has allegorical representations of Generosity, by Eugenio Maccagnani, and Munificence, by Arnaldo Zocchi. The royal tombs are maintained by the National Institute of Honour Guards to the Royal Tombs, founded in 1878. They also organize picket guards at the tombs. The altar with the royal arms is by Cirilli.
The third niche holds the mortal remains — his Ossa et cineres, "Bones and ashes", as the inscription on the sarcophagus says — of the great artist Raphael. His fiancée, Maria Bibbiena is buried to the right of his sarcophagus; she died before they could marry. The sarcophagus was given by Pope Gregory XVI, and its insription reads ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI / RERUM MAGNA PARENS ET MORIENTE MORI, meaning "Here lies Raphael, by whom the mother of all things (Nature) feared to be overcome while he was living, and while he was dying, herself to die". The epigraph was written by Pietro Bembo. The present arrangement is from 1811, designed by Antonio Munoz. The bust of Raphael (1833) is by Giuseppe Fabris. The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524.
In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches. The wooden crucifix on the altar is from the 15th century. On the left wall is a Descent of the Holy Ghost (1790) by Pietro Labruzi. On the right side is the low relief Cardinal Consalvi presents to Pope Pius VII the five provinces restored to the Holy See (1824) made by the Danish sculptor Bertel Thorvaldsen. The bust is a portrait of Cardinal Agostino Rivarola. The final niche on this side has a statue of St. Rasius (S. Erasio) (1727) by Francesco Moderati.
Refinement Vanessa stole her doppleganger sister's look. Will the real Cindy Crawford please stand up?
Lip touchup
www.holyspiritspeaks.org/god-love-has-awoken-my-heart/
Hymn
God's Love Has Awoken My Heart
I
Remembering when God was with us,
my heart feels incomparable joy.
God utters His words.
They lead my heart
and accompany my life.
God's severe judgment
reveals my corruption,
and I come to know myself.
I have suffered so much
pain and refinement,
yet I enjoy the sweetness of love.
I see God's heart and His love,
caring for people all the time.
(God's love has awoken my heart.)
He's with us day and night,
living and meeting together.
(God's love has awoken my heart.)
His words are always with us.
(God's love has awoken my heart.)
He humbles and hides Himself.
He's always with us.
God's love has awoken my heart.
He gives us the utmost
care and attention.
His love has awoken my heart.
II
Living together for so many years,
I have seen so much of God's beauty.
It has taken hold of my heart,
affected how I feel;
I sincerely love God.
I have suffered so much
pain and refinement,
yet I enjoy the sweetness of love.
I see God's heart and His love,
caring for people all the time.
(God's love has awoken my heart.)
He's with us day and night,
living and meeting together.
(God's love has awoken my heart.)
His words are always with us.
(God's love has awoken my heart.)
He humbles and hides Himself.
He's always with us.
God's love has awoken my heart.
He gives us the utmost
care and attention.
His love has awoken my heart.
III
God has suffered so much pain
in silence.
He grieves from our resistance,
rebellion and
frequent misunderstandings.
Yet He is patient and tolerant.
He works as He always has.
We are ignorant and unaware,
so numb and slow to respond.
Why do we make God worry
so much about us?
(God's love has awoken my heart.)
He's with us day and night,
living and meeting together.
(God's love has awoken my heart.)
His words are always with us.
(God's love has awoken my heart.)
He humbles and hides Himself.
He's always with us.
God's love has awoken my heart.
He gives us the utmost
care and attention.
I resolve to repay His kindness.
I won't make God
worry about me again.
(God's love has awoken my heart.)
Because God's love
has awoken my heart.
from Follow the Lamb and Sing New Songs
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This was a bit of a test, for future refinement. 1st exp. [50mm f/5 20s] for window. Swapped to 14mm for 2nd exp. [f/5 25s] Orange flash. Capped. 3rd exp. [f/5 40s] Blue back lighting & mood lamp - MITZ6085
Alessandra went on a little cruise with us today to the chalk cliff coast on the island Rügen.
Fashion credits: Outfit made by Frau E
[model is Chiara Monteforte]
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The Royal Palace of Venaria, located just outside Turin, was built in 1675 by Duke Charles Emmanuel II of Savoy as a grand hunting lodge and summer residence. A masterpiece of Baroque architecture, it was designed to showcase the power and refinement of the House of Savoy, with vast gardens, opulent halls, and an expansive park. Abandoned and later restored in the 21st century, La Venaria Reale is now one of Italy’s most spectacular cultural landmarks and a UNESCO World Heritage site, symbolizing both the splendor and resilience of Savoyard heritage.