View allAll Photos Tagged Rejection
I have often asked, “Do you know why older people are so sensitive?” quickly followed by my version of the answer;
“It is because unlike joy which is somewhat limitless, our ability to deal with rejection which is the source of most sadness, is like being born with a book of tickets.
Each time we face rejection we would use one or more tickets.
As we grow older, we realize that we still have a long life ahead of us but not enough tickets left.
So, we choose our battles and we weather the rest”.
ps: This is my first male portrait uploaded since September 2015.
And yes! It is a candid shot.
ps: As usual, forever and ever plugging my one You Tube video.
Voyage en absurdie
Succession de photos saisies à l’instinct sans lien direct entre-elles.
Du noir et blanc alors que Marseille regorge de lumière, de couleurs.
De la banalité des lieux, des instants, captés par mon oeil bienveillant sur cette ville qui suscite passion, rejet voire même haine.
Marseille - Mai 2022
Day-long absurd trip
Succession of photos captured on instinct with no direct link between them.
Black and white while Marseille is full of light and colors.
From the banality of places, moments, captured by my benevolent eye on this city that arouses passion, rejection and even hatred.
Marseille - May 2022
© Leanne Boulton, All Rights Reserved
Candid street photography from Glasgow, Scotland. Despite the fact that I believe the two characters in my shot to be completely unrelated, the body language of both leads to some great imaginative stories. As always you can enjoy full screen by pressing 'L' or clicking on the image!
People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands - literally thousands - of songs about broken hearts and rejection and pain and misery and loss. - Nick Hornby
Chartreuse du Reposoir, Haute-Savoie, Auvergne-Rhône-Alpes, France.
La Chartreuse du Reposoir es una antigua cartuja situada en el territorio del municipio del mismo nombre, en el departamento de Alta Saboya, en la región de Auvernia-Ródano-Alpes.
Situado en el valle del Foron du Reposoir, en un circo boscoso al borde de un pequeño lago, los edificios que bordean el río están dominados por la cadena Reposoir al este y la cadena Bargy al noroeste. El establecimiento fue fundado en 1151 por el Beato Cartujo Juan de España y estuvo ocupado ininterrumpidamente hasta la Revolución Francesa y luego entre 1866 y 1901. La antigua Cartuja alberga una comunidad de monjas carmelitas desde 1932 y hoy se llama Monasterio del Carmelo de Reposoir. La Chartreuse está clasificada como monumento histórico.
La cartuja forma una plaza orientada de oeste a este, y reúne en su recinto lo que originalmente se llamaba la Correrie que estaba separada del monasterio.
El gran claustro rodea todas las casas de los Padres Cartujos; sus bóvedas en forma de silbato penetran los muros sin apoyo. Así llega cada monje a su casa. Las celdas de los Padres constituyen el cuadrado al norte y al sur y lo completan al este. El muro del cerramiento conecta los del norte entre sí; al sur y al este, se desprenden de él. Al pie de cada uno hay un parterre de flores de forma cuadrada. En la pared de enfrente está fijada una gran cruz negra, que el cenobita ve necesariamente cuando mira hacia afuera.
Las celdas se indican con una letra del alfabeto. Al lado de la puerta hay un pequeño portillo donde el solitario viene a recoger sus provisiones. Si necesita otras cosas, sólo tiene que dejar allí una nota con la letra de su celular. La cama tiene forma de armario, la ropa de cama se compone de un gran palet de lona, un almohadón, sábanas y unas cuantas mantas de lana que sustituyen a las de antaño. Junto al lecho se encuentra el oratorio, formado por una sillería y un reclinatorio, donde el monje recita la mayor parte de los servicios.
Al oeste de este claustro se encuentran la iglesia, la sala capitular y el pequeño claustro que data del siglo XVI y restaurado en 1929. Su construcción se atribuye a la generosidad de la Casa de Saboya cuyas armas aparecen entre las dieciséis claves policromadas. Este claustro está formado por cuatro galerías cubiertas que rodean un patio. Cada arcada de arco apuntado que da al patio se subdivide en una red de tres pequeños arcos polibados y tracería flamígera. Los grandes pilares cuadrados, la prohibición sistemática de la decoración escultórica y el rechazo de la vertical dan a este edificio del gótico tardío un aspecto achaparrado, pesado y austero. Las bóvedas de crucería, características de la arquitectura gótica, se basan en dos arcos apuntados que se cruzan en diagonal. Estas bóvedas y arcos están formados por claves, piedras talladas en forma de cuñas, apoyadas unas sobre otras. La clave es la llave central colocada en lo alto de una bóveda y que bloquea las demás piedras en la posición deseada.
La iglesia, cuya primera piedra fue colocada por Aymon I de Faucigny, hermano de Ardutius de Faucigny, obispo de Ginebra, es de estilo ojival. A lo largo del muro norte de la iglesia se encuentran la Capilla del Beato Juan de España (ahora sacristía interior) y la Capilla de San Antonio (hoy sacristía exterior para sacerdotes).
The Chartreuse du Reposoir is a former charterhouse located on the territory of the municipality of the same name, in the Haute-Savoie department, in the Auvergne-Rhône-Alpes region.
Located in the valley of the Foron du Reposoir, in a wooded cirque on the edge of a small lake, the buildings bordering the river are dominated by the Reposoir chain to the east and the Bargy chain to the northwest. The establishment was founded in 1151 by the Blessed Carthusian John of Spain and was occupied continuously until the French Revolution and then between 1866 and 1901. The former Carthusian has housed a community of Carmelite nuns since 1932 and today is called the Monastery of the Carmel of Reposoir. La Chartreuse is classified as a historical monument.
The charterhouse forms a square oriented from west to east, and brings together in its enclosure what was originally called the Correrie, which was separated from the monastery.
The great cloister surrounds all the houses of the Carthusian Fathers; Its whistle-shaped vaults penetrate the walls without support. This is how each monk arrives at his house. The cells of the Fathers constitute the square to the north and south and complete it to the east. The enclosure wall connects the northern ones to each other; to the south and east, they detach themselves from it. At the foot of each one is a square flower bed. On the opposite wall is fixed a large black cross, which the Cenobite necessarily sees when he looks out.
Cells are indicated by a letter of the alphabet. Next to the door there is a small gate where the loner comes to collect his supplies. If he needs other things, he just has to leave a note there with the handwriting on his cell phone. The bed is shaped like a wardrobe, the bedding consists of a large canvas pallet, a pillow, sheets and a few wool blankets that replace those of yesteryear. Next to the bed is the oratory, made up of a chair and a kneeler, where the monk recites most of the services.
To the west of this cloister are the church, the chapter house and the small cloister dating from the 16th century and restored in 1929. Its construction is attributed to the generosity of the House of Savoy whose arms appear among the sixteen polychrome keys. This cloister is made up of four covered galleries that surround a patio. Each pointed arch arcade facing the courtyard is subdivided into a network of three small polybate arches and flamboyant tracery. The large square pillars, the systematic prohibition of sculptural decoration and the rejection of the vertical give this late Gothic building a squat, heavy and austere appearance. The cross vaults, characteristic of Gothic architecture, are based on two pointed arches that intersect diagonally. These vaults and arches are formed by keystones, stones carved in the shape of wedges, resting on each other. The key is the central key placed at the top of a vault and which locks the other stones in the desired position.
The church, whose foundation stone was laid by Aymon I de Faucigny, brother of Ardutius de Faucigny, bishop of Geneva, is in the ogival style. Along the north wall of the church are the Chapel of Blessed John of Spain (now the interior sacristy) and the Chapel of Saint Anthony (today the exterior sacristy for priests).
Even in the grounds of the hotel we couldn’t completely escape the sales pitches. Each day as we settled by the pool, the same guys would make their way around the sunbeds, reintroducing themselves to the punters as if they’d never met us before. The young man from the spa was particularly immune to rejection. At least twice a day he’d approach us and ask if we’d changed our mind about being beaten up by one of his team of masseurs. Twice a day we politely rebuffed his overtures, making it clear that the service he offered wasn't in our lexicon of fun things to do. Other suitors came and went throughout the afternoons, trying to sell us all manner of things we’d shown absolutely no interest in. At least they weren’t as persistent as those naughty Bedouin tribesmen in the mountains who refused to take no for an answer. The only way to deal with them was to avoid eye contact and keep moving. Not long after arriving, we booked the desert buggy safari, and some time before leaving home I’d paid for the overnight excursion to Mount Sinai, but apart from that we were very happy right here. I’d been put off the scuba diving experience by a tragic accident in the Red Sea that had been in the news just a few weeks beforehand. I could stick to using my snorkelling gear down on the hotel’s private beach. At the welcome meeting on the first morning, one well heeled young couple from London paid for a number of excursions, including day trips to Cairo and Luxor. The total bill came close to what I paid for the pair of us to spend two weeks here.
So the hotel grounds were our home for most of the two weeks that we spent in Egypt. As long as we stayed down on the beach, or by the unheated infinity pool that overlooked the Red Sea, things were relatively peaceful, with Fahim, our friendly waiter, bringing drinks to us on a tray at regular intervals. Well they were peaceful with the exception of the septuagenarian card school from Preston who couldn’t live without the collection of 1960’s hits that rattled out of a tinny speaker on the first afternoon of our stay. We gave them a wide berth afterwards. Down here, egrets and hoopoes, shy birds in Europe, populated the lawns with the bravado of pigeons, prospecting for invertebrates and whatever else they could find. Most residents spent the daytime at the bunga bunga pool, where loud music blared from huge speakers for several hours at a time as the all inclusive party monsters barely moved from their underwater stools beside the bar. We jumped in that pool just once. It was lovely and warm, but within three minutes of being there I couldn’t take any more from a number of the potty mouthed patrons who were unable to string a sentence together without throwing in an F bomb or seven.
For a couple of hours each afternoon, just around five, the quiet time descended like a soft embrace. By now we’d be on the balcony of our apartment, listening to nature’s music, the evening chorus, overlooking the still glowing bunga bunga pool as the yellow and blue clad animations team switched all the noisy things off and headed for their quarters before supper. And there with reassuring regularity went the hotel grounds team, just like always, walking along the path towards reception. All of them clad from head to foot in green workwear, three of them sporting the trademark white wellies, while the other, presumably the boss, wore plain black shoes.
In one corner of the hotel grounds were a handful of shops selling things we neither needed nor wanted, but one evening Ali couldn’t resist dragging me over in that direction after dinner, just to browse. And there in the window of the first shop was the answer for all of us of a certain age. Sphinx Anti-Wrinkle Oils, an organic moisturiser. On the box, a picture supposedly showed two halves of the same female face. The right side portrayed a sixty-five year old zombie with an ominous looking skin complaint, while on the left sparkled a fresh looking beauty in the first bloom of youth. If the transformation were genuine, demand would be off the scale and the world would run out of Sphinx Anti-Wrinkle Oils overnight. People would be spending weeks at a time lying in bath tubs full of the stuff in California. I couldn’t help thinking it was a mistake for the beauty queen to be on the left, but then again doesn’t the Arab world read from the other side of the page? I knew too that it was a mistake for Ali to take a photo of this dubious looking product with its barely credible claims, but she couldn’t resist. And I also knew the irony would go whooshing over the head of the salesman waiting behind us for his moment to pounce. It’s hard to back out when they sink their teeth into a potential customer.
He asked us where we came from, no doubt a salesman’s trick to put the target at ease, although this always has completely the opposite effect on me. We like to answer with “Cornwall” rather than “Britain” or “England” and watch the confusion spread across peoples’ faces. It’s the only form of counter attack we have. But this one was keeping an unplayable ace up his sleeve. Looking at her, he came back with “Inside I’ve got something. If you give him two drops it will turn him into crazy horse for four or five hours.” What, like the Osmonds? Ali giggled nervously as I quietly died on the inside. It was time to move on, and quickly. We skirted the other shops, looked into the Piri Piri Bar from the outside, decided we preferred the one in the lobby, and snuck off into the shadows to walk around the grounds in peace.
Acid attacks have been a horrific phenomenon in Bangladesh for several decades. In most cases, victims are women and children who have been targeted for various reasons, including rejection of marriage proposals, disputes over property, or family issues. These attacks are typically carried out by disgruntled partners, relatives, or acquaintances using cheap and easily accessible acid.
The effects of acid attacks are both physical and psychological, and they often leave victims with lifelong scars. Acid burns can cause severe disfigurement, blindness, and even death. The victims also suffer from psychological trauma, including depression, anxiety, and post-traumatic stress disorder (PTSD).
The physical and emotional toll of acid attacks can be devastating for victims, and it can also have significant social and economic consequences. Many victims become outcasts in their communities, unable to work, and facing social stigma and discrimination. They may also require expensive medical treatment and ongoing care, which can be financially crippling for them and their families.
Despite the severity of the crime and the devastating impact on victims, acid attacks remain a pervasive problem in Bangladesh. In many cases, perpetrators are not brought to justice due to a lack of resources, corruption, or inadequate legal systems. Even when cases do go to court, convictions are rare, and many perpetrators walk free due to inadequate evidence or lenient sentencing.
The Bangladeshi government has made some efforts to address this issue, including imposing stricter regulations on the sale of acid and establishing specialized burn units in hospitals. However, these measures have not been enough to prevent acid attacks or ensure justice for victims.
The acid attack epidemic in Bangladesh is a tragic and ongoing human rights crisis that requires urgent attention and action from government authorities, civil society organizations, and the international community. It is essential to create a comprehensive response that includes prevention, protection, and justice for victims, as well as efforts to change societal attitudes towards gender-based violence.
I started a Halloween group after becoming highly dissatisfied with others on Flickr. Easy to join. Just like your dating history there's going to be a lot of rejection and regret but don't let that discourage you. Try harder!
Giorgio Morandi (July 20, 1890 – June 18, 1964) was an Italian painter and printmaker widely known for his subtly muted still-life paintings of ceramic vessels, flowers, and landscapes—their quiet, meditative quality reflecting the artist's rejection of the tumult of modern life.
For more informations:
en.wikipedia.org/wiki/Giorgio_Morandi
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“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
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Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
“Over the years, I have come to realize that the greatest trap in our life is not success, popularity, or power, but self-rejection. Success, popularity, and power can indeed present a great temptation, but their seductive quality often comes from the way they are part of the much larger temptation to self-rejection. When we have come to believe in the voices that call us worthless and unlovable, then success, popularity, and power are easily perceived as attractive solutions. The real trap, however, is self-rejection. As soon as someone accuses me or criticizes me, as soon as I am rejected, left alone, or abandoned, I find myself thinking, "Well, that proves once again that I am a nobody." ... [My dark side says,] I am no good... I deserve to be pushed aside, forgotten, rejected, and abandoned. Self-rejection is the greatest enemy of the spiritual life because it contradicts the sacred voice that calls us the "Beloved." Being the Beloved constitutes the core truth of our existence.”
― Henri J.M. Nouwen
In a world where so many of us feel disconnected, judged, or overlooked, Yeshua reminds us that no one is ever truly alone. Whether we struggle with feelings of inadequacy, loneliness, or the weight of our past, we are never beyond the reach of His love. In our busy, often isolating lives, He approaches us with compassion, offering not ruin but redemption, not rejection but belonging, not condemnation but forgiveness.
Just as He reached out to the woman who had been shunned and despised by her community, Yeshua invites each of us into a life of meaning, purpose, and community. He shows us that the deepest thirst of all is quenched only by the living water He offers.
Heaven for Everyone..
By Queen
This could be heaven
This could be heaven
This could be heaven for everyone
In these days of cool reflection
You come to me and everything seems alright
In these days of cold affections
You sit by me - and everything's fine
This could be heaven for everyone
This world could be fed, this world could be fun
This could be heaven for everyone
This world could be free, this world could be one
In this world of cool deception
Just your smile can smooth my ride
These troubled days of cruel rejection, hmm
You come to me, soothe my troubled mind
Yeah, this could be heaven for everyone
This world could be fed, this world could be fun
This could be heaven for everyone, yeah
This world should be free, this world could be one
We should bring love to our daughters and sons
Love, love, love, this could be heaven for everyone
You know that
This could be heaven for everyone
This could be heaven for everyone
Listen - what people do to their souls
They take their lives - destroy their goals
Their basic pride and dignity
Is stripped and torn and shown to pity
When this should be heaven for everyone
I knew I was looking through my macro lens at a very pretty butterfly, but when I got around to processing I could hardly believe the spectacular colour patterns on the underside of its wings.
That tiny strip of out-of-focus material at the bottom bothers me; I wish I could have avoided it somehow, or at least the small portion that rises up at the centre. It's a small thing, yes, but I'm a perfectionist. And I understand that there is no such thing as perfection. We live with our contradictions. I enjoy the challenge of trying to come away with the photo I envision - exactly, no compromises. It happens so rarely...
Lying flat in the muck near a side branch of the river, I couldn't do much to change the angle of view because I didn't want to scare the butterfly away. I love the look of this little critter anyway. And I enjoyed the process - trying to put it all together in the field - as much as creating the final result. Probably more.
I did put more effort into photographing butterflies this past summer than I have for several years, and have to say I have a greater appreciation for photographers who create excellent, flawless images of them. It takes hard work and dedication. Somehow I was reminded of my first published photos, in photo magazines back in the 1970s. I think my first three submissions were accepted. I thought I was hot stuff. Then I received about ten rejections in a row, and came back down to earth. With this photo, I came to earth - literally and figuratively. More butterflies to follow as I round out the current insect series before moving on to something else.
I found this Red Admiral in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2023 James R. Page - all rights reserved.
According to legend, the Odryses River to the south of the Sea of Marmara emptied into the sea at Bandırma. The Kingdom of Apollonia was founded on the spot where Lake Ulubat lies today, and the Kingdom of Melde on the Odryses. The King of Melde asked for the Apollonia king's daughter as a wife for his son. But the unwilling girl refused to marry the prince, and Apollonia had a castle built high on a hill and sequestered his daughter there. Enraged by the rejection, the Melde King decided to restore his honor by taking revenge. Changing the course of the Odryses, he made it flow to the lands where the town of Apollonia stood. When the lands of Apollonia were completely inundated, the castle on the hill became an island surrounded by water and the princess was left stranded. Thus, according to legend, was Lake Ulubat formed.
The Shelton with Sunspots, N.Y. (1926)
oil on canvas
— Georgia O'Keeffe (American, 1887-1986)
on loan from The Art Institute of Chicago.
Georgia O’Keeffe: “My New Yorks” exhibition at...
City of Atlanta (Midtown), Georgia, USA.
9 February 2025.
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▶ About the painting
☞ “One can’t paint New York as it is, but rather as it is felt.”
☞ “This blazing canvas, which captures a fleeting juxtaposition of the natural and the human-built environments, was inspired by O’Keeffe’s perception of nature’s power even in an urban setting. She later recalled, 'I went out one morning to look at [the Shelton Hotel] and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky.' The painting boldly exemplifies O’Keeffe’s response to the novel structure of the skyscraper, a subject almost exclusively represented by male artists.”
— museum plaque
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▶ About the exhibition:
(October 25, 2024 – February 16, 2025)
'I had never lived up so high before and was so excited that I began talking about trying to paint New York,' recalled Georgia O’Keeffe late in life. In 1924 the artist and her husband, Alfred Stieglitz, moved into the Shelton Hotel, then the world’s tallest residential skyscraper. The hotel’s stunning views inspired O’Keeffe to explore midtown Manhattan’s soaring geometries: she experimented across media and scale and with various subjects, forms, and perspectives during an energetic five-year period beginning in 1925. Through these works, which she called 'my New Yorks,' she investigated the dynamic potential of the cityscape, often depicting it in dialogue with nature to represent her personal perceptions of the built environment.
This exhibition is the first to critically examine O’Keeffe’s paintings, drawings, and pastels of urban landscapes while situating them in the diverse context of her other compositions of the 1920s and early 1930s. The exhibition establishes these works not as outliers or as anomalous to her practice but rather as entirely integral to her modernist investigation in the 1920s—abstractions and still lifes made at Lake George in upstate New York and beyond and works made in the Southwest beginning in 1929. O’Keeffe’s 'New Yorks' are essential to understanding how she became the artist we know today.”
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👎 Rejection.
On 3 June 2025, the administrator for the Flickr group "Three's company / A trois, c'est mieux !" rejected this photo for NOT displaying "three people (human beings) together". Es-tu dans la lune?
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▶ Photo —and Pic(k) of the Week— by: YFGF.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Instagram: @tcizauskas.
— Follow on Threads: @tcizauskas.
— Follow on Bluesky: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Lens: Lumix G 20/F1.7 II.
— Edit: Photoshop Elements 15, Nik Collection (2016).
▶ Commercial use requires explicit permission, as per Creative Commons.
www.christoph-schmich.de/farbenrausch-photography/ This photograph is copyrighted and may not be used anywhere, including blogs, without my express permission.
Please contact me for licensing requests. Thank you for watching!
Atlantans aren't used to the snow...so they improvise. Swimming pool inner tubes, boogie boards, cardboard, and even laundry baskets all perform double duty as sleds on a snowy hill!
DeKalb County (Northlake), Georgia, USA.
10 January 2025.
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▶ Rejections:
☞ On 1 February 2025, the administrator for the Flickr group "PLANET EARTH WEATHER" rejected this photo for NOT displaying "clouds, rain, lightning, fog, mist, floods, snow [emphasis mine], glorious sunshine, sunsets. Windmills, hot air balloons in the sky, lighthouses, wind eroded rocks, lop sided [sic] trees blown over by the wind are also welcome." This image doesn't display children frolicking in falling snow???? You cannot be serious!
☞ On 3 June 2025, the administrator for the Flickr group "Three's company / A trois, c'est mieux !" rejected this photo for NOT displaying "three people (human beings) together." They couldn't see the three children? Unbelievable.
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Instagram: @tcizauskas.
— Follow on Threads: @tcizauskas.
— Follow on Bluesky: @tcizauskas.
▶ Camera (phone): Samsung Galaxy A03s (SM-A037U).
— Edit: Photoshop Elements 15, Nik Collection (2016).
▶ Commercial use requires explicit permission, as per Creative Commons.
Taken on March 10 2025as part of a failed 9 pane mosaic.
Gladly central pane surcived and shows the big sunspot and the activity around it.
Solar hydrogen filter system: Daystar Quark Chromosphere double stacked with a Lunt40 etalon.
Telescope: Askar 185mm
Energy rejection filter: Baader DERF180mm
Camera: ZWO ASI174MM
This picture is #67 in my 100 Strangers project;
If you don't ask, the answer is definitely a no and I was reminded of this again yesterday.
Meet Kelly.
it's been a long time (relatively speaking) since I met any new strangers (been busy catching up on my uploads and interestingly some follow-up sessions with some prior strangers).
So it definitely felt rusty and a little weird I'll admit - had a fruitless session evening prior and then started off with a kind rejection; but as I have now learned that only meant that there was a wonderful opportunity around the corner. And that's when I spotted this beautiful lady literally around the corner chatting with a group of friends. It is always tricky when someone is in a big group and for some reason I sensed a 'no am in a rush' here. Also, the wonderful light I had hoped to use a little earlier had disappeared and it had darkened considerably. So all things considered, I thought this was not going to work - but then didn't want to rue a missed opportunity which I am sure i would for the next few days; whats the worst that could happen really? The red hair and the eyes (yes naturally) were just too good a opportunity to just let pass by.As I made my way to the group Kelly and her friend began walking away - and I waited a little as they said their goodbyes and at my first chance to jump in approached Kelly. The lady appeared a little surprised and unsure and looked at her friend Holly for some direction. This is where I am thankful for friends like Holly (herself a beautiful young lady who I really regret not asking her to participate) who encouraged her to do it. Although they were headed in a different direction, they walked back with me to my chosen location. Though I still lamented about the dusk situation (the red would would have been quite a picture with back-lighting), the reflector came in handy (used silver for upping the brightness) and Holly who seemed to be aware about reflectors happily helped with that.
On technical side, had to bump up the ISO a little to help with the light situation (and some post processing in Lightroom). I have switched to a single point focus which is really helping with the sharper focus - using the back button to lock the focus on the eye and then recomposing.
I requested Kelly to open up her hair which she kindly obliged (amazing how that transforms the look) and with Holly encouraging her - worked out a few confident poses and expressions. The light bokeh behind her was definitely something I wanted to use and am glad with how it worked out making her "seem like a elf" (Holly's words). Kelly works as a curly hair specialist and loves the outdoors. More importantly I really liked the sense of pride she had in her work and how she expressed it. Though I don't have the exact words (if you read this Kelly please feel free to correct) it was something to the effect "love helping people feeling comfortable with their beautiful self".
Thank you Kelly for being a part of my project (and Holly for the support); am really glad I asked you to participate. I think you make great pictures and if you'd like a copy of the same please don't hesitate.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
For my other pictures on this project: www.flickr.com/photos/vijaybrittophotography/sets/7215764...
This picture is #5 in the 100 Strangers Project - Round 2
Meet Hannah
Photography has taken a back seat recently and this round of the project has been rather slow going so far for a wide variety of reasons.
However, I was visiting the Barnes and Nobles in Bethesda with my son this weekend - so used the opportunity to stroll around a bit and look for potential strangers if I was lucky. After a polite rejection from a beautiful hijab clad young woman (she was agreeable till I told her that the picture would be online) we continued walking around for a few minutes. The few weeks break definitely had made rusty and was hoping to find someone to get into the groove. As it turns out that was not very difficult as I saw Hannah seated quietly on a bench. Turns out she does food delivery and was waiting for her order. Hannah has Ethiopian roots and her sparkling eyes were a standout. She reacted to our request with a cheerful smile that never quite left her face for the next several minutes. I requested the young woman to walk with me a few steps which she was willing as long as it takes only a few minutes, we found a area with good evening light and did a few shots. Hannah was extremely friendly and even posed for me - though I do need to improve my directions to align with my initial vision. For the second round I had hoped to 'get to know the stranger' before clicking but as soon as she agreed I forgot about my goal. By the time I got to finding out a little more about Hannah she had to leave so I was left without much information.
The good part was my 9 year old son Leon helping me with the reflector - a true assistant - and I was glad for his help with it as well as spotting potential strangers. At one point when I was a little uncertain about the first stranger he came back with a "you said you should at least try". Point taken.
On a different note - am thinking on what makes a good portrait and the balance of posed v/s a natural portrait. I have been reading on the emphasis on capturing the personality as you see it and keeping it natural especially in a project of this nature. The struggle though is - how do the subjects want to see themselves - even if its a random stranger on the street. So if I am capturing a portrait how much should I focus on making the subject look good Hope to hear your thoughts on this.
Thank you Hannah for being a part of the project. If you stop by to visit, hope you like the pictures. Wish you all the very best for your future.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
For my other pictures on this project: 100 Strangers - Round 2.
For pictures from my prior attempt at 100 Strangers: 100 Strangers - Round 1.
I love the distorted window view in this shot. Shadows with foggy white paint...each pain a picture-a different vantage point. The inside view...wow, now that is discovery. How much time do we spend seeing how others see us...when we should be focusing "on the inside." I know about the world inside of me....I get so excited about this reality. Don't let others, distort how you know you are! Know yourself...and rejection will be easier to absorb.
My mother always said never to judge a book by its cover and I
build upon that...and say never judge a person on their window presentation. What you want someone to see is not necessarily what they see.
-rc (working on )
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THE privilege of a lifetime is being who you are. What you have to do, you do with play. Life is without meaning. You bring the meaning to it. The meaning of life is whatever you ascribe it to be. Being alive is the meaning.
As you proceed through life, following your own path, birds will shit on you. Don’t bother to brush it off. Getting a comedic view of your situation gives you spiritual distance. Having a sense of humor saves you.
We must be willing to get rid of the life we’ve planned, so as to have the life that is waiting for us. The old skin has to be shed before the new one can come. If we fix on the old, we get stuck. When we hang onto any form, we are in danger of putrefaction. Hell is life drying up. The Hoarder, the one in us that wants to keep, to hold on, must be killed. If we are hanging onto the form now, we’re not going to have the form next. You can’t make an omelet without breaking eggs. Destruction before creation.
-- A Joseph Campbell Companion: Reflections on the Art of Living (The Collected Works of Joseph Campbell Book 2)
by Joseph Campbell
This portrait is usually kept in storage. His expressions is dour, and the likeness is not flattering, yet these qualities implied his rejection of vanity. Purchased as French, it was alter thought to be Flemish. Aspects such as the man’s cloak are unusual, and the work is difficult to place. Some have even doubted the date, but technical evidence confirms it. This modest work represents the large body of paintings that are now generally excluded from museum collections or which no long survive.
Cynicism masquerades as wisdom, but it is the farthest thing from it. Because cynics don’t learn anything. Because cynicism is a self-imposed blindness, a rejection of the world because we are afraid it will hurt us or disappoint us.
Stephen Colbert
To replace the old paradigm of war with a new paradigm of waging peace, we must be pioneers who can push the boundaries of human understanding. We must be doctors who can cure the virus of violence. We must be soldiers of peace who can do more than preach to the choir. And we must be artists who will make the world our masterpiece.
Paul Chappell
If you want to end the war then Instead of sending guns, send books. Instead of sending tanks, send pens. Instead of sending soldiers, send teachers.
Malala Yousafzai (17 year-old Noble Peace Laureate)
Thank you for your kind visit. Have a wonderful and beautiful day! ❤️ ❤️ ❤️
Coronation Day for some, but others among us had better things to do. Despite the wall-to-wall establishment propaganda, the utter implosion [corruption might be a better word] of the Scottish National Party and the absolutely foul weather, some 20000 to 25000 marched from Kelvingrove Park, through the city centre to Glasgow Green in support of Scottish Independence and a rejection of the imperial British state. As they say in these parts, "you can shove your coronation up your a***."
STRANGER 200!!!!
I made it. I am always looking for the perfect balance of stranger, location and light and I was even more keen to do so given this would be my 200th Stranger.
After searching for 3 days (including a few rejections) I finally found Elle having a chat with her friend Heather. She was in this psychedelic jumpsuit and so the scene was set for me to ask. Of course, things wouldn't be right without me bottling it once and walking straight past. However, I strengthened my resolve walked around the block and thankfully when I returned they were still there. I was rusty with my request but they were excited to be a part of my project.
I asked them to pop round to a street round the corner. And took a few shots in classic 100 strangers style which you see here. I also have a few full length shots which I will share later.
Elle is local to the Shoreditch area in which we took this shot and is a musician herself. One of the very reasons that she loves the area is things like this happen.
Looking back I started round 2 of this project in May 2015, so its taken me a while to get to this stage with the pandemic putting a temporary break on my "sprint" to the finish.
It has always and will continue to be an amazing experience. The reason for why it's taken so long is threefold. Firstly my usual fear of approaching strangers is still there. However, that has been combined with the need to maintain a standard of my previous portraits and has meant that if I didn't find the perfect combination of stranger, location and light then I found it easier to let it go. In addition life has also got in the way.
I will probably do a post to reflect more deeply on the project however I know that in this round 2 I have successfully incorporated using more of the environment in a number of my portraits, incorporated of camera flash to give a high level of production but when it comes down to it, I am still in love with the close in portrait.
I will give more of my thoughts in a discussion thread but for now that's round 2 over and done. Adios
Thanks so much Elle for being apart of my project and especially being my 200th stranger . Find out more about the project and see pictures taken by other photographers at the
100 Strangers Flickr Group Page
Connect with me on instagram where my handle is @arnabkghosal
or visit my website
So what do you do
When somebody you're so devoted to
Suddenly just stops loving you
And it seems they haven't got a clue
Of the pain that rejection is putting you through
Do you cling to your pride
And sing "I will survive"
Do you lash out and say "How dare you leave this way?"
Do you hold on in vain as they just slip away
breakdown, bone thugs n harmony &mariah
i love this song.
Vertikal gezogenes Panorama über Kopf mit
Sony DSC-HX300 !
Vertically drawn panorama overhead with
Sony DSC-HX300!
early afternoon
It's good that administrators protect us from your groups by: rejection! Thanks !
Gut das Administratoren uns vor Ihren Gruppen schützen, durch : Ablehnung ! Danke !
La Plaza de España es un conjunto arquitectónico enclavado en el parque de María Luisa de la ciudad de Sevilla (España). Fue realizado por el arquitecto Aníbal González. Se construyó entre 1914 y 1929 como el edificio principal, y el de mayor envergadura, de la Exposición Iberoamericana de 1929. Es el más grande de los que se levantaron en la ciudad durante todo el siglo XX. Durante la ejecución algunos aspectos del proyecto suscitaron algún rechazo. La Academia de Bellas Artes se opuso a la altura prevista de las dos torres que podían rivalizar con la Giralda,11 y el arquitecto francés Jean-Claude Nicolas Forestier, que colaboró en el diseño del parque de María Luisa, rechazaba la construcción de la ría por ser Sevilla una ciudad con escasez de agua
The Plaza de España is an architectural ensemble located in the Maria Luisa park in the city of Seville (Spain). It was made by the architect Aníbal González. It was built between 1914 and 1929 as the main building, and the largest, of the Ibero-American Exposition of 1929. It is the largest of those that were erected in the city throughout the twentieth century. During the execution some aspects of the project provoked some rejection. The Academy of Fine Arts opposed the planned height of the two towers that could rival the Giralda, 11 and the French architect Jean-Claude Nicolas Forestier, who collaborated in the design of Maria Luisa Park, rejected the construction of the laugh because Seville is a city with a shortage of wáter.
La Plaza de España est un ensemble architectural situé dans le parc Maria Luisa à Séville (Espagne). Il a été réalisé par l'architecte Aníbal González. Il a été construit entre 1914 et 1929 comme bâtiment principal et le plus important de l'Exposition ibéro-américaine de 1929. Il s'agit du plus grand de ceux qui ont été érigés dans la ville au cours du XXe siècle. Au cours de l'exécution, certains aspects du projet ont provoqué un certain rejet. L'Académie des Beaux-Arts s'opposa à la hauteur prévue des deux tours pouvant rivaliser avec la Giralda 11 et l'architecte français Jean-Claude Nicolas Forestier, qui collabora à la conception du parc Maria Luisa, refusa la construction du rire parce que Séville est une ville en manque d’eau
Jett will do anything for me, or at least try. When it comes to catching balls however, when he's done, he's done.
He's just not a ball dog. This is the first rejection. He just sits there and lets them bounce off his head or land in front of him. I've got more pictures of Jett ignoring incoming balls than I do of him catching them.
i miss my long hair sometimes
i am an awful contact (or follower now apparently)
i should hopefully be able to be on flickr a bit more now.
my uni applications are all done. I have applied to study biomedical science at durham, york, bath, sheffield and sussex. waiting for offers/rejections is nervewracking but really exciting at the same time.
i have hardly taken photos for weeks. ugh. i need to get back into it.
much much love to you all <3
As this year is ending, I've been feeling rather empty recently, losing motivation, the tic-tac in my head sounding louder and louder.
I would say that I'm rather a nice person, but paradoxically, at the same time it's not always easy to approach me. I know sometimes it's hard to have access to the whole of me, because my whole being is afraid to get attached. Because in the end I guess I'm afraid of rejection.
In the past few weeks, some lil challenges, awareness and conversations in the "real world", made me realize how challenging it is for most people to really connect with others.
We fragment, we censor ourselves, we demean ourselves, we're not the same person everywhere because it's not easy. Because we're afraid.
We stay on the surface because it's dizzying to be real or vulnerable. Because we rather be judged for what we're not instead of what we are. Like it gives us a way out or something.
And yet. I try to remind myself that 100% times I've been whole, I've survived and I've even grown up.
Anyway. I put this random (meaningless?) thoughts here to remind myself, and maybe to remind you if you ever need.
May peace be upon all of you.
Hans Arp et son épouse Sophie Taeuber-Arp ne se contentent pas de donner son nom au musée unique de Rolandseck : une collection de plus de 400 de leurs œuvres est conservée dans le nouveau bâtiment de Richard Meier. On y trouve l'une des rares œuvres communes de ces pionniers polyvalents et talentueux de l'art abstrait.
Hans Arp est réputé pour être un dandy. Charmant, amusant et résolument extraverti, il a acquis une importance particulière dans l'histoire de l'art en tant que cofondateur du mouvement Dada, qui s'est développé durant le premier quart du XXe siècle. Dada était le rejet de la guerre, mais aussi la rébellion artistique, ludique et provocatrice contre les normes sociales et esthétiques. Arp rejetait les méthodes d'enseignement conventionnelles et recherchait de nouvelles formes d'expression artistique. Presque inévitablement, il a découvert le hasard comme principe de création.
Le lien à la nature et à son évolution constante – la métamorphose – est devenu l'idée maîtresse de son art. On le retrouve dans le langage organique-abstrait des formes d'Arp, ce qui fait de lui son principal représentant. Le bâtiment Richard Meier illustre ce rapport à la nature : le style architectural transparent ouvre l’espace du musée sur la campagne environnante. Cela permet d’établir un lien architectural transversal entre l’œuvre d’Arp et le langage formel minimaliste de Richard Meier.
Ses amis disent que Sophie Taeuber-Arp était une figure de proue sereine : introvertie et organisée jusque dans les moindres détails. Peintre, sculptrice, danseuse, architecte d’intérieur, ses talents étaient aussi variés que ceux de son mari. Originaire de Suisse, elle termina sa formation à Munich en 1914. Le couple se rencontra en 1915 à Zurich, alors peuplée d’artistes exilés venus de toute l’Europe. Dans son œuvre, Sophie Taeuber-Arp adopta l’abstraction géométrique comme forme d’expression.
Par la clarté de ses compositions et l’utilisation systématique de formes élémentaires comme le carré ou le cercle, Sophie Taeuber-Arp devint l’une des figures clés de l’art constructif. Elle s’opposa à l’ère de la production industrielle de masse en intégrant l’art et l’artisanat à la vie quotidienne. L'art doit imprégner tous les aspects de la vie et la distinction traditionnelle entre art libre et art appliqué doit disparaître. Dans cette optique, le musée Arp n'est pas une tour d'ivoire, mais offre une expérience artistique vivante avec un large éventail d'événements pour les visiteurs de tous âges, de la région et d'ailleurs, désireux de découvrir l'art.
Hans Arp and his wife Sophie Taeuber-Arp not only lend their names to the unique museum in Rolandseck: a collection of over 400 of their works is housed in Richard Meier's new building. It features one of the few joint works by these versatile and talented pioneers of abstract art.
Hans Arp is known as a dandy. Charming, amusing, and decidedly extroverted, he achieved particular importance in art history as a co-founder of the Dada movement, which flourished during the first quarter of the 20th century. Dada was a rejection of war, but also a playful and provocative artistic rebellion against social and aesthetic norms. Arp rejected conventional teaching methods and sought new forms of artistic expression. Almost inevitably, he discovered chance as a creative principle.
The connection to nature and its constant change—metamorphosis—became the central idea of his art. This is reflected in Arp's organic-abstract language of form, making him its principal representative. The Richard Meier Building exemplifies this relationship with nature: the transparent architectural style opens the museum space to the surrounding countryside. This establishes a transversal architectural link between Arp's work and Richard Meier's minimalist formal language.
Her friends say that Sophie Taeuber-Arp was a serene figurehead: introverted and organized down to the smallest detail. Painter, sculptor, dancer, and interior designer, her talents were as varied as those of her husband. Originally from Switzerland, she completed her training in Munich in 1914. The couple met in 1915 in Zurich, then populated by exiled artists from all over Europe. In her work, Sophie Taeuber-Arp adopted geometric abstraction as a form of expression.
Through the clarity of her compositions and the systematic use of elementary forms such as the square and the circle, Sophie Taeuber-Arp became one of the key figures of constructive art. She opposed the era of industrial mass production by integrating art and craftsmanship into everyday life. Art must permeate all aspects of life, and the traditional distinction between free and applied art must disappear. With this in mind, the Arp Museum is not an ivory tower, but offers a vibrant art experience with a wide range of events for visitors of all ages, from the region and beyond, eager to discover art.
A tiny pretty native wildflower with an un-pretty name: "hairy cowpea."
On a bank of a wildlife sanctuary pond, in...
St. Augustine Beach (Crescent Beach), Florida, USA.
1 September 2024.
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👎 Rejection:
On 6 August 2025, an administrator for the Flickr group "The American South" rejected this photo — of a plant NATIVE to the American Deep South and Gulf States — for NOT depicting the character of the American South. Bless your heart!
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▶ "Vigna luteola — commonly known as the hairy cowpea and the Nile bean — is a perennial vine in the legume family (Fabaceae), native to the 'New World.' The vine also has a variety of other common names in South America and the Caribbean, such as in Cuba, where the plant is known as 'frijol cimarrón,' Spanish for 'wild bean.'
Vigna luteola grows in in coastal habitats on the Atlantic coast of the Americas, ranging from tropical regions of South and Central America to the Gulf Coast states, as far north as North Carolina. It grows in moist soil, especially swampy grasslands, sandy lake shores, stream sides, wet pastures, swamps, and swamp forests. The plant was brought into cultivation in Ethiopia and is now spread around the world.
Vigna luteola has numerous yellow flowers that are ¾ to ⅘ inches long (1.8–2.2 cm), made of one large standard petal, two lateral wing petals, and two lower keel petals."
— Wikipedia.
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▶ Photographer's note:
This is NOT a photo of a yellow wildflower against the sky; it's a photo of a wildflower at pond's edge, clouds reflected in the water. And it's a closeup. The blossom —at most, two centimeters in diameter— appears much larger in the image than it did in 'real' life. It's all in the point of view!
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▶ Photo by: YFGF.
▶ For a larger image, type 'L' (without the quotation marks).
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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.