View allAll Photos Tagged Rejuvenate
Grand Park area of Mt. Rainier. Trees are slowly growing back in an area that was burned by fire many decades ago.
Our little side gate, with a glorious new outlook on life - sand blasted and powder coated, I think it is better than new!
CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of the photographer.
check out my website www.chrisvandolleweerd.com
In the days since the rejuvenation of the Grafton & Upton RR in 2009, the railroad was reborn, and enjoyed success and growth. When it was announced in 2012 that the railroad was to open a propane unload facility in North Grafton, MA, it was met with much opposition and a legal battle ensued between the town of Grafton and the railroad which lasted several years. Ultimately after a bitter court battle, the railroad prevailed against the town and the facility is slated to open in early 2018. Upon arriving at work early on a Monday morning in early February 2014, the G&U crews found 2 engines and the caboose on the ground at the south end of N. Grafton yard. "Mysteriously" the set rolled away during the weekend and derailed. All the handbrakes were released by "Vandals" and then derailed. When all the neighbors were questioned, nobody knew a thing, a shock to all. Thankfully after a week of careful re-railing thanks to the effort of CMO Tony Roman, repairs were made and to F-7 1501 and was only out of service for a short period of time. Things certainly didn't look good when we witnessed this were fortunate that things turned out for better, until the engine suffered a engine failure several years later and has been out of service since then.
G&U 1501-1750-1751
N. Grafton, MA
February 15, 2014.
The Dividers statue in Clarendon Dock, Belfast was designed to celebrate the maritime heritage of Belfast in the rejuvenated docks area of Belfast.
The Aurora Borealis briefly light up the sky above Winkie Lighthouse at the Point of Ayre. Despite the growing solar activity, it’s been nearly two years since I last shot the Aurora due to a mixture of baby duties and if I’m honest, downright utter laziness on my part. Being back out there photographing the lights made me realise I’ve become a wee bit complacent to just how spectacular they really are. The incoming clouds gave me a shooting window of about 5 minutes but what a special 5 minutes those were! I captured this image at 35mm @ f2.2 timing my exposure to avoid the lighthouse beams and random car headlights of people arriving to take in the show. Given the solar cycle activity, I suspect there’ll be plenty more opportunities to see the Aurora in the coming months ✨
Please visit my YouTube channel: www.youtube.com/jamesbrewphoto
Please visit www.jamesbrew.com for my website and full Portfolio.
Follow me on Instagram @ jamesbrewphoto
After more than three months of unusual back-to-back storms, it feels rejuvenate to be out in nature again.
The excessive rain finally brings back the green color to the fields and hills.
To view more images, of Chastleton House click "here"
I would be most grateful if you would refrain from inserting images, and/or group invites; thank you!
Chastleton House is a Jacobean country house situated at Chastleton near Moreton-in-Marsh, Oxfordshire, England. It has been owned by the National Trust since 1991 and is a Grade I listed building. It was built between 1607 and 1612, for Walter Jones, who had made his fortune from the law, although his family were originally Welsh wool merchants. The estate was bought in 1604 from Robert Catesby, although his residence was demolished to make way for the new house and no traces of the original building on this spot remain. The house is built of Cotswold stone, round a small courtyard, called the Dairy Court. The House is different from other houses of its type in several respects. It has never had a park with a long, landscaped approach such as many other houses of its era. Rather it was built within an existing settlement, Chastleton village, which provided many of the services for the house which would otherwise have been attached, such as a laundry, a fishpond and a bakehouse. Secondly, until its acquisition by the Trust in 1991, it was owned by the same family for nearly 400 years. Its treatment by the Trust was similarly unusual, with a policy of conservation rather than restoration, enabling visitors to see the house largely as it was when acquired. As a result of the Trust's approach, a large number of the rooms in the house are open to the public. Of particular note is the Long Gallery, with its barrel vaulted ceiling. No other gallery of such a length 72 feet (22 m) and date survive. Like much of the house, the Long Gallery ceiling has been subject to damage. The neglect of the roof for almost two centuries led to the failing of part of the plaster ceiling in the early 1800s, but it was not repaired until 1904-05, when two local men were engaged to make good the losses. Also of interest is the impressive Great Chamber. Designed for the entertainment of the most important guests and for the playing of music, the design scheme has its roots in Renaissance Italy and is the most impressive in the house. The setting out of the panelling shows some inspiration from the classical, as do the painted roundels around the frieze, depicting the twelve prophets of the Old Testament and the twelve Sybils or Prophetesses of Antiquity. Also in the Great Chamber are a set of Jacobite Fiat glasses engraved with the Jacobite emblems of roses, oakleaves, and a compass rose, which betray the families eighteenth-century sympathies. These probably belonged to Henry Jones IV, who was the president of the Gloucestershire Cycle Club, one of the oldest established Jacobite clubs. Other items of interest in the house include the Juxon Bible, which is said to have been used by the chaplain, Bishop Juxon, at the execution of Charles I. Juxon’s family lived locally in Long Compton until his family died out in the eighteenth century, when it is thought to have been given to John Jones II because the Jones’ were another family with Jacobite sympathies. In 1919 a number of significant tapestries were discovered at the house, and were interpreted as evidence for the establishment of a tapestry-weaving venture at the manor house of William Sheldon (d 1570) at Barcheston, near Shipston on Stour, Warwickshire. One of these tapestries is currently on display in the Middle Chamber, and another is in the permanent collection of the Victoria and Albert Museum. The Grade II listed garden at Chastleton has undergone a number of revisions since the completion of the house in 1612. There is no archaeological evidence of a garden on this site before this date: indeed, the North Garden is split by an old field boundary. There is no map or written evidence to suggest how the garden was laid out by Walter Jones in 1612, but the walls that enclose the garden are 17th century and archaeological evidence that suggests that the garden has been laid out the same way for the last 400 years. It is laid out according to the recommendation proposed by Gervase Markham in The English Husbandman (1613) – a fore court to the front of the house, with the base (or bass) court on one side, which included the stables and other farm buildings. The other two sides of the house should be composed of gardens, divided into an orchard, a kitchen garden and a best (or pleasure) garden, planted with more ornamental plants. At the time, the Forecourt at Chastleton described the entrance area below the House court (the area directly in front of the house). The House court was raised slightly above the forecourt by a small retaining wall, probably with a balustrade on top. There were likely to be few plants in the front of the house in the early 17th century, with the House Court possibly being paved or having two grass plats on each side of the central path like the Forecourt. To the east of this was the Pleasaunce or Pleasure Garden. This was the Best Garden, which was levelled, but with a viewing terrace along one side which also gave entrance to the church at the opposite end. The design of this garden is not known, but it was almost certainly surrounded by high walls with fruit trees trained against it. The Best Garden was laid out in the circular pattern we see today by Dorothy Whitmore Jones in 1833, although it is suggested that there were already box plants there. Beds were added within the circular hedge in the 1890s or 1900s and then grassed over again by 1972. During the periods of time when money came into the family the planting in this garden was always renewed. To the north are terraces, levelled from the sloping ground. There is evidence of a medieval cultivation terrace and the remnants of the old boundary wall of the garden. There was a Bowling Green on the Middle terrace and the third terrace may also have been the site of the original kitchen garden. Today, the middle terraces are the site of two croquet lawns, originally laid out by Walter Whitmore-Jones in the 1860s. His version of the rules of croquet published in The Field in 1865 became definitive, and Chastleton is considered the birthplace of croquet as a competitive sport. The Kitchen Garden as it is now was enclosed in 1847 and was formed of the existent garden and from part of the adjoining field. It was laid out as four plots on one side of a broad path and two on the other side, and the kitchen garden today has been recently rejuvenated to form this pattern as well.
From Wikipedia, the free encyclopedia
“We must always change, renew, rejuvenate ourselves; otherwise, we harden.” J. W. von Goethe.
After a morning trekking at the foot of Benbulben Mountain, it was time to return to Dublin after just 24 hours enjoying nature in Sligo. We were about 3 hours away and the rental car had to be returned before 18.00, but there was still some time to stop again at Glencar waterfall. Despite having photographed it the previous morning from the walkway that everyone use, the idea of trying to capture its beauty from the river kept flying over my head. So we stopped again on the way back home.
I had only 1 hour, so I left almost all the gear to my wife, who once again waited patiently for me, put the camera on the tripod with the ultra wide angle and polarizing filter, took off my shoes and socks, and got off from the walkway to the river. The other visitors looked at me strangely from above. The water was even colder than I expected, and on the first try the pain in my feet led me out of the water after several steps. I looked into the distance at the waterfall, took a deep breath and convinced myself that I had to get the picture, step by step I advanced, using my tripod as a cane. And after several minutes I finally arrived at this place, I composed the image, I waited patiently for the sun to be covered by the clouds to have better light and finally I got the picture that I wanted. Then I could stop to breathe deeply, to perceive the sound of the waterfall, the river water that was no longer so cold, the rocks under my feet, the plants, the air ... I calmly enjoyed every precise moment. It was short but I felt my mind renewed. It was time to return to the city, and wait again to escape to nature.
------------------------------------------------------------------
"Debemos siempre cambiar, renovarnos, rejuvenecer, de lo contrario, nos solidificamos." J. W. von Goethe.
Después de hacer un trekking por la mañana a los pies de la montaña Benbulben, tocaba volver a Dublín después de apenas 24 horas disfrutando de la naturaleza en Sligo. Nos esperaban unas 3 horas de carretera y había que devolver el coche de alquiler antes de las 18.00, pero todavía quedaba algo de tiempo para parar de nuevo en la cascada Glencar. A pesar de haberla fotografiado la mañana anterior desde la pasarela que recorre toda la gente, en mi cabeza seguía sobrevolando la idea de intentar capturar su belleza desde el río. Así que volvimos a parar en el camino de vuelta a casa.
Disponía de 1 hora solamente, así que le dejé casi todo el equipo a mi mujer, que una vez más me esperó pacientemente, puse la cámara en el trípode con el ultra gran angular y el filtro polarizador, me quité zapatos y calcetines, y bajé desde la pasarela al río. La gente desde arriba me miraba extrañada. El agua estaba aún más gélida de lo que esperaba, y al primer intento el dolor de mis pies me llevó a salir del agua tras varios pasos. Miré a lo lejos la cascada, respiré profundamente y me convencí de que tenía que conseguir la fotografía, paso a paso fui avanzando, usando mi trípode como bastón. Y tras varios minutos por fin llegué a este lugar, compuse, esperé con paciencia a que el sol se cubriera por las nubes para tener mejor luz y por fin conseguí la imagen que deseaba. Entonces pude pararme a respirar profundamente, a percibir el sonido de la cascada, el agua del río que ya no estaba tan fría, las rocas bajo mis pies, las plantas, el aire..., con calma disfruté cada preciso instante. Duró poco pero sentí mi mente renovada. Era momento de volver a la ciudad, y esperar de nuevo para escaparnos a la naturaleza.
Amazing what exercise and fresh air can do to health
I can not seat long hrs on the computer but when I do I love taking photos
The Cardigans - Lovefool
www.youtube.com/watch?v=NI6aOFI7hms&t=30s
www.youtube.com/watch?v=hcI0FfW0MXU&t=21s
Weezer - Island In The Sun
This is my cover version of Cole Porter's "Every Time We Say Goodbye". This is the first time since my illness that I have been able to play my full-sized guitar!! I still play as badly ; 0)) First time I've written a poem in conjunction with myself singing ... the artwork is a compilation of 5 of my photographs and is called "Goodbye To Autumn."
“It was one of those perfect English Autumnal days which occur more frequently in memory than in life. The rich colours of grass and earth were intensified by the mellow light of a sun almost warm enough for Spring...”
~P.D. James, A Taste for Death
SOLITUDINAL SILENCE
Autumn frees us from the chains of Summer
those moments that pushed us to limits beyond
the boundaries we set for ourselves in Spring
now calmly in sweet solitudinal silence
we stand apart and wait to see what Winter brings
the cooler air whispers keenly and speaks of change
indistinctive rarefied senses aroused so quickly
disappear within a heartbeat of my hearing range
echoes of the night fall softly like footfalls on first snow
dampening out the sounds and cries from deep within my soul
the canopy of the forest shadows me as I try to walk away
when the betrayal came it fell so swiftly
like an axe; sharp and severed my attachment to you
so suddenly and completely that at first I barely noticed
it seemed incomprehensible given the circumstance
a cold numbness crept through my veins
trickling like freezing water ebbing from the first thaw
incomplete paralysis seeped in and I was aware first only
of a tiny prickling of my thumbs
like that old adage when evil this way comes
the sudden onslaught happened as these things do
as though in a slow motion emotionless cinematic experience
vague and careless words and phrases danced before me
my mind's eye honing in carefully trying to make some sense
trying to reduce the magnitude to a small burning ember
something that I could deal with; a tiny seed I would remember
to save and savour;
to satisfy my hunger in the darker nights to come
a remnant of how things used to be;
a warm glowing substance
to substantiate this feeling that I hadn't thrown my love away
that there was good reason why this happened
and if only I could fan the flames so our love could burn again
brighter than before; brighter than the sun that drenched us
and bathed us in it's warm and satisfying glow
and the Summer rain that quenched our thirst
for life; for love and all the romance that gave birth
to lift our souls and hearts above and out of mortal minds
a love incomparable;
a love so sweet; so sensual; so incredibly divine
but here I stand deep within the forest;
hushed tones of the night creep ever closer
lulling me to lay down on the Autumn leaves
and sleep through Winter deeply dreaming
of the new Spring that will no doubt come
and sweep away my golden tears
that stain the foliage on the forest floor
that precious pillow softly knowing all I am and all I was before
an imprint of my slumbered body
lies dormant on this bed of mine
and come the Spring I wake unencumbered
by the loss I felt when Winter held me down
for in the new year; seasons come and go as usual
and I will be renewed; rejuvenated by my sleep
and who knows what this rebirth has in store for me
and who knows all the secrets that the forest keeps.
- AP - Copyright remains with and is the intellectual property of the author
Copyright © protected images please do not reproduce without permission'
A small triangular plot has been readied for 4 Scots Pine trees which arrived yesterday. They are said to be the only pines native to the UK. They are lovely to see and I only hope they like the sea air.
Website www.vulturelabs.photography
500px | Stark | Twitter | Google +| Time Out London | fstoppers| formatt-hitech
My next B&W photography workshop will take place in London on 13th and 14th of December, please email vulturelabs@gmail.com for more information or to reserve a place.
Many thanks for visits, comments and faves, most appreciated ;-) I hope your all having a great weekend!!
Soaking up the sun at beautiful Green Acres: maps.secondlife.com/secondlife/Costa%20do%20Sol/70/55/25
As part of B&H 's new strategy they will have the power to issue community protection orders and notices to tackle graffiti on commercially owned buildings and street furniture. They will be able to impose timescales for when the graffiti must be removed by. Thereafter the council can impose a fixed penalty notice or even prosecute commercial property owners who ignore notices.
Most of the graffiti I photograph is on council owned property/land like this one on Black Rock. It'll be interesting to see what penalties' they will apply to themselves.
We must always change, renew, rejuvenate ourselves; otherwise we harden.
~ Johann Wolfgang von Goethe
The brilliant color of this vine after rain was stunning as I passed by on my morning walk.
View the entire London Set
View my - Most Interesting according to Flickr
en.wikipedia.org/wiki/Duke%27s_Dock
Duke's Dock[3][4] is a dock on the River Mersey, England, and part of the Port of Liverpool. It is in the southern dock system, connected to Salthouse Dock and Wapping Dock to the east. The Albert Dock is located immediately north, although not directly accessible by water.
History
The land for the dock was obtained in 1768.[5] Opening in 1773, Duke's Dock was built privately for the Duke of Bridgewater as a Liverpool-based facility for traffic using the Bridgewater Canal from Manchester.[6][7] The dock was probably designed by James Brindley, who also built the Bridgewater Canal.[2] The first dockside warehouse on the Mersey was built at the dock in 1783, and the dock was extended in the 1790s due to growth in the cotton industry.[2] In 1811, a large six-storey warehouse was built on the southern side of the dock.[5] Barges were able to enter the warehouse from the dock, and the building lasted until the 1960s.[5] In 1845, a small half-tide dock was constructed between Duke's Dock and the river and, at the opposite end of the dock, Wapping Basin was added in 1855.[5] The dock was purchased by the MD&HB in 1900, and the warehouses remained until 1960.[2] The dock had a southern branch which was filled in 1967, and warehouses were removed from the north and south quaysides.[5] The dock closed in 1972.[2]
After closure
After the closure of Duke's Dock, the dock silted up during the following decade and the quayside was in a state of considerable dereliction by 1980.[5] In 1980, disused buildings including one of the Liverpool Lighterage Company, a training school and a customs house still remained on the north quayside.[5]
Water balling at Duke's Dock. The Albert Dock warehouses are to the left, with Liverpool Metropolitan Cathedral beyond the footbridge in the background.
In 1981, the Merseyside Development Corporation was established to rejuvenate the South Docks, and the dock was dredged between 1981-5.[8] The river entrance was filled in during the 1980s, and replaced with a permanent roadway leading to a large temporary car park on the site of King's Dock.[citation needed] Footbridges across the dock, leading from the King's Dock car park to the rejuvenated Albert Dock, were also installed at this time. The remaining buildings on the north quayside were also removed, to create permanent car parking space for the Albert Dock.[citation needed]
Present use
Direct river access to the west is no longer provided, with the only remains of the river entrance being markings on the dock wall. The dock is still accessible from Wapping Basin.
The water depth varies from around 6 ft (1.8 m) up to 20 ft (6.1 m). The dock is sometimes used by sport scuba divers. Its water is clear and it has much underwater sealife.[citation needed] The waterspace, of this and the other docks in the southern system, was owned by British Waterways from 2003 to 2012 and now transferred to the Canal & River Trust.[1] Water balling is now allowed on the dock.
Spring is around the corner , Rejuvenation, Rebirth !
Speaking of Rebirth, today is someone's Birthday
Happy Birthday Barbara !!! (me*voila)
Feel free to wish her a happy one !!
Strobist Info: Vivitar 285HV at 1/4 power on camera left shot into blue towel background
Flickr Explore # 13 - June 6, 2009
This image was taken back in 2015 in Cornwall at Kennall Vale Nature Reserve. Originally taken with a non-infrared camera, recently post-processed as a false infrared.
Originally I was photographing this location for a project. When a dog began to play with the water. I was told by the owners that he or she was a rescue. I don't recall asking but I guess I assumed that being a rescue that the past had not been easy. Although this may or may not have been the case, I'll never know but the series of images of the dog playing with the descending water was a good memory that I still take with me. I guess the interaction with the water could be seen as washing away the past and enjoying life.
The electronics feeding “Webtology: Prisms”, by artist Geoffrey Pugen
MKV127 Gallery, Dundas Street West, Toronto
Fruitless pear trees blooming in Cary, NC, USA. I've read that although fruitless pear trees look beautiful in the spring when they bloom like this, they—especially the Bradford pear species—have invasive qualities that prevent other tree species from thriving. They can also cause considerable damage to their surroundings during storms due to their weak structure.
© B. Bora Bali & B³ Photography, All Rights Reserved.
In quickly fading light 60046 heading west on a Barnetby to Chaddesden test run through Hatfield and Stainforh station.. Beyond the station is a new road bridge connecting Stainforth to the M18 motorway near its junction with the M180. This makes both towns more easily accessible to the main road network and facilitates the rejuvenation of the former colliery site.
Sadly the former sidings and station a shadow of former glories where rail used to be the main form of transport.