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There is nobody in the world who knows so many stories as Ole-Luk-Oie, or who can relate them so nicely. In the evening, while the children are seated at the table or in their little chairs, he comes up the stairs very softly, for he walks in his socks, then he opens the doors without the slightest noise, and throws a small quantity of very fine dust in their eyes, just enough to prevent them from keeping them open, and so they do not see him. Then he creeps behind them, and blows softly upon their necks, till their heads begin to droop. But Ole-Luk-Oie does not wish to hurt them, for he is very fond of children, and only wants them to be quiet that he may relate to them pretty stories, and they never are quiet until they are in bed and asleep. As soon as they are asleep, Ole-Luk-Oie seats himself upon the bed. He is nicely dressed; his coat is made of silken stuff; it is impossible to say of what color, for it changes from green to red, and from red to blue as he turns from side to side. Under each arm he carries an umbrella; one of them, with pictures on the inside, he spreads over the good children, and then they dream the most beautiful stories the whole night. But the other umbrella has no pictures, and this he holds over the naughty children so that they sleep heavily, and wake in the morning without having dreamed at all.
It is truly difficult to effectively relate how graceful and ethereal Manta Rays are as they perform their nightly ballet in the warm waters near Kona Hawaii. This image perhaps does the work of hundreds of adjectives in relating the emotion you feel as these massive creatures glide inches from your face.
If you would like to read more about swimming with Mantas and see more photos of this adventure, check-out my blog article: www.firefallphotography.com/swimming-manta-rays-tips-phot...
Have a great day!
Jeff
My Website ¦ Facebook ¦ My Blog ¦ Google+
Explored 9/21/13
Ruben M. Benjamin (1833-1917), an attorney known for litigation relating to railroad regulation, had this Italianate-style house built for him and his wife, Laura, upon their marriage in 1856. The builder, carpenter John L. Routt (1826-1907), would go on to serve as the first and seventh Governor of Colorado from 1876 to 1879, and 1891 to 1893. He also served as Mayor of Denver from 1883 to 1885.
Benjamin received his primary education at Kinderhook Academy, New York and in 1853 was graduated from Amherst College with high honors. He was principal of Hopkins Academy at Hadley, Massachusetts, one year and was a student a year later in the Harvard Law School and the next year he was a tutor at Amherst. He arrived in Bloomington in the spring of 1856. In the fall he appeared before Judge (and future Associate Justice of the United States Supreme Court) David Davis at Lincoln, Illinois, for his bar exam. One of the examiners was Abraham Lincoln. He passed the test and later became a close friend of the future 16th U.S. president.
Benjamin was a prominent attorney who represented the people in The People vs. Chicago and Alton Railroad. That case was widely considered a benchmark ruling that allowed the government to regulate private enterprises.
After Benjamin "retired" from the practice of law, he devoted his time to writing textbooks that were used at many of the most prominent law schools in the country. He also served as a McLean County judge from 1877 to 1886, and served for a time as the dean of the law school faculty at Illinois Wesleyan University in Bloomington.
The Ruben M. Benjamin House is listed both by itself and as a contributing property in Bloomington's East Grove Street District. The only other home in the East Grove Street District to have this distinction is the George H. Cox House previously shown in this McLean County series.
The East Grove Street District includes 43 houses and apartment buildings, 25 of which are considered contributing buildings. The houses in the district were built between 1855 and 1915 for many of Bloomington's upper middle class residents. Due to a building boom between 1880 and 1900, the then-popular Queen Anne style is the most prevalent in the district. Other popular architectural styles in the district include Greek Revival homes from the 1850s, Italianate homes built between 1860 and 1880, and Arts and Crafts homes built in the 1900s. The district was added to the National Register of Historic Places (NRHP) in 1987.
Bloomington is the seat of McLean County. It is adjacent to Normal, and is the more populous of the two principal municipalities of the Bloomington-Normal metropolitan area. Bloomington is home to State Farm Insurance, Country Financial and Beer Nuts. Illinois Wesleyan University is located here, while the neighboring twin city of Normal is home to Illinois State University and Heartland Community College. Bloomington is 135 miles (217 km) southwest of Chicago, and 162 miles (261 km) northeast of St. Louis. The estimated population of Bloomington in 2019 was 77,330, with a metro population of 191,067.
Hi Summer Berries!
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maps.secondlife.com/secondlife/Lenox%20and%20Blueberry/24...
xoxo
Blue
The chapel features, on its three walls, frescoed scenes relating to the Universal Flood, the Entrance of the Animals into the Ark, the End of the Flood and Noah's Drunkenness. The compositions are characterised by outdoor visions marked by the presence of human figures and animals, both depicted on a small scale. The painter's attention seems to be focused on the description of the variety of animals and birds, without, however, failing to dwell on the more intensely dramatic scenes, such as the cases of those who drown, going as far as the cold analysis of the corpses strewn on the ground after the Flood. The stories of the Flood are linked to the fresco of the Baptism of Christ that faces them in the cloistered church, as a foreshadowing of that moment of salvation, according to what St Peter makes clear in the First Epistle (3:20-21): "God in his longsuffering waited in the days of Noah for the ark to be built, in which eight people in all found escape from the water, a figure, this one, of the Baptism that now saves us".
Historical-critical information: In these frescoes, Aurelio Luini displays an unprecedented propensity for storytelling and narration for its own sake, which results in a smug amusement directed above all at the descriptive rendering of the various animal species, rendered with an almost lenticular meticulousness. As the son of Bernardino Luini, who was active for many years in San Maurizio, Aurelio showed undisputed talent for painting, which led him to collaborate with his older brother Giovan Pietro from 1555 onwards. Here, as in other cases, Aurelio exhibits the peculiar characteristics of his painting, sustained by an exuberant expressive emphasis that is fully in line with contemporary 'Mannerism'. The naturalistic taste manifested in the frescoes of the Noah's Ark chapel also reflects the interest that Aurelio, a member of the Accademia della Val di Blenio (run by Giovan Paolo Lomazzo), had always shown in Leonardo's research.
10 July 2021: In recent days the figures relating to the coronavirus pandemic in Belgium have taken a turn for the worse. The number of new infections has been rising for around a week now and yesterday (Friday) the average number of daily hospital admissions rose for the first time in weeks. During the week from 30 June to 6 July an average of 697 people tested positive for the coronavirus. This is 81% up on the figures for the previous week. The total number of patients with COVID-19 that are being cared for in the country’s hospitals stands now at 250. Of those hospitalised 95 are on intensive care wards. The basic reproductive rate for coronavirus in Belgium currently stands at 1.09. Since a large number of people have still not been fully immunized against COVID-19 and since there is no reason to believe that the figures will start falling again in a couple of weeks the situation is very worrying. Belgium is not alone. The number of coronavirus infections is increasing across Europe. In the Netherlands, the number of coronavirus infections is rising sharply, with 6,986 new cases in the past 24 hours. The Dutch government announced yesterday new restrictions to limit the hospitality industry and live events sectors. In summary until a very high % of the population is fully immunized we will need to remain cautious – Bruges, Belgium.
The International Bomber Command Centre (IBCC) a memorial relating the historical impact of and on Bomber Command during the Second World War. Located on Canwick Hill, overlooking the city of Lincoln in Lincolnshire.
The city of Lincoln was selected for the location of the IBCC because 27 RAF Bomber Command stations (over a third of all Bomber Command stations) were based in the county during World War II. The large amount of airfields led to Lincolnshire being nicknamed the "Bomber County".
Located at Canwick Hill, the centre is just under two and half miles from RAF Waddington, which suffered the greatest losses of any Bomber Command station, and close to the former Avro aircraft production facility at Bracebridge Heath. A view of Lincoln Cathedral, a prominent landmark for aircrews, forms an important part of the vista from the centre of the Memorial Spire.
The aim of the IBCC is to tell the personal stories of members of the RAF Bomber Command, ground crew and civilians impacted by the bombing campaigns during the Second World War. The centre will also provide a comprehensive record of the role of Bomber Command's squadrons and to digitally display historical documentation and photographs relating to the activity of Bomber Command.
Within the grounds of the International Bomber Command Centre the Spire Memorial was erected on 10 May 2015. The memorial is a spire, reflecting the connection to Lincoln Cathedral. Created out of Corten A weathering steel, it is based on the dimensions of the wingspan of a Lancaster bomber, being 102ft high and 16ft at the base. The Spire was officially unveiled in October 2015 to an audience of 3,600 guests including 312 Bomber veterans.
The spire is encircled by walls carrying the names of all 57,871 men and women who gave their lives whilst serving in or supporting Bomber Command. This is the only place in the world where all these losses are memorialised.
Information Source:
Relating to my previous image, information board at WWT Slimbridge giving details about the Crested or Southern Screamer www.flickr.com/photos/juliek1967/35849656142/in/dateposted/ (hope this is OK for Wing Wednesday too Ash) HWW & HSS!
adj. *Auroral
1. characteristic of the dawn
2. of or relating to the atmospheric phenomenon auroras
Auroral Glow, Venice, Italy. (2003 archives)
PixQuote:
"Photograph is a picture painted by the sun without instruction in art."
-Ambrose Pierce
Experiments with repeated exposures of the same patch of water.
(Strange to relate, this one has gone berserk on Explore: in 24 hours it picked up half as many views again as the next most viewed, and more than twice as many favourites as my previous 'most favourited'. Thanks, all!)
There are plenty of things I could tell you about this image but what I am going to relate tonight is only going to involve the mistake I made.
One of the risks to habits is that you can come to rely on them overly much. A case in point would be that by an unofficial rule I generally keep my Hasselblad backs loaded with 400 ISO film, one back for color and the other for b&w. When I do load a different speed film in one of my backs I try to make a note because I am so used to 400 speed film in them that I have mis-exposed film before because of mistaken assumption.
Before this latest trip up to the Olympic Peninsula I had been working a lot and photographing only a little. As such by the time I got up there my black and white back was halfway through a roll of film I could not remember loading and so I could not remember which film was in it. Normally no note would mean 400 speed but something in my brain was tickling away that this was not true, that I had loaded something out of the ordinary in terms of film speed in this back.
So what are my options at this point with about six frames left to expose? Well I could trust my habits and expose at 400. I could attempt to second guess motives and backtrack through memory to deduce which film I might have loaded. I could meter somewhere in between. This latter is what I did. I figured the only other speed I would have loaded would have been 100 ISO film. So if I metered at 200 then I would only be wrong by a stop. If it was 100, I would be a stop under and considering that I normally overexpose by habit anyway, all would be ok. If it was 400, then I would be a stop over (or two with my usual overexposure). and film so readily forgives overexposure. Seriously, you can get away with three or four stops over and still produce reasonable images. Additionally I was going to be a bit less choosy with those six frames and try to blow through them quickly so I could confirm the film and if necessary backtrack to re-expose any images.
Thus I set off. Unfortunately it was sunny and clear and conducive to heavy ND shooting so "blowing through" half a roll takes on a slightly different meaning when shooting through 18 stops of neutral density. It took a few hours but I managed, wound the roll and unloaded it... to find a roll of Rollei RPX 25. Umm yeah. So metering for 200, maybe overexposing by design by a stop I was still going to be two stops under. That was a bit disappointing. Usually I defer to the decisions that past-Zeb makes. He often seems to think of things that present-Zeb appreciates. But this time I was wondering what in the heck that past me was thinking by loading a roll of 25 speed film in a camera that usually uses 400 speed and not putting a note on it to warn present-Zeb how to expose it properly. Sheesh.
So I had a bit of a sinking feeling in my stomach, figuring not even the forgiveness of film was going to save me this time. Luckily I was still on the same beach and did backtrack to re-expose the images I felt most strongly about. I debated having the roll pushed when I got back but then the first half had theoretically been exposed accurately and I couldn't really remember what was on it, so I didn't want to push process that stuff, so I just let it go, morbidly curious to see how thin the negs would be. Imagine my surprise when the stuff that came back turned out to be fairly usable... at least some of it. This image for example was metered somewhere around 100 to 200 ISO, which means I probably overexposed it to begin with due to the deep shadows in the frame. But that is ok, I wanted the cliffs to be black anyway.
So what to take from all this? I guess mostly that we all make mistakes. In fact you ought to find opportunities to make mistakes. They keep us sharp, they are opportunities to learn, they sometimes show us things we may not have discovered on our own, they remind us that we are fallible in our decision-making. And I tell you about this one in particular so that you know that I am not above making such silly errors. I tend to curate out most of the images I don't consider worth the time to post or your time to see. I edit down to the good stuff, which really means the stuff that I like for one reason and another. And I think with practice and by limiting how much I post I tend to only share the stuff that is noteworthy for good reasons. But that can easily lead to the mistaken perception that maybe I don't make the same mistakes you make. That I don't screw up my calculations or forget something simple and obvious. Well trust me, I do. And sometimes it works out and sometimes it doesn't. On this case I got lucky, no thanks to my past self.
Hasselblad 500C
Rollei RPX 25
Triangularity - Relating to entities such as three people, objects, ideas,...…. And Tri... refers to the number 3 an odd number...
For the challenge = triangular shapes, three items on a scarf with three sided shapes,......
2019 05 14_6559.jpgh
Jaffa, in Hebrew Yafo (Hebrew: יָפוֹ, About this soundYāfō (help·info)) and in Arabic Yafa (Arabic: يَافَا) and also called Japho or Joppa, the southern and oldest part of Tel Aviv-Yafo, is an ancient port city in Israel. Jaffa is famous for its association with the biblical stories of Jonah, Solomon and Saint Peter as well as the mythological story of Andromeda and Perseus, and later for its oranges. Jaffa is mentioned in an Ancient Egyptian letter from 1440 BCE. The so-called story of the Taking of Joppa glorifies its conquest by Pharaoh Thutmose III, whose general, Djehuty hid Egyptian soldiers in sacks carried by pack animals and sent them camouflaged as tribute into the Canaanite city, where the soldiers emerged and conquered it. The New Testament account of Saint Peter bringing back to life the widow Dorcas (recorded in Acts of the Apostles, 9:36–42, takes place in Jaffa, then called in Greek Ἰόππη (Latinized as Joppa). Acts 10:10–23 relates that, while Peter was in Jaffa, he had a vision of a large sheet filled with "clean" and "unclean" animals being lowered from heaven, together with a message from the Holy Spirit telling him to accompany several messengers to Cornelius in Caesarea Maritima. Peter retells the story of his vision in Acts 11:4–17, explaining how he had come to preach Christianity to the gentiles. Sourse: en.wikipedia.org/wiki/Jaffa
Whilst looking at things relating to Plaxton of Scarborough, its probably worth sharing this picture too. I think it was taken on the occasion of a coach operators association visit.
To the fore we have a very nice Supreme bodied Leyland Leopard for Martindales of Ferryhill, PPT 400P . . . which helps date the pictures to '75/6.
The next two Supremes in line are, I suspect, two Bedford YMTs for Harry Shaw of Coventry, NVC 3 & 10P. Further down is the only sevice bus in view which would probably be a Ford 'Derwent' for East Kent.
June 05, 2016
Villatic:
[vi-lat-ik]
adjective
1. of or relating to the country or to a farm; rural.
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It's a cool, gray and rainy Sunday here which is perfect for some quality time in the kitchen!
We desperately need the rain, and I really needed to get caught up and ready for the work week ahead by preparing food so the rain is working out just fine for me.
The garden is being watered and I'm not tempted to go sit out in the sun with a good book. Win, win!
I bought a lot of basil plants this week and so I was on the hunt for a recipe that would work for Sweet Sunday, then I got it in my head that I needed scones for the week which narrowed down my search until I came across this!
In the future, I think I would double the basil, lessen the strawberries and maybe throw some jam in the mix for additional flavour, but this reccipe is not a bad starting point!
Recipe:
Ingredients:
3 cups of flour
1/3 cup of sugar
1 teaspoon of salt
2 1/2 teaspoons of baking powder
1/2 teaspoon of baking soda
3/4 cup of unsalted butter, cut into small chunks
1 cup of buttermilk
1 cup chopped of fresh strawberries
1/4 cup of fresh chopped basil
1 tablespoon of buttermilk, for brushing
Brown sugar for sprinkling
Directions:
01. Preheat oven to 400 degrees F.
02. Mix together dry ingredients in a large bowl from flour - baking soda.
03. Add butter and mix using pastry cutter, a knife or your hands, until mixture resembles coarse meal.
04. Add buttermilk and mix until just combined. Fold in strawberries and basil.
05. Lightly dust flour onto work surface. Divide dough in half. Working with one batch at a time, shape dough into 3/4 inch thick circle. Cut into 8 wedges.
06. Lay on baking sheet lined with parchment paper.
07. Repeat with other dough.
08. Brush tops of scones with buttermilk and sprinkle with brown sugar.
09. Bake for 15-20 minutes or until golden brown.
Hope everyone is having a Sweet Sunday!
Click "L" for a larger view.
Reminds me of an empty record rack.
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Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”
www.flickr.com/photos/motorpsiclist/sets/72157622224677487/
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Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
...relating to the first in comments!
A few things can be described about this. The location is Bingsjö in Sweden, Päckosgården to be more exact. Once the home of a musician...
This year I will try to stay away from the cruising nights and concentrate on this place ;) More to come on that...
There are many rumors about the ship′s origins and how it got stranded on the beach. Most relate that the ship was used to smuggle cigarettes between Turkey and Italy. She was seized by the port authorities of Gythio and then deliberately released from the port and left to be dragged by the sea to the beach at Valtaki, about 5 kilometers (2.7 nautical miles; 3.1 miles) from the port of Gythio. She was then set on fire to hide the evidence of cigarette smuggling. Another, less common rumor speaks of a ghost ship of unknown origins.
However, according to a book written by the Honorary Chief of the Hellenic Coast Guard, Vice Admiral Christos Ntounis (1935–2010), Ta Navagia stis Ellinikes thalasses (translated as The shipwrecks of the Greek seas) there is more to be said about the true history of the ship.
The Dimitrios in 2008.
In Ta Navagia stis Ellinikes thalasses (Volume B 1950-2000), Ntounis writes that the ship made an emergency docking at Gythio on 4 December 1980 because her captain needed access to a hospital due to a serious illness. However, after the ship′s docking, financial problems arose with the crew, as did various engine problems, coupled with insurance measures imposed by various lenders. The crew was then fired and the task of safeguarding the ship was assigned to Georgios Daniil and Vasilis Parigoris.
The ship was docked at Gythio until June 1981, when she was declared unsafe due to wear on the docking ropes and starboard list due to water entering her hull. The port authorities asked for her to be moved to an anchorage outside the port for safety reasons, but the owners did not respond until November 1981. The book states that "at approximately 12:30 p.m. on the 9th of November 1981 the ship was swept about 2 [nautical?] miles [2.3 miles; 3.7 km] away due to severe weather conditions and it was temporary anchored". But the temporary anchorage did not last for long, as the ship was swept away again and finally stranded at its current location on the beach at Valtaki on 23 December 1981. The ship was then simply abandoned there and no attempts were made to recover her.
HDR, 10 stop ND
El título viene porque la hice en el barranco de La Encantada, cuyo nombre viene de una leyenda que relata que los moros escondieron un fabuloso tesoro en una cueva del barranco y que para su custodia lo dejaron bajo la protección de una doncella encantada, que, una vez cada cien años, se deja ver entre las solitarias peñas del barranco y quien la encuentre será el dueño de las fabulosas riquezas ocultas por el encantamiento.
La dama en cuestión es una hembra joven de Chalcolestes viridis.
En el río Serpis, cerca de Planes (Alicante) España
The title comes because I made it in the gully of La Encantada, whose name comes from a legend that relates that the Moors hid a fabulous treasure in a cave in the ravine and that for their custody they left it under the protection of an enchanted maiden, who, once every hundred years, it is allowed to be seen among the lonely rocks of the ravine and whoever finds it will be the owner of the fabulous riches hidden by the enchantment.
The lady in question is a young female of Chalcolestes viridis.
On the river Serpis, near Planes (Alicante) Spain
Two photos today relate to an exhibition at the National Gallery of Australia, Canberra, in 2011. This first one is of a replica poster in our own collection. It is one of the costume designs by Russian artist Léon Bakst (1866-1924) for Sergei Diaghilev's Les Ballet Russes production of Shéhérazade (1910). The music was written by Nikolai Rimsky-Korsakov.
nga.gov.au/exhibition/balletsrusses/default.cfm?MnuID=4&a...
The costume was to be worn by the character Shah Zeman, the brother of the ruler of Persia, in one of the stories from "The Arabian Nights". nga.gov.au/exhibition/balletsrusses/Default.cfm?IRN=74158...
Sergei Diaghilev (1872-1929) was the impresario who founded Les Ballet Russes.
This week I read of the death of Ursula Le Guin, one of my heroines. I discovered her in the 1960s, the first woman writing serious Science Fiction that I could relate to. Where the men I read seemed to simply clothe the present (or the past) in different drapery in their Sci-Fi books, Ursula wrote a completely real and different world that I could relate to at a deeper level. It is so long since I read them - I must return, and take another look! So this is the image I created in celebration of her life and work. I hope it conveys some of the magical nature, and profound humanity (and strong feminism) of her work and thought!
Happy Sliders Sunday ;o)
Textured Universe from SkyboxCreative
other textures, layers and brushes and effects are my own, created using Photoshop
My Sliders Sunday set is here: Elisa Sliders Sunday
Shot with the Zeiss 50mm Makro lens: Zeiss 50mm Makro
My Post-processing set is here: Elisa Post-processing
My Textured set here: Elisa Textured set
EXPLORE 90
A Class with Daves: Diptych - Take two related photos and present them side-by-side as a single entity. How the two photos relate is up to you...this one should really test your creativity.
Am sure most photographers can relate to this. As soon as I awake, it was straight to the window to see what’s it doing out there. It was about 6:30am and it was light enough to see the clouds were clearing out and there was some blue-sky peeking through as well. I swiftly got dressed, grabbed the camera bag and promptly headed over the scenic spot to shoot Glen Canyon dam with a moody sky behind it. As soon as I got to the spot, I knew it was going to be a remarkable weather day for Photography. The early light along with the moody sky really displayed the colors and details of the rusty brown and earth tone rocks of the desert southwest. Since Mother Nature was being so generous this morning, let’s pop on over to Horseshoe bend and see if I could take advantage of the phenomenal morning light and sky. As I was driving over to the bend, the sun was covered up a bit with a low hanging clouds. But with the speed in which the clouds were moving, it would soon be flooding horseshoe bend and it was a race for me to get there. Barely doing the speed limit, I made my way there and paid for parking. I rapidly geared up again and speed walked my way to the rim of the bend. All the while glancing behind me to see if the sun was going to pop out before I got there. And in a matter of a few steps, Horseshoe bend lit up as if the Sun had a new fresh set of batteries and I was there, speechless. And that was just the start of one of my most memorable days behind my camera. To see and read about more of that spectacular day, jump on over to my blog.
For more of my adventure in Arizona, look here
here Antelope Canyon 2.0
Elysian (E•ly•sian): relating to, or characteristics of heaven or paradise. | Model: @ktmkvi
So I'm finally posting personal work. Took this awhile ago with my friend. I really really wanted to get out and go explore. We decided to go check out these waterfalls by my house & do a shoot. It was super cold. So cold that nobody was even at this park. We climbed down to the base and walked right over the ice. Large portions of the water was frozen so it made it easy getting over by the waterfall. After a while we both started getting cold and packed up.
Practically, most humans ears merely relate far less than 20% of truth through listening and our highly regard window of souls, the dependent eyes only sees 60% of absolute truth. Fundamentally, our weakest, disturbant mind render and analyse close to 20% of unrational facts in many circumstances incorrectly.
Sadly, we human being prefer to act 100% according to our unbalance, misery brain chemical signal, our separated left and right brain cell sent out very contradicting wave signal and therefore our final independent heart is determine to react accordingly in final stage. even 90% of great scientist miss out emphasize our critical functionality of heart incorrectly with mistake
In reality with all such complex human senses aid, we can only be less than 90% certain correct at most times as the other negative balance remain 10% was distributed and affect by our much prejudice, emotional core ownership - human solitude heart that stay much farther away from eyes ears and the brain. As a matter of fact, heart, eyes, mind and ears solely function individually and selfishly according to days and night different basically cause by the atmospheric transition of changing light phantom . Is still a mystical to scientist but much connected with your previous Karmathic field records why we are here. To argue, fight and destroy for own justice with the five distratrous senses we own from pass mistake.
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This image directly relates to a much earlier one of mine, symbolic of the English Peasant’s Revolt of 1381. This is one of a set of cherry wood sculptures at the Wat Tyler Country Park, Essex UK. This particular figure stands 11 feet high and is among a group of 7 figures in total, bound and captive standing behind his leader. ⬇️
www.flickr.com/photos/bigharv/50664703651/in/album-721577...
Artist: Robert Koenig, 2006
Madraza de Granada - Madrasa of Granada
Esta calle, llena de historia y de visitantes, arranca en la Gran Vía de Colón, importante arteria que desde finales del siglo XIX permite el paseo por el centro con sus amplias aceras.
A nuestra izquierda se levanta un bonito edificio de sillares oscuros, rejerías y farolas: es la antigua Madraza, escuela o universidad coránica que fue fundada por Yusuf I en 1349. Fue en su momento uno de los más bonitos edificios de la ciudad y estaba decorado con atauriques e inscripciones relativas al conocimiento.
En 1500 se destinó a casa del Cabildo y más adelante la fachada se pintó al temple. Ya en el siglo XVIII adquiere la actual apariencia, repleta de detalles barrocos. Del edificio árabe original se conserva la sala de oración con magníficos elementos decorativos. Tras una importante restauración entre 2006 y 2011, ha sido reabierta al público. El edificio, en la actualidad, pertenece a la Universidad de Granada.
Casi frente a la Madraza se abre un pequeño ensanchamiento de la calle. Aquí se encuentra uno de los monumentos más importantes de la ciudad: la Capilla Real.
Fundada en 1504 para albergar sus restos, fue fundada por los Reyes Católicos, Isabel y Fernando. Se construyó entre 1505 y 1517, y fue en 1521 cuando los cuerpos de los monarcas fueron trasladados allí por orden de su nieto Carlos I desde la iglesia de San Francisco, en la Alhambra.
Se edificó en estilo gótico tardío con toques renacentistas, y si el exterior es espectacular con sus remates de tracerías, enrejados y columnas historiadas, el interior es una auténtica belleza. Una maravillosa reja de hierro separa los sepulcros reales del resto de la capilla. El de los Reyes Católicos, obra de Domenico Fancelli, fue realizado en Italia en mármol de Carrara y tiene forma de tronco de pirámide.
Fernando aparece representado con armadura y manto, mientras Isabel lleva un sencillo atuendo y cruza las manos en señal de humildad. El de doña Juana y su esposo, Felipe el Hermoso, sitúa las dos estatuas sobre un lecho sepulcral, innovando en cierta manera respecto al monumento funerario de los monarcas Católicos.
www.idayvueltablogdeviajes.com/2014/05/calle-oficios-gran...
es.wikipedia.org/wiki/Madraza_de_Granada
es.wikipedia.org/wiki/Capilla_Real_de_Granada
This street, full of history and visitors, starts at the Gran Vía de Colón, an important artery that since the end of the 19th century has allowed visitors to stroll through the centre with its wide pavements.
On our left stands a beautiful building of dark ashlars, latticework and street lamps: it is the old Madrasa, a Koranic school or university founded by Yusuf I in 1349. It was once one of the most beautiful buildings in the city and was decorated with atauriques and inscriptions relating to knowledge.
In 1500 it was used as a town hall and later the façade was painted in tempera. In the 18th century it acquired its current appearance, full of Baroque details. The prayer room with its magnificent decorative elements has been preserved from the original Moorish building. After a major restoration between 2006 and 2011, it was reopened to the public. The building now belongs to the University of Granada.
Almost opposite the Madrasa is a small widening of the street. Here we find one of the most important monuments in the city: the Royal Chapel.
Founded in 1504 to house their remains, it was founded by the Catholic Monarchs, Isabella and Ferdinand. It was built between 1505 and 1517, and it was in 1521 that the bodies of the monarchs were transferred there by order of their grandson Charles I from the church of San Francisco, in the Alhambra.
It was built in late Gothic style with Renaissance touches, and if the exterior is spectacular with its tracery, latticework and historiated columns, the interior is a real beauty. A marvellous iron grille separates the royal tombs from the rest of the chapel. The tomb of the Catholic Monarchs, the work of Domenico Fancelli, was made in Italy in Carrara marble and is shaped like the trunk of a pyramid.
Ferdinand is depicted wearing armour and a cloak, while Isabella wears a simple garment and crosses her hands in a sign of humility. The statue of Juana and her husband, Philip the Handsome, places the two statues on a sepulchral bed, which is somewhat innovative with respect to the funerary monument of the Catholic monarchs.
www.idayvueltablogdeviajes.com/2014/05/calle-oficios-gran...
Legend relates that in 1127, while King David I was hunting in the forests to the east of Edinburgh during the Feast of the Cross, he was thrown from his horse after it had been startled by a hart. According to variations of the story, the king was saved from being gored by the charging animal when it was startled either by the miraculous appearance of a holy cross descending from the skies, or by sunlight reflected from a crucifix which suddenly appeared between the hart's antlers while the king attempted to grasp them in self-defence. As an act of thanksgiving for his escape, David I founded Holyrood Abbey on the site in 1128.
In the church was preserved, in a golden reliquary, an object said to be a fragment of the True Cross brought by David's mother, St. Margaret, from Waltham Abbey, and known thereafter as the Black Rood of Scotland (the Holyrood (cross)). At the battle of Neville's Cross, in 1346, this precious relic fell into the hands of the English, and it was placed in Durham Cathedral, from where it disappeared at the Reformation.
Sanctuary marker for Holyrood Abbey, Royal Mile, Edinburgh
The abbey was originally served by a community of Augustinian Canons Regular from Merton Priory. The layout of the original church at Holyrood, now known only from excavations, probably came from the 1125 church at the priory. In 1177 the papal legate Vivian held council here. In 1189 the nobles and prelates of Scotland met here to discuss raising a ransom for William the Lion.
The completed building consisted of a six-bay aisled choir, three-bay transepts with a central tower above, and an eight-bay aisled nave with twin towers at its west front. Some scholars believe the high vaults to be sexpartite (though this is not clearly supported by the 17th century illustrations of the interior). Such a design was probably archaic in that period, and difficult to execute or maintain. Evidence of the construction qualitiesof the stonemasons has remained on the S aisle vaults, which are set on an almost square plan of 4.4 m (14 feet), but built relatively roughly, with thin flagstones and not much attention to keeping the vertices straight. They were probably plastered, with exposed thin ribs.
Among the chief benefactors of Holyrood during the four centuries of its existence as a religious house were Kings David I and II; Robert, Bishop of St. Andrews; and Fergus, Lord of Galloway.
Around the abbey was a five mile area of sanctuary, taking in much of Holyrood Park, where debtors and those accused of crimes could appeal to the Bailie of Holyroodhouse for protection. Brass sanctuary stones mark the boundary of the sanctuary on the Royal Mile. Those granted sanctuary would be given lodgings in the buildings around the abbey and obtained the nickname 'Abbey Lairds'.
The Parliament of Scotland met at the abbey in 1256, 1285, 1327, 1366, 1384, 1389 and 1410. In 1326, Robert the Bruce held parliament here, and there is evidence that Holyrood was being used as a royal residence by 1329. The Treaty of Edinburgh–Northampton (1328), which ended the First War of Scottish Independence, was signed by Robert I in the "King's Chamber" at Holyrood in March 1328. The abbey's position close to Edinburgh Castle meant that it was often visited by Scotland's kings, who were lodged in the guest house situated to the west of the abbey cloister. In the mid-15th century, with the emergence of Edinburgh as the main seat of the royal court and the chief city in the kingdom, the Kings of Scots increasingly used the accommodation at Holyrood for secular purposes. James II and his twin brother Alexander, Duke of Rothesay, were born there in October 1430. James was also crowned at Holyrood in 1437 and building works were carried out before his marriage there in 1449. Between 1498 and 1501, James IV constructed a royal palace at Holyrood, adjacent to the abbey cloister.
A corps of guards were instituted at the end of the 15th century to guard the monarch and enforce law and order within the precincts of the palace and Abbey Sanctuary called the High Constables and Guard of Honour of the Palace of Holyroodhouse.
Royal influence over the abbey further increased when in 1538 Robert Stewart, the infant, illegitimate son of James V, was appointed as commendator of Holyrood.
The ruins of the abbey church
During the War of the Rough Wooing, the invading English armies of the Earl of Hertford inflicted structural damage on Holyrood Abbey in 1544 and 1547. Lead was stripped from the roof, the bells were removed, and the contents of the abbey were plundered. In 1559, during the Scottish Reformation, the abbey suffered further damage when a mob destroyed the altars and looted the rest of the church. With the reformation and the end of monastic services, the east end of the abbey church became redundant. In 1569, Adam Bothwell, the commendator of Holyrood, informed the General Assembly of the Church of Scotland that the east end was in such a state of disrepair that the choir and transept should be demolished. This was done the following year, retaining only the nave, which by then was serving as the parish church of the burgh of Canongate. Between 1570 and 1573 an east gable was erected, closing the east end of the former nave, all but two of the windows in the nave were blocked up, the royal tombs were removed to a new royal burial vault in the south aisle and the old east end was demolished.
The abbey was extensively remodelled in 1633 for the coronation of Charles I.
In 1686, James VII established a Jesuit college within Holyrood Palace. The following year, the Protestant congregation was moved to the new Kirk of the Canongate, and the abbey was converted into a Roman Catholic Chapel Royal and the chapel of the Order of the Thistle. The abbey church was remodelled according to the plans of James Smith, and was fitted with elaborate thrones and stalls for the individual Knights of the Thistle, carved by Grinling Gibbons. However, in 1688, following the Glorious Revolution, the Edinburgh mob broke into the abbey, entered the Chapel Royal and desecrated the royal tombs.
The association of the church with these events and the absence of a royal court left the building out of public interest. The ageing timber roof trusses were replaced by stone vaults and outer stone slabs in 1758-60 by the architect John Douglas and the stonemason James McPherson. However this proved to be a disastrous change. The excessive weight of the stone could not be supported by the walls. The strength of stone vaults depends on the containment of their thrusts, which the decayed flying buttresses could not contain any more, and a small movement can cause severe deformation and collapse. It took six years for the deformation to become alarming. This forced the Barons of the Exchequer (the administrators of the Palace) to close the church on safety grounds in 1766, following inspection by William Mylne.
On 2 December 1768 the roof collapsed in two stages, leaving the abbey as it currently stands, a roofless ruin.
The restoration of the abbey has been proposed several times since the 18th century – in 1835 by the architect James Gillespie Graham as a meeting place for the General Assembly of the Church of Scotland and, in 1906, as a chapel for the Knights of the Thistle – but both proposals were rejected.
Dolomiti - I laghi dei Piani.
... da subito questa foto dei laghi dei Piani (realizzata con l'unione di 6 scatti effettuati alle spalle del rifugio Locatelli) ha richiamato alla mia mente un pezzo dei Genesis che ho amato tantissimo ... e, con questo brano, il mito della Ninfa Salmacis e di Ermafrodito, rielaborato da Ovidio ...
Ovid's account relates that Hermaphroditus was nursed by naiads in the caves of Mount Ida a sacred mountain in Phrygia (present day Turkey). At the age of fifteen, he grew bored with his surroundings and traveled to the cities of Lycia andCaria. It was in the woods of Caria, near Halicarnassus (modern Bodrum, Turkey) that he encountered the nymph, Salmacis, in her pool. She was overcome by lust for the boy, who was very handsome but still young, and tried to seduce him, but was rejected. When he thought her to be gone, Hermaphroditus undressed and entered the waters of the empty pool. Salmacis sprang out from behind a tree and jumped into the pool. She wrapped herself around the boy, forcibly kissing him and touching his breast. While he struggled, she called out to the gods that they should never part. Her wish was granted, and their bodies blended into one form, "a creature of both sexes". Hermaphroditus prayed to Hermes and Aphrodite that anyone else who bathed in the pool would be similarly transformed, and his wish was granted.
Ermafrodito (in greco antico: Ἑρμαφρόδιτος), era il figlio nato dalla relazione segreta tra Ermes e Afrodite.
Il giovane, da neonato, era stato allattato dalle Naiadi nelle grotte del Monte Ida, una montagna sacra situata nella regione della Frigia, in Asia Minore.
All'età di quindici anni cominciò la sua esplorazione del mondo e fu proprio nel corso di essa che arrivò in Caria, sulle rive di un grande lago.
Qui, in un boschetto, nei pressi di Alicarnasso, lo vide la giovane ninfa Salmacis la quale si innamorò perdutamente di lui.
In preda alla passione Salmacis cercò di sedurre il giovanetto, ma da questi fu respinta.
Salmacis allora si nascose e quando Ermafrodito si spogliò ed entrò nelle acque del lago per dissetarsi si gettò su di lui, abbracciandolo.
Mentre il giovane si dibatteva, lei chiese agli dei di potersi unire per sempre al suo amato e di non esserne mai separata.
Il suo desiderio venne accolto e i due divennero un essere solo, i loro corpi si fusero in una singolare creatura di entrambi i sessi, metà maschio e metà femmina.
Ermafrodito, prima di sparire sul fondo del lago, maledisse Salmacis, chiedendo, per coloro che si fossero bagnati nelle acque del lago, il suo stesso destino.
Questo il testo del pezzo dei Genesis:
From a dense forest of tall dark pinewood,Mount Ida rises like an island.Within a hidden cave,
nymphs had kept a child;Hermaphroditus, son of gods, so afraid of their love.As the dawn creeps
up the skyThe hunter caught sight of a doe.In desire for conquest,He found himself within a
glade he'd not beheld before.
Hermaphroditus:"Where are you, my father?Give wisdom to your son"
Narrator:"Then he could go no fartherNow lost, the boy was guidedby the sun"
And as his strength began to failHe saw a shimmering lake.A shadow in the dark green
depthsDisturbed the strange tranquillity.
Salmacis:"The waters are disturbedSome creature has been stirred"
Narrator:"The waters are disturbedNaiad queen Salmacis has been stirred"
As he rushed to quench his thirst,A fountain spring appeared before himAnd as his heated
breath brushed through the cool mist,A liquid voice called, "Son of gods, drink from my
spring".The water tasted strangely sweet.Behind him the voice called again.He turned and saw
her, in a cloak of mist aloneAnd as he gazed, her eyes were filled with the darkness of the lake.
Salmacis:"We shall be oneWe shall be joined as one"
Narrator:"She wanted them as oneYet he had no desire to be one"
Hermaphroditus:
"Away from me cold-blooded woman
Your thirst is not mine"
Salmacis:
"Nothing will cause us to part
Hear me, O Gods"
Unearthly calm descended from the sky
And then their flesh and bones were strangely merged
Forever to be joined as one.
The creature crawled into the lake.
A fading voice was heard:
"And I beg, yes I beg that all who touch this spring
May share my fate"
Salmacis:
"We are the one
We are the one"
Narrator:
"The two are now made one,
Demi-god and nymph are now made one"
Both had given everything they had.
A lover's dream had been fulfilled at last,Forever still beneath the lake.
In una densa foresta di grandi pini scuri
Il monte Ida sorge come un’isola
In una caverna nascosta le ninfe avevano cresciuto un bambino:
Ermafrodito, figlio di dei,
che dovevano nascondere il loro amore
Mentre l’alba saliva nel cielo
Il cacciatore vide tracce di cerva
Desideroso di conquistarla
Si ritrovò in una radura che non aveva mai visto prima
Ermafrodito: “Dove sei, padre mio?
Dai saggezza a tuo figlio”
Narratore: “A quel punto non riuscì più ad andare avanti
Perso, il ragazzo era guidato dal sole”
E quando iniziarono a mancargli le forze
Vide un lago scintillante
Un’ombra dall’abisso verde scuro
Disturbò quella strana tranquillità
Salmacis: “Le acque sono agitate
Una creatura si è mossa”
Narratore: “Le acque sono agitate
La regina naiade Salmacis è stata disturbata”
Quando lui corse a placare la sua sete
Una sorgente apparve davanti a lui
E quando il suo fiato bollente si fece largo tra la fresca foschia
Una voce limpida disse “Figlio di dei, bevi alla mia fonte”
L’acqua era stranamente dolce
Dietro di lui la voce risuonò ancora
Si girò e la vide vestita solo di un manto di nebbia
E quando lui la guardò fisso, gli occhi di lei si erano riempiti dell’oscurità del lago
Salmacis: “Saremo una sola cosa”
“Saremo uniti come un’unica cosa”
Narratore: “Lei voleva che fossero una cosa sola
Ma lui non voleva”
Ermafrodito: “Lontana da me donna dal sangue freddo
La tua sete non è la mia”
Salmacis: “Niente ci costringerà a separarci
Ascoltatemi, o Dei !”
Una calma sovrannaturale discese dal cielo
E poi le loro carni e ossa furono stranamente mescolate
per sempre per diventare una cosa sola
La creatura strisciò nel lago
Si udì una voce fioca:
“E chiedo che tutti coloro che tocchino questa sorgente
Possano condividere il mio destino”
Salmacis: “Siamo una cosa sola
Siamo una cosa sola”
Narratore: “I due erano ora diventati uno
Il semidio e la ninfa erano diventati un’unica cosa”
Entrambi avevano dato tutto ciò che avevano
Un sogno di amante era stato soddisfatto alla fine
Per sempre racchiuso nel lago
Entrambi avevano dato tutto ciò che avevano
Un sogno di amante era stato soddisfatto alla fine
Per sempre racchiuso nel lago.
p.s. io al lago non mi sono avvicinato ...
The 1890 Empress Flour Mill on Queen Street is category C industrial heritage building, which means that its removal is a permitted activity. There are two plaques on the front of the building, one relating to the 118 year old structure and the other to the 1921 grain silos. With a height of 35 metres the category B listed heritage silos are the town's most prominent landmark. They're still in use and will not be demolished.
Day 64 / 180
Out with the old, in with the new.
This photo was inspired by David Talley's image "True Self". His image is important to me and relates a lot to me at this time in my life.
In his image, he is trying to spread the message to be yourself and nothing else. Don't ever try and be something you are not. Be your True Self.
That is something I have too began to realize. I haven't been my true self. I've been something I am not and I am now in the process of changing that.
(I guess you can call it growing up).
This photo is a representation of that process. I have finally figured out who I really am. I know what I want in life and am taking the steps necessary to get that.
To do this, I basically have to begin to destroy who I was in order to become who I AM. I have to shatter the things of the past and let in room for the things of the future.
Sometimes, you have to break yourself to make yourself.
Back to grabbing a few more photos from my archives. If I wrote a description under a previously posted image taken on the same trip/outing, I will add it under today's photos.
"Normally looking sleek, this White-breasted Nuthatch was all puffed up, thanks to the -25C to -28C (-13F to -18F) weather today! Feeling rather like a female version of the Michelin Man myself, thanks to my thick fleece jacket plus a very bulky winter jacket, I can totally relate."
Relating to a blog I posted today about how I'm fine taking my clothes off in abandoned buildings yet totally afraid to pose clothed in public view, I went outside to take a photo. Granted, it was just on the corner of my street, but someone even walked by while I was setting up the camera and nothing bad happened! Baby steps. That's what it's all about.
[polska wersja niżej]
This photo relates to the flood in Gdańsk, about which I have written here, but I think I will rewrite the story again and provide a better view on the story background.
It's one of trains diverted from electrified mainline into secondary diesel route: originally nigh train no. 38209 from Kraków Płaszów to Koszalin. SU46-039 on the train head yet in original paint scheme from Żagań depot. After the diesel - here "cold" originally employed to this train EP07-338. The train is passing Gdańsk Osowa station entering two-track section towards Gdynia. July 11, 2001.
Photo by Jarek / Chester
9 lipca 2001 roku w Gdańsku to był całkiem ładny dzień, przynajmniej taki się zaczął i trwał do południa. Koło niego nadciągnęły ciemne chmury, zapowiadając kolejną letnią gwałtowną burzę. Jak spadały pierwsze krople deszczu, nikt nie przeczuwał, że w ciągu popołudnia na miasto lunie dwa razy więcej wody, niż w całym typowym lipcu. Każdy metr kwadratowy przyjął prawie 130 litrów, a tylko między 15 i 17 spadło, a w zasadzie dosłownie polało się strumieniem z nieba 90 litrów na metr kwadratowy. Ulice leżące na zboczach moreny dennej falistej, bo miasto to nie tylko wybrzeże, ale i morenowe pagórki, zamieniły się w dna potoków spływających w dół. No a w dole, głównie na południu, u brzegu płaskiego terenu ujścia Wisły zaczęło tworzyć się jezioro.
Wpływająca od południa z Kaszub niewielka Radunia przerwała w paru miejscach kanał, w którym biegła i zalała południowa część miasta, dzielnice od Oruni (dolnej), przez Lipce do Świętego Wojciecha. Powódź dotknęła też nasypy linii kolejowej, uszkadzając torowisko w paru miejscach. Pod wodą były też tory samego Gdańska Głównego. Ruch kolejowy między Pruszczem Gdańskim (a w zasadzie Tczewem) i Gdańskiem na kilka dni zamarł.
Ponieważ jednak mówimy o czasach, gdy kolej była jedna, wielka i niepodzielna (choć podzielona na sektory), naprędce wypracowano rozwiązanie, które w dzisiejszych czasach byłoby nie do pomyślenia - skierowano objazdem wszystkie dalekobieżne pociągi pasażerskie na trasy objazdowe. I tak pociągi z Gdyni w kierunku Bydgoszczy jechały starą Magistralą Węglową przez Kościerzynę i Wierzchucin i dalej na Łódź, czy Katowice. Pociągi w kierunku Malborka i dalej Olsztyna czy Warszawy jechały zaś przez Kościerzynę, Bąk, Czersk i dalej "Ostbahnem" do Tczewa, gdzie powracały na normalne trasy. Oczywiście na trasach objazdowych zastosowanie miała trakcja spalinowa, a elektrowozy ciągnące pociągi nie zostawały odczepiane (oprócz paru wyjątków) i odbywały podróż "na zimno" na objazdach.
Z punktu widzenia podróżnego te objazdy to rozwiązanie tylko po części rozsądne - dzisiaj zapewne wprowadzono by komunikację autobusową od Tczewa do Gdyni, przez co nastąpiłoby wydłużenie jazdy może sumarycznie o godzinę. Wtedy, przez wprowadzone objazdy, pociągi doznawały kilkugodzinnych opóźnień, a całkiem niedawna likwidacja niektórych stacji na "węglówce" drastycznie pogorszyła przepustowość dwutorowej linii. Z drugiej strony, pasażer w kuszetce, czy sypialnym z głębi kraju na Hel, dotarł do celu podróży w tym samym łóżku, tyle, że 3-6 godzin później.
Sytuacja awaryjna trwała parę dni, po czym przywrócono ruch po głównej linii, z pewnymi ograniczeniami (ograniczenie prędkości w miejscach podmycia nasypu). Jeszcze parę dni po przywróceniu ruchu część pociągów towarowych kursowała niezelektryfikowanym objazdem z uwagi na problemy z przepustowością.
Na zdjęciu SU46-039, jeszcze w oryginalnych żagańskich szatach, z nocnym pociągiem 38209 z Krakowa Płaszowa do Koszalina, opuszcza stację w Gdańsku Osowie. Za dieslem - elektrowóz oryginalnie ciągnący nocnego "kuriera" - EP07-338. 11 lipca 2001 roku.
Fot. Jarek / Chester
Another view on The Medieval Mining Settlement in Złoty Stok :)
The Medieval Mining Settlement is a very precise replica of a medieval settlement, including machines and devices reconstructed in a 1:1 scale. They are all in working order, as every visitor can find out. All the machines and devices were built very precisely on the basis of medieval illustrations by Georgius Agricola. This is the only this type attraction in Europe. Visiting the Park is very much like a travel in time back to the Middle Ages. In addition, visitors to the Mining Settlement can walk through a mysterious and scary underground tunnel leading to the cottage of the local executioner. This attraction relates to the medieval office and profession of executioner in Złoty Stok - he played an important role in punishing miners who stole gold or other criminals.
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Kolejny widok na średniowieczna osadę górniczą w Złotym stoku :)
Średniowieczny Park Techniki, stanowi bardzo dokładną replikę średniowiecznej osady górniczej wyposażonej w urzadzenia skonstruowane w skali 1:1 na podstawie rycin oraz opisów Georgiusa Agricoli. Wszystkie urządzenia działają o czym może przekonać się każdy zwiedzający. Jest to jedyna tego typu atrakcja w Europie. Zwiedzanie Parku można spokojnie określić jako podróż w czasie do średniowiecza. Dodatkowo w Osadzie Górniczej zwiedzający natrafiają na pełen tajemnic i strachów podziemny tunel, który kończy się wizytą w Chacie złotostockiego Kata. Atrakcja ta nawiązuje do średniowiecznego Urzędu Kata w Złotym Stoku jak i do jego zawodu – kat odgrywał ważną rolę przy karaniu m.in. górników, którzy kradli złoto.
Some people just have Friendly written on their face. Leif was one of those.
I met him on Princess Street in downtown Kingston where he was working on a renovation of a store.
When I explained my Human Family project he smiled and said "As long as it won't get me in any trouble." When I said "You mean with your employer?" he replied "Oh no. I don't think so. I'm safety compliant" pointing at his hat and boots. He kindly gave me a few minutes of his time to do a project portrait. When I asked if he was Norwegian because of his name he laughed and said "Oh there's got to be some Viking in there somewhere."
I met Leif on the sidewalk and there were no pedestrians at the moment so I just positioned him in the middle of the sidewalk so the construction scaffolding would frame him.
When I asked about the building he was working on he said "I'm probably not the best person to ask. This is my first day on the job." We agreed it is one of Kingston's many historic buildings that has probably had many lives and Lief is helping renovate it for it's next commercial life.
He is originally from another part of Ontario but now he and all his family are together in Kingston. I said I could relate because all my family is together in Kingston now that we moved here nearly a year ago. Leif asked how we like it and I said we like it a lot but with settling in and with the pandemic, I feel we are still getting to know it.
"What do you like most about your job?"
"Oh, let me think. I guess it's the tangible sense of accomplishment. Every day I can see what I have done and that's rewarding."
"What message would you like to share with the world?"
"Hmmm. I'm not sure how to put it. I guess it's to put a higher value on your own happiness."
Thank you Leif for being a part of my project. You are my 879th submission to The Human Family Group on Flickr.
More street portraits and stories can be seen at:
A classic 50s-early 60's Ford steering wheel and speedometer. I can relate to this era of cars. Although no one in our family would ever own a Ford. It was always Chevy with us.
IC Photo of Aerilin Volkova
What I feel lately is 50 shades of hate me
And I can't seem to break free
I don't like what I'm feelin' maybe
My self-medicating
At the point of breaking
I'm not sure if you're relating
I just need to feel like I'm the one worth saving
You lift me up in times when I wanna die
Intoxicated by your magic spellz you weave all the time
You bring me down every time I feel alive
I'm trying, I'm living I'm dying this minute
You bring me up and take me down
Life smacks the face I hold my ground
Another day to sing this song aloud
I wonder can they hear me screaming
Switch it now, change the day and take whatever comes my way I gotta
Say that this magical spell is heaven or hell when it
Plays it can lighten or darken up your day push it away
You lift me up in times when I wanna die
Intoxicated by your magic spellz you weave all the time
You bring me down every time I feel alive
I'm trying, I'm living I'm dying this minute
I try to live but they want me to cease to be
I'm shedding skin cutting teeth and becoming me...
Finger pointed shaming an everybody blaming
What if I leave escaping
This I know it'll be here waiting
Anticipating
My downfall on the daily
But you give all that you gave me
And it saved me and it saved me and it saved me
You lift me up in times when I wanna die
Intoxicated by your magic spellz you weave all the time
You bring me down every time I feel alive
I'm trying, I'm living I'm dying this minute
Songwriters: Jamie Spaniolo / Paul Methric
Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwakwaka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.
weekly motto: curves
oh well i have no idea what to do with this motto :O
haha you know, i love to relate the motto to life :)
dont you agree with that?!
oh well im seriously not satisfied with this photo X_X
the road is in a curve, see see see?
(oh well it's 11.30pm now, luckily i manage to upload it by 12am haha.)
i might replace 1 more tomorrow =\
(to edit the colors again! D:)
i actually like the other photos that i've taken just now, view it in comment :D
Life is a curve with a lot of turning points, while smile is the only CURVE that makes everything straight :]
# omg i think i really dont like this D:
explore: #199 on Monday, August 3, 2009
O_O
THANKS!
*hugs* :D