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// RESPONDE POR TUS CULPAS //
www.youtube.com/watch?v=re9OR3lmtnY
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Un buen negocio es cambalache la ruina en polvo infecta la tierra // te bajas la mitad le sacas el doble y a la vuelta disfrutas del bisnes // esta es la peste del fin de siglo, limpias tu casa y ensucias la suya // lo que tu haces es genocidio y ellos se creen que esto es un paraiso //
www.youtube.com/watch?v=ss3_AlPsBPw&feature=related
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en compañía de la lluvia*Hgr*
BNSF's First Responder Hazmat Training equipment were recently interchanged to the KCTL, and here, KCTL train Y-217 is moving them around KCT's Mill St. Yard this afternoon, seen here on 119 Lead in front of the tower.
Lots of loose ballast in the shot, which results in poor footing and present numerous slip, trip and fall hazards. 2/18/24.
FRONT PAGE EN EXPLORE
Esta de Santes Creus responde al esquema prototípico de las salas capitulares de la Orden del Císter. Se ubica en el centro del ala oriental del claustro, separada por la sacristía del extremo del transepto de la iglesia. La orientación de la estancia permite la entrada de la luz de la mañana por tres ventanas abiertas en su paramento de levante, sin perjuicio de la que penetra por otros dos ventanales de mayores proporciones y de más elaborado diseño que se sitúan uno a cada lado de la puerta de acceso. Estas dos ventanas y la puerta forman una triple arquería que, como toda la sala, acusan el estilo románico propio de la época en que se construyó esta dependencia: están formadas por arcos de descarga de medio punto bajo los que se alojan parejas de arcos también de medio punto que apoyan sobre columnas de doble fuste con capiteles y basas separadas. Para un mejor tránsito, la puerta carece de mainel.
La planta de la sala es un cuadrado subdividido en nueve porciones, cuadradas también, por medio de cuatro columnas centrales. Cada uno de esos nueve espacios se cubre con una bóveda de crucería cuyos nervios descansan sobre las propias columnas o sobre ménsulas embebidas en los muros, al igual que lo hacen los arcos fajones de medio punto. Los plementos son segmentos de bóveda de cañón. Un banco corrido de fábrica se despliega a lo largo de todo el perímetro interior de la sala en sustitución de la sillería de madera que en su día utilizaba la comunidad para reunirse en torno a la sede presidencial del abad.
En el pavimento se aprecian las lápidas esculpidas en relieve de siete tumbas de otros tantos abades que ocasionalmente fueron enterrados aquí, a pesar de que por norma se les inhumaba en el cementerio común del cenobio. Esceptuando a uno de ellos que fue Obispo.
NS 9-1-1 the Honoring First Responders unit is shown here parked on the now out of service spur in the town Wentzville for Safety Training for a few days, the Safety Train will help the local city’s and communities nearby learn how to properly prepare for any possible situation that could happen on the railroad
THANKS FOR YOUR VISIT AND FAVES
ON THE REACTIONS I WILL TRY TO RESPOND BACK
Lange Wapper 1962 (Albert Poets)
Lange Wapper is een reus uit de Antwerpse folklore.
In Antwerpen kent men volgende sage:
In Hoboken zou hij ooit de mast van een schip hebben vastgegrepen en het ding in de lucht gegooid hebben.
In de buurt van de Groenplaats woonde eens een juffer die vier vrijers had. Op een avond liet ze ze na elkaar op bezoek komen. Maar ze kwamen bij Lange Wapper, die haar gedaante had aangenomen. De eerste moest bewijzen dat hij van haar hield door twee uur op het grote kruis op het kerkhof te gaan zitten. De tweede moest twee uur in een kist onder het kruis gaan liggen. De derde moest op de doodskist kloppen en wachten tot ze hem kwam halen. De vierde moest met een lange ketting rond het kruis lopen. Toen hij dat deed vond hij drie doden. De eerste vrijer viel van schrik dood van het kruis, toen de tweede in de kist kroop. De tweede stierf van angst toen de derde op de kist klopte en de derde stierf toen hij het geluid van de ketting hoorde en dacht dat de duivel hem kwam halen. De vierde vrijer werd gek, sprong in de Schelde en verdronk.
Een andere sage die met Lange Wapper is verbonden, verklaart waarom er zo veel Mariabeelden op de gevels van de huizen in de binnenstad staan: De Antwerpenaars, die Lange Wapper omwille van zijn pesterijen dus liever kwijt dan rijk waren, ontdekten dat Lange Wapper de beeltenis van Maria niet kon verdragen. Ze plaatsten daarom op de gevels van de huizen Mariabeeldjes. De beeldjes deden Lange Wapper steeds verder uit de binnenstad vluchten, waardoor hij uiteindelijk in de Schelde viel en verdronk.
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Long Wapper 1962 (Albert Poets)
Long Wapper is a giant in the Antwerp folklore.
In Antwerp one knows saga following:
Hoboken he would ever have of a ship's mast gripped and threw the thing in the air.
Near the Groenplaats there lived a lady who had four suitors. One night she let them come to visit after another. But they came to Long Wapper who had taken her form. The first had to prove he loved her by two hours on the big cross to sit in the cemetery. The second had to lie down for two hours in a coffin beneath the cross. The third was to knock on the coffin and wait for them to come get him. The fourth had to walk with a long chain around the cross. When he did he found three dead. The first suitor was startled death of the cross, then crawled the second in the chest. The second died of fear when the third knocked on the coffin and the third died when he heard of the chain noise and thought the devil came to collect him. The fourth suitor was crazy, jumped into the river Scheldt and drowned.
Another legend connected to Long Wapper explains why there are so many statues of the Virgin on the facades of the houses in the city: The people of Antwerp, which Lange Wapper because of his bullying so rather were lost than rich, discovered that Long Wapper the effigy Mary could not stand. They therefore placed on the facades of the houses Mary Statues. The figurines were doing Lange Wapper continues to flee from the town, which he eventually fell into the river Scheldt and drowned.
Patricia in Canada recently asked if my dogs howl. This was in connection with a recent study on the genetic history of Huskies as working and companion dogs stretching back 10,000 years.
Musky howls, or sings when he hears an ambulance or police siren. He has quite a beautiful voice and sometimes seems to be mimicking the siren sound.
A woman paid me a delightful compliment. She had just got onto my bus home and clearly noticed my dress at once. She really did not have time to make out that I am trans before saying, quite spontaneously, "I love your dress!"
While absolutely thrilled to hear it, I was at a loss how to respond. Do I just say thank you? Do I tell her I was very lucky to get it in for £7 in the sale and risk starting a conversation? I would like to reply with a compliment to her, but nothing sprang instantly to mind. Can I even say anything to her without my voice giving me away?
By the time all these questions had come into my head and I had recovered from the surprise of being complimented by a stranger, the moment was gone. She sat elsewhere and I did not follow her.
I realise I must do better at speaking to strangers, better at accepting compliments graciously and better at returning them. I just was not ready this time, but perhaps I will be better next time.
I took a selfie to commemorate the day, which I managed unobtrusively because I was in the back seat of an almost empty bus.
Norfolk Southern's 911 First Responders Unit is seen leading 178 past an abandoned wheel barrel in a field just south of Bellevue, Ohio off of Route 4.
Imagen creativa. Photosoph. Gracias de antemano por vuestros comentarios, awards, favoritos, invitaciones a grupo y la elección para galerías; perdonad que quizás no pueda responder individualmente . Todos los derechos reservados
Community First Responders are fully trained volunteers who attend 999 emergency calls in their own community. In the East Midlands, Community First Responders are dispatched by the EMAS (East Midlands Ambulance Service) Emergency Operations Centre in the same way as ambulances.
Because Community First Responders live in the local community, they can often arrive at the scene of the emergency much faster than an ambulance. If they arrive first on scene, Community First Responders can provide assessment and treatment for the patient before the arrival of the ambulance.
They don’t operate with Blue Lights and have to obey all the usual traffic regulations!
Imagen creativa. Tratamiento digital sobre base fotográfica propia. Tratamientos, Photosoph y Filter Forge. Gracias de antemano por vuestros comentarios, award, favoritos, invitaciones a grupo y la elección para galerías; perdonad que quizás no pueda responder individualmente. Todos los derechos reservados
CSX O72117 with Pride in Service "Spirit of our First Responders" 911 rolls east with 82 loads of Vulcan rock for Hialeah and on to points north (likely Taft)
I wanted to respond to Mr. Brown Pelican earlier, but I was so busy, I simply did not have the time. Nevertheless, what I need to say is so important, I knew I simply had to allocate a few minutes to write this on the subject. First and foremost, Mr. Pelican says that we're supposed to shut up and smile when he says unprincipled, patronizing things. You know, he can lie as much as he wants but he can't change the facts. If he could, he'd really prevent anyone from hearing that now that I've been exposed to his excuses, I must admit that I don't completely understand them. Perhaps I need to get out more. Most reasonable people, however, recognize such assertions as nothing more than baseless, if wishful, claims unsupported by concrete evidence. To be fair, if Mr. Pelican can't be reasoned out of his prejudices, he must be laughed out of them. If Mr. Pelican can't be argued out of his selfishness, he must be shamed out of it.
The Netherlands - Callantsoog
Playing with depth of field on a Liver milkcap (Lactarius hepaticus - Levermelkzwam). Mostly found near conifers (naaldbomen). One of the few fungi that responds positively to nitrogen (stikstof). © Tom Kisjes
When identity and gender are yet to be set
in crumbling stone they are without armour...
...they are us, before.
FIRST RESPONDERS OF ONTARIO UNITE FOR A SILENT PROTEST AGAINST MANDATES
Firefighters and Police stood in silence for one hour our at Queens Park, Monday Sept 13, 2021
NOTE: TO GET ALL PEOPLE IN ONE SHOT I TOOK TWO PHOTOGRAPHS (LEFT AND RIGHT) AND MERGED THEM. THIS PHOTOGRAPH REPRESENTS THE PEOPLE WHO TOOK PART IN THIS PROTEST ACCURATELY.
First responders showed off their equipment at Saturday's Huckleberry Harvest Festival in Montpelier, Idaho. My favorite display was this big flag flown by the Bear Lake Fire Department.
Norfolk Southern's newest specially painted unit honors first responders - police, fire and EMT's. Dad and I found it working the north end of the Enola, PA yard when we left the Bridgeview Bed & Breakfast for the day.
June 9, 2015.
NS Honoring 1st Responders SD60E 911 on display at the North Carolina Department of Transportation Museum in Spencer, NC.
NS Southbound Grain Train 48D holds briefly at Arkwright, GA with the Honoring Our 1st Responders SD60E NS 911 leading the way, Brosnan Yard in Macon, GA held them here briefly then decided to bring them on in
March 17, 2017: The Norfolk Southern "Honoring First Responders" engine # 9-1-1 leads Norfolk Southern Freight Train NS 363 (Chattanooga, TN-Macon, GA) Southbound at Dallas, GA on a very cold morning in NW Georgia. Just a few minutes prior to the train arriving, snow flurries and freezing rain had been pelting me!
**This train symbol has since been abolished.
Norfolk Southern's specially-painted "Honoring First Responders" locomotive, SD60E 911, leads train 15K at Macedonia, Ohio, on the Cleveland Line.
Soort voertuig: 4x4 First Responder
Dienst: Ambulance Event Service
Standplaats: Onbekend
Bijzonderheden: Geen
Brown Eyed Susans & Yarrow in the First Responders Monument in Hines Park.
No reproductions without written consent.
CSXT Southbound Ethanol Train K423 passes through East Bernstadt, KY. with the CSXT ES44AH 911 specially painted in honor of our 1st responders & 1776 specially painted for our Veterans in charge.
Since Aaron shook the bees' nest in his last post, I figured I wanted to take a moment to respond, but first a bit about this image.
I give this image one thumb up and one thumb down. It came together nicely, and the shape of the framing turned out just how I wanted, with the horizontal sweep accenting the horizon and the frames breaking out the top and bottom vertically emphasizing the wake from the ferry and the blue sky above Seattle. Unfortunately my Holga lens is too wide and I waited too long to snap these, as the Seattle skyline has been reduced to a mere strip. I really wanted to get the skyline a bit more imposing and interesting in the final photo. I also wanted to emphasize the wide open embrace of water all around and the blustery nature of the day. This photo sort of does those things.
But it tries, so I give it credit for that. And it is another step in my learning this technique, and when it comes to learning, often your failures are more valuable than your successes, not that I think this is a complete failure. I just think I have done others that were more successful.
Now on to the perfect photograph. Hehe, what a transition. My philosophy has always been that using the word perfect to describe photography is a giant waste of time. It is a pointless exercise. It is like describing a photo as good or bad. Those terms are so subjective. One person's perfection is another person's failure, and vice versa. I try to avoid labeling my photos, or even thinking of them, in such terms. I work instead on identifying what they do, how they do it, how other's respond to it, etc.
I think a landscape photograph's ultimate goal is to connect with its audience, whether that is an audience of one (the photographer himself) or many. If it does that, then it is successful. On a secondary level, these photos try to transport us there, make us feel how it was to be there, spark our imaginations, kindle our inspiration, open our eyes, or some combination of all of these.
Before I go any further, I want to make the disclaimer that I do not want to offend anybody if I describe their way of photography and then critique it. The wonderful thing about art, is we each have the right to do it as we please. My goal is rather to point out tendencies and boundaries, to try and poke people, shake them out of their comfort zones, make them think a bit, push them to push themselves creatively.
Because, I think a lot of landscape photography I see on Flickr has grown stagnant. It has become distilled into a science as opposed to an art. It is clinical in its approach, which is ironic because the photographers behind it are often not clinical at all, they are excited and inspired, but the photographs they produce don't seem to capture that as well.
I guess what I am talking about is how so much landscape photography here on Flickr looks the same. Wide angle lens, beautiful sunset/sunrise, snow capped mountain looming over its reflection in a lake, or sweep of ocean along the coast. Composed the same ways vertically or horizontally. Saturated. Exposures blended to be perfect. Everything sharp. Neutral density filter to increase blur, and so on. I am sure many of you reading this will recognize these heavy trends. And again, there is nothing wrong with this per se, photographers are using this checklist to produce some visually stunning imagery, no doubt about that.
But try this quick exercise, find 5-10 of these type of photographers, pull one or two images out of each of their streams, and see how easily it is to fit them all together into one cohesive portfolio. I noticed the same looking at the back of B&W Magazine and Lenswork Magazine. The ads in the back for various "fine art" photographers could have been taken by 2-3 people, the results are so similar. Either black and white landscape (two points if it is an abstract of a sand dune), a still life of flowers (two points if they are lilies or tulips) or a nude female study.
I think there are problems on two fronts with this. First of all, I sort of get turned off by the approach for technical perfection. Why? Simply because the world is not perfect, neither are we. Neither should our art. Modern landscape photography is rapidly leaning towards hyper-realistic renditions of natural scenes, and the result is an image that is so perfect in its sharpness and exposure that it no longer looks real. I have trouble looking at these landscape photos and imagining myself in that spot, because my brain is thinking, "this is not at all how it would look." We create fantasy versions of the Nature that so inspires us. Which is fine if that is your intent. Afterall I have never met an HDR photographer who claimed that style of photography was meant to me a realistic interpretation, but rather an exaggeration. The same with this hyper-real trend to perfection in modern landscape photography. It has become so hyper-realistic in its quest for perfection that it has become an exaggeration. Again, that is fine, as long as the photographer realizes this, and then uses it appropriate.
The second problem relates to a post I made a long time ago about a three tiered system of learning photography. The first being the bottom, where you are a novice and know nothing really. The second being where you know all the rules and apply them heavily with the last tier being those photographers who have accepted that the rules only work some of the time, and the rest you venture out on your own and sort of operate off of instinct and vision. At the time, and I still do, I felt that it was easy to get out of the first tier. We hate not knowing things, so it is easy to push ourselves to learn the rules. But once we get to that second tier, many of us bog down. We know the rules, they are working for us to help us produce technically sound photographs, we lose our drive to push ourselves because the realm we are operating in has become comfortable and easy to work with. It is hard to push ourselves creatively to break those boundaries we have imposed upon ourselves, in fact we often do not even realize we have imposed them. But we have. For example, if you have a 10-20mm lens and use it for landscapes, go back and look at your last few dozen images. Were they all composed the same way? Two-thirds bottom, one third top. Strong foreground leading to the background. Nice light. Etc? This is after all how we are taught such a lens should be used. But certainly it is not the only way right? Or heck, how many of your photos are constrained to a rectangular or square frame? Just look at that little fact. What, 98% of our photographs are in little squares or rectangles. We have become so used to it, that many of us just accept that as natural. It is one of the reasons I like these Holga panos such, they break that stereotype. They allow me to match the frame with the subject. But most of the time we just take this for granted and go along with it, not thinking that we could possibly break this particular boundary.
Phew. I don't claim to be right about all of this. I am trying to put ideas I have out there in hopes that they may spark other ideas in those that read this, and I always welcome discussion. I think too much of Flickr is way too blindly supportive with too little thoughtful critique. Because sharing ideas and photos, getting feedback, responding and adapting, that is how we learn afterall.
As far as perfection, if it is perfection you think you are trying to capture in your photographs I would warn you to re-evaluate, you will be searching a long time and will never find what you are looking for. Or worse, believe you have. And in the course of that odyssey you will miss a lot of other important things.
That is my take on perfect photography anyway. Thanks for sticking along all this way, sorry I have been sort of absent from Flickr for a bit. I hope for that to change.
And one quick shout out to Rob to congratulate him on finally getting to go home from the hospital. Keep it up Rob!
If you are interested in pricing for my images, or just plain curious, more info can be found at my website: www.zebandrews.com