View allAll Photos Tagged TAUGHT
Early Filipinos were a people of the sea, living in coastal villages or near rivers. Boats were linked to many aspects of Filipino life: fishing, trade, warfare, piracy (trade-raiding for goods and slaves), travel, communication, and dwelling.
The Balanghai or Balangay or Butuan Boat is a plank boat adjoined by a carved-out plank edged through pins and dowels. It was first mentioned in the 16th Century in the Chronicles of Pigafetta, and is known as the oldest Pre-Hispanic watercraft found in the Philippines.
the Balangay is only found in the Philippines where a flotilla of such prehistoric wooden boat exists throughout the world. Nine specimens were discovered in 1976 in Butuan City, Agusan Del Norte, Mindanao and 3 of which have been excavated. Examination and extensive investigation reveals that the extant boats found in the excavation site date back to 320, 990 and 1250 AD.
The finely built boat, made without the use of blueprints but was taught from one generation to another, uses a technique still used by boat makers of Sibutu Island. Made 15 meters long and 3 to 4 meters wide, the Balangay is propelled by sail of buri or nipa fiber or padding and is large enough to hold 60 to 90 people. With the Balangays size, it was used for cargo and raiding purposes, giving proof that Butuan played a central role in trade.
Excerpt from the plaque:
Mark Nadjiwan, a self-taught artist working primarily in pen and ink, is inspired by his First Nation heritage. His unique style fuses Woodland and Northwest Coast Native art traditions. In his work, the Woodland's characteristic x-ray and wavy line motifs are interwoven with the clean form lines and geometry that typify Northwest Coast art. Mark's First Nation roots are grounded in the Georgian bay and Lake Superior regions. He and his artist wife, Patricia Gray, continue to live in the traditional territories of the Anishinabek Nation on the Saugeen (Bruce) Peninsula and he is a member of Neyaashiinigmiing Unceded First Nation.
Mark's work addresses the environmental and political challenges facing our modern times. He has been pleased to be the indigenous member of a small national team of academics, writers and artists lobbying to have the whiskyjack (Canada Jay) named as the National Bird of Canada. Mark's work can be found in venues and private collections across Canada, the United States and Europe.
Excerpt from www.insauga.com/artists-sought-for-indigenous-art-walk-in...:
Burlington, with support of the Hamilton Halton Brant Tourism Relief Fund, is creating an Indigenous Art Walk in Spencer Smith Park. This project seeks to celebrate and honour the work of First Nations, Métis and Inuit artists.
This project will link Spencer Smith Park with other key downtown arts and culture destinations including Joseph Brant Museum and the Art Gallery of Burlington.
In addition to the vinyl wraps, the Art Walk will include an Indigenous-themed crosswalk and a public art sculpture by David General which is being installed later this year at Joseph Brant Museum.
“Spencer Smith Park, along with every City facility, park and greenspace, is a welcoming and inclusive space,” said Chris Glenn, director of Recreation, Community and Culture.
“These nine commissions will honour and celebrate the work of First Nations, Metis and Inuit artists as residents and tourists walk along Spencer Smith Park and visit key downtown destinations such as the Joseph Brant Museum and the Art Gallery of Burlington.”
War
What life has taught me
I would like to share with
Those who want to learn...
Until the philosophy which hold one race
Superior and another inferior
Is finally and permanently discredited and abandoned
Everywhere is war, me say war
That until there are no longer first class
And second class citizens of any nation
Until the colour of a man's skin
Is of no more significance than the colour of his eyes
Me say war
That until the basic human rights are equally
Guaranteed to all, without regard to race
Dis a war
That until that day
The dream of lasting peace, world citizenship
Rule of international morality
Will remain in but a fleeting illusion
To be persued, but never attained
Now everywhere is war, war
And until the ignoble and unhappy regimes
that hold our brothers in Angola, in Mozambique,
South Africa sub-human bondage
Have been toppled, utterly destroyed
Well, everywhere is war, me say war
War in the east, war in the west
War up north, war down south
War, war, rumours of war
And until that day, the African continent
Will not know peace, we Africans will fight
We find it necessary and we know we shall win
As we are confident in the victory
Of good over evil, good over evil, good over evil
Good over evil, good over evil, good over evil
She taught me about Husky/Malamute Love!
Her Vet said,"I'm in love with your dog"
She is the reason I love Huskies.
Because of Sonja, I 'looked for' Anna and Ruby.
My grandparents taught us to grasp the old flowers by the petals to pinch into a balloon and pop it on the back of your hand. We call these wildflowers "Poppers".
Excerpt from the plaque:
Mark Nadjiwan, a self-taught artist working primarily in pen and ink, is inspired by his First Nation heritage. His unique style fuses Woodland and Northwest Coast Native art traditions. In his work, the Woodland's characteristic x-ray and wavy line motifs are interwoven with the clean form lines and geometry that typify Northwest Coast art. Mark's First Nation roots are grounded in the Georgian bay and Lake Superior regions. He and his artist wife, Patricia Gray, continue to live in the traditional territories of the Anishinabek Nation on the Saugeen (Bruce) Peninsula and he is a member of Neyaashiinigmiing Unceded First Nation.
Mark's work addresses the environmental and political challenges facing our modern times. He has been pleased to be the indigenous member of a small national team of academics, writers and artists lobbying to have the whiskyjack (Canada Jay) named as the National Bird of Canada. Mark's work can be found in venues and private collections across Canada, the United States and Europe.
Excerpt from www.insauga.com/artists-sought-for-indigenous-art-walk-in...:
Burlington, with support of the Hamilton Halton Brant Tourism Relief Fund, is creating an Indigenous Art Walk in Spencer Smith Park. This project seeks to celebrate and honour the work of First Nations, Métis and Inuit artists.
This project will link Spencer Smith Park with other key downtown arts and culture destinations including Joseph Brant Museum and the Art Gallery of Burlington.
In addition to the vinyl wraps, the Art Walk will include an Indigenous-themed crosswalk and a public art sculpture by David General which is being installed later this year at Joseph Brant Museum.
“Spencer Smith Park, along with every City facility, park and greenspace, is a welcoming and inclusive space,” said Chris Glenn, director of Recreation, Community and Culture.
“These nine commissions will honour and celebrate the work of First Nations, Metis and Inuit artists as residents and tourists walk along Spencer Smith Park and visit key downtown destinations such as the Joseph Brant Museum and the Art Gallery of Burlington.”
... her mother taught her to sew and to be daring in her choice of colors and designs...
(words by Snuffy)
Coralie is beautifully created by The Red Team for "For The Love of Blythe" doll project..
Nicole (Angel Lily ) - Hair & Eye Chips :)
Snuffy - Story of Coralie & flower clippies
Maria (Chu Things) - Face up
Laurinda (TRIO) - Outfits, Box & Stand
Jodie (Kittyrobot) - Pull rings and charms
Linda (Addicted To Plastic) - goggles & sprinkles clippies
Yenny - Photography
dia de los muertos 8: immaculate
mixed media on wood: acrylic paint, metallic paint, collages paper, stamps, house paint
24" X 12"
inspired by my trip to mexico city and san miguel de allende october-november 2017
jennifer beinhacker
jenniferbeinhacker.com
art outside the edge
A little bird taught me
a happy song
And when I'm lonely
Sadder than I ever am
I remember he taught me
In this song it says:
I live life singing
Hi-Lili, Hi-Lili, Hi-Lo
That's why I'm always happy
What passed, passed
The world spins fast
And in these laps that I go
Singing the song so happily that says:
Hi-Lili, Hi-Lili, Hi-Lo
That's why I'm always happy
Hi-Lili, Hi-Lili, Hi-Lo
A artista e fotógrafa Fernanda Vieira Clins, a muitos anos vem cultivando este trabalho de arte contemporânea em fotografia.A arte que cura PÓS GRADUADA EM ARTE TERAPIA.
Espalhando pelo mundo suas imagens com um toque doce e iluminado.
Atenção: minhas peças encontram-se no Flicker e no Instagram.
Não mostramos em outros lugares.
Entregamos DUAS COPIAS POR TIRAGEM DOS ORIGINAIS.
Nosso objetivo é mostrar exclusividade e peças únicas.
Galeria La Violet apresenta:
Arte em Fotografia (parcerias entre em contato, podemos divulgar suas fotografias e páginas em nossa galeria)
e-mail: galerialaviolet@gmail.com Assunto: Parceria
Na compra do arquivo, impressão ou do quadro pronto passamos todas as informações pelo imail
ATENÇÃO: EM BREVE ESTAREMOS COM NOSSO APP.
Na bio mostramos um pouco do nosso trabalho com 4 mi de visualizações na galeria e mais de 1000 fotos vendidas.
Obrigada a todos e volte sempre.
Camera:Hasselblad 500C/M
Lens:Carl Zeiss Planar 80/2.8T*
Film:kodak portra 400
Follow my Instagram →instagram.com/kazuyukikawahara
I took a Night Photography class sponsored by Desert Botanical Garden and taught by Ryan Parra - a photography professor at Mesa Community College and Arizona State University. I learned a lot and practiced a lot. I really feel that I had improved significantly by the end of the class. One big problem with classes like this is keeping other photographers out of the frame.
This HYBYCOZO sculpture is titled Pyrite Field. It greets visitors in the Ottosen Entry Garden. Any correction will be appreciated.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
WHAT A WEEK I JUST HAD!!
I taught my first time out Backyard Fine Art Class via Zoom. A four camera Zoom shoot done as a one man band. Up at 5am every morning. Nine different setups, near focus (which this is) using the 105mm. f1.4 Nikkor.
We also did Macro with the new 105mm 2.8 S series lens (WHAT PIECE OF GLASS THAT IS) extension tube shooting using promaste extension tubes with 85mm 1.8. S series lens as well as the 105mm macro and then with a Novoflex Mini II bellows for the Nikon Z camera and then using heliopan Clusuplenses with the 70-200mm 2.8 S series lens.
But what a blast I had!! What a bunch to troopers the class was talk about commitment!
This is the image in which the class partcipated in setting up, and saw through from set up to full compleation.
#Nikon100 #nikonlove #lexar #kelbyone #photography #onOne @NikonUSA
#nikond7200 #NikonNoFilter #niksoftware #nikonUSA #Epson
#wacom #xritephoto #onone #sunbounce #fineartphotography
#DxO #iamgenerationimage #iamnikon #B&H #PhotogenicbyBenQ
#lexarMemory #nikonLOVE @lexarmemory elite photographer #lexarmemory
#nikonnofilter #nikonambassador #MMW #mainemediaworkshops
I was taught that U shaped canyons indicate glacial activity in the distant past. I don’t know for sure, but I’m guessing there were a lot of glaciers flowing down the canyons of the Uintas.
#SmithAndMorehouse #Uintas #UintaMountains #Utah #ScenicUtah #BestOfTheBeehiveState #UtahPhotographer #Outdoors #Dronestagram #AerialPhotography #DronePhotography #DroneShot #DroneLandscape #ShotOnDJI #Mavic3
I finally taught myself how to use Photoshop to put together this collage. These are a few of the shots of the total lunar eclipse showing the sequence of events, going clockwise starting from the bottom.
All shots taken with a Sony NEX-6 mounted on a Celestron C8-SGT with f/6.3 focal reducer.
“Life has taught us that love does not consist in gazing at each other, but in looking outward together in the same direction” ~ Antoine de Saint-Exupery
The photographer Harry Callahan, taught me about what really matters. I look at his work and think of how amazing it was that a person like that , was alive in my life time. I would of traveled thousands of miles to hear him talk. He put me into a sense of time and space, I'd never known, with an honesty and real love of life and humanity. He made me think about why I take photographs in the first place. Harry Callahan was on a journey of the soul. I think that was what he was expressing in his photographs. Harry Callahan leads me down, what I feel, is a true path; one I trust. . He has been an inspirational giant for me; he never leaves my mind.He remains a guiding star.
Traveling has taught me quite a few things, including what I want out of life, what’s most important to me, and that there really is no place like home.
A few other things traveling has taught me-
I really don’t need much to be happy or to feel free.
I need forests most of all when it comes to nature, although bodies of water is a very close second.
It strengthened my vegan convictions. Seeing how much land is used for meat & dairy, going past congested feedlots, smelling factory farms for miles, and looking into the innocent eyes of animals while we pass countless slaughterhouse trucks; all of those things solidified my ethics more than they already were.
There is no perfect way to travel. Each way has its pros and cons, and you just need to roll with it all.
Just as there’s no perfect way to travel, there’s no perfect place to live. However, living around the Great Lakes with forests all around is pretty close!
Notebook from Peter Pauper Press, bandana from Bandits Bandanas.
so today i finally figured out what story people was! im addicted to it now! i cant believe summers coming to an end, didnt it just begin? i gotta get goin on my summer reading... im waaayyy behind! i've been taking loads of pictures recently, me and my momma have been going places to shoot (which is my favorite thing to do!) so theres lots to upload! and also sorry for the super random description! happy flickr-ing! oh and hey, wanna do our blog? its fun, i promise!
Yana hails from Russia, but is calling Florida her home in the meanwhile. Almost done with school and doing a bit of modeling on the side.
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
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Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
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I taught a night photography class at Independence Pass this weekend and came away with some nice shots. I liked this one because I was able to get the Milky Way reflected in this small pool.
Elizabeth Wiltsee taught herself to read at age four. By age 10 she had taught herself classical Greek. And not long after, Chinese. A brilliant and creative intellectual with a 200 IQ, Elizabeth was a voracious reader, a voluminous writer and a standout student at Stanford University. Decades later she could be found sleeping outside the church doors in the small farming town of Watsonville, California, her beautiful mind ravaged by mental illness. Using Elizabeth's own personal letters, excerpts from her poems and books, and stories from those who knew her best, this moving documentary tells the story of a troubled soul and of the community that embraced her.
love, it taught me to lie.
come on, courage. teach me to be shy.
we talked. we laughed. we kissed. we cried. but it's casual. no big deal.
i'm an ambiguous person. maybe things are better that way. i don't like letting people in. and... can you tell that green is my favorite color yet?
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
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I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
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- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
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This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
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Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
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NEW SERIES, NEW PROJECT
"Skateboarding has taught me two things - that symbolise a meaning of life. How to keep a balance and how to pick yourself up when you've fallen." - Nikki Rowe
.
As you may have seen, I've been trying to hone my mobile photography skills recently but my DSLR remains as my main camera of choice. Dusted it off for a photo club field trip to @kaitif.skatepark a few weeks ago for a fun Saturday afternoon with my photography club. I had no idea that we had one built so it was a real treat to find out that we were invited to spend some time shooting there.
.
I made a blog post on my website about it so you can read about what happened there. Check out the link here: www.nickyhighlanderphoto.com/blog/2022/5/20/kaitif-skatepark
There's going to be a part 2 to this blog post soon....
To all of you, here's to a peaceful weekend, wherever you are! Let me know what you think!
Catch me also on:
Website: NickyHighlanderPhoto (dot) Com
Twitter: @nhighlanderfoto
Instagram: @nickyhighlander
Camera: Nikon D7200
Lens: Nikon 55-300mm VR DX AF-S Zoom
Shutter speed: 0.0005 sec (1/2000)
Aperture: f/4.5
ISO setting: 400
Focal Length: 87mm
© Nicky Highlander Photography 2022
All Rights Reserved
2010 taught me what happiness is and friendship should be like
2011 left me hopelessly restless and longing for more
2012 ran past me but never let my hand go
(an ongoing series of film self portraits)
My first photography teacher in college taught us to avoid shooting directly into the sun, however I do it all the time. He was a very good teacher, but I have always been somewhat of
a contrarian. I'm still not quite sure what he was thinking. But he taught us well the basics of photography, over 50 years ago, most of it in a photo darkroom. All of it in black and white.
Mostly now, I shoot in color. 98% of the time. But something told me that this particular shot would transfer nicely into a black and white image, so I followed that instinct. I shot it in color, and transformed it in post-production. In digital photography, you can have the best of both worlds. Rarely does that work elsewhere.
I made the capture in my favorite spot in the Bitterroot Valley
of western Montana, only minutes from my house. The place is
the Lee Metcalf Wildlife Refuge outside Stevensville, MT., a local wetlands, and a gem of a place in any season.
The sun was just above the peaks of the Bitterroot Mountains,
about five minutes before setting behind them, and about 25 minutes before setting on the day.
It was the shadow-play on the wind-sculpted snow that did if
for me in this scene. There are also the contours of a small inlet
creek in the scene, a water feature that I almost always visit each time I make a trip to the refuge. It's my favorite spot within a spot.
The Bitterroot River runs just behind the pines in the photo.
The sun spiked out about as nice as I could have expected
here, and I didn't go blind shooting into it. No disrespect to
Professor Joe. I'll always be most grateful to him. He got the ball rolling way back in the day. And, with his first firm push, that ball
rolls on today.
...stones, taught me to fly,
love, it taught me to lie,
life, it taught me to die,
so its not hard to fall...
(Damien Rice, Canonball)
366/366
//
This past year has been absolutely great and has taught me so much about photography, and how much I really want to pursue it. I already had an idea that this is what I wanted to do, but through this project, I've confirmed that this is something I actually could do. I have so much more confidence in my photography than I ever had before. I'm sad to finally be done with this project because it's been a part of my life for a year now and it's helped me grow so much, but I'm definitely happy to not have to scramble for new ideas everyday.
In the past couple of years before this project, I have sporadically taken pictures of myself in my backyard after picking a camera up in 7th grade. It wasn't until a year ago, that I decided I was stagnant, and I needed something to keep me motivated to take pictures. That's when I had a last minute decision to take on my 365, and I'm so glad I did. It challenged me everyday to take a picture regardless of the mood I was in that day. It showed me that sometimes I can come up with ideas that totally suck and ideas that end up looking great! Most importantly, it taught me that I should be proud of what I create and post it even if other people think it's weird. I've experimented, and with that I learned a lot. This project is now a part of my past, but I'm not done taking pictures. I will have to experiment and find ways to challenge myself in the future.
My father, a good Army Officer, taught me that it's better to make a decision, rather than no decision, even if it turns out to be the wrong decision. No, he never commanded the Charge of the Light Brigade but obviously the same British Army thinking had been instilled in him, and in my own time I picked up the same ways of often having to learn by my mistakes because I wouldn't listen to people who had just accepted what was right and what was wrong from their peers.
But in general I never had to worry much about being confused. I would make a decision and accept what came my way thereafter. I am the master of my own fate.
However, on Easdale Island Darcy became very confused. Being a dog, she doesn't have the choice to make decisions. I was wandering amongst the little white houses and cottages, some in rows, some detached. There were quirky things everywhere to see. Too much to attempt to describe, but perhaps this one cottage sums it all up best.
When I'm out with Darcy I let her wander and run free while I explore and take the odd picture. She's always somewhere about, sniffing, seeking cats or squirrels, wandering up to people to meet them, or in the case of this island, just wandering in through people's open front doors, into kitchens and sitting rooms. I whistle to her to come back into sight, or follow me. And she's good at obeying. Normally.
The trouble was, unknown to us, in the quadrant of cottages at the centre of the little community, in that enclosure you can see, was an African Grey parrot (just above her). And it must have heard my whistles as we worked our way around Ellenabeich.
I was over the other side of the quadrant when I heard the first whistle, and then another, precisely mimicking my whistles. And it kept doing it. So when Darcy was out of sight of me and she heard the whistle, she trotted to where the sound came from...… to discover I wasn't there.
Just look how confused she is, unsure which way to go. Beijing or Sydney...or Paris...or Basra on the other side...
Decisions, decisions...… no. No confusion for me. Head for the pub!
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
+++++++++++++++++++++++++++++++++++++++++
Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
++++++++++++++++++++++++++++++++++++++++
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
+++++++++++++++++++++++++++++++++++++++++
Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
++++++++++++++++++++++++++++++++++++++++
The robotic guardian of an ancient forge, taught by the last of its human masters.
More photos in this album. I wasn't planning on anything more this year, but then I got the idea for this nonhumanoid robot profile and had to manage one final spasm for the BWTB Non-Humanoid Contest. There's also a detailed backstory, because I'm entering it in the Brickset Character Building Contest too!
SELECTED DATA LOGS, UNIT SN-05
3519.01.01 Activated in an expansive secluded forge by human smith Ferdelan Simne. Informed by him I am a combat model he discovered destroyed and rebuilt to function as his apprentice. Previous databanks and assignment appear corrupted. Therefore this assignment is acceptable.
3519.03.16 Designation 'Senos' assigned by Master Simne. He insists I deserve a proper name. I consider this acceptable.
3522.05.22 My smithing skills have progressed greatly. Master Simne is proud, he says I may surpass him before long. I am skeptical . . . but proud also.
3526.09.17 Master Simne is sick. He has been hiding it for some time, but it has become obvious. I am concerned.
3527.01.01 Today Ferdelan Simne passed away, peacefully. On his deathbed he told me: you have mastered everything I taught. There are few humans left, but you were as true a student, and friend, as any man. And I told him: thank you for teaching me metalworking, and so much more, my friend. He smiled and patted my hand, and then . . . was gone.
3527.01.02 Now I am master of this ancient forge. I will remember Master Simne’s craft. And I will remember him.
Stones taught me to fly
Love taught me to lie
Life taught me to die
So it's not hard to fall
When you float like a cannonball.
HOORAY FOR MY FIRST PHOTO WITH 100 FAVORITES!!!
Went to the beach for the day with my family. Very fun. :)
You know, it's funny. After I took some photos I ran in the ocean for about an hour and with the waves crashing around me and the chaos of the wind and the water and my feet splashing through the ocean, I still felt a sense of calmness.
And gahhhhh I missed yesterday for 365. I took a bunch of photos but I hated them, so this is still 3/365. I might upload another tonight so that could possibly be 4/365, which is where I'm supposed to be today. I might catch up. I might.
I taught myself to play the guitar when I was a teenager, in my twenties I learned to play the piano, I have been playing music ever since, however, it has been a while since I tried to learn to play any other instruments, so now I am turning my hand to learn the Mandolin. Compared to the guitar, there are ten extra strings to deal with so it is a little tricky.
I was always taught that you shouldn't lock something up if you love it, well, unless they are into that :)
What I'm wearing:
DRESS: #20 Blueberry -ForeverBerry-Long-NoStrap- Sky - M (I picked this up on the Marketplace because I needed something pretty for my show opening. Blueberry always does such an amazing job. I still haven't taken it off)
Blueberry SLURL: maps.secondlife.com/secondlife/Lenox%20and%20Blueberry/10...
HAIR: TRUTH VIP Ciara (I picked this up from the TRUTH VIP group notices, but it is always put in the store as well. If you haven't joined this group, it is more than worth the cost of 350L)
TRUTH HAIR: maps.secondlife.com/secondlife/Truth/125/56/45
BRACELET: [MANDALA] - UNISEX KOTOWARI-Watch set_BLACK:
MANDALA SLURL: maps.secondlife.com/secondlife//95/124/23
EARS: [MANDALA] - UNISEX STEKING_EARS_Season 5 (Still my favorite ears)
MANDALA SLURL: maps.secondlife.com/secondlife//95/124/23
BODY TATTOO: [White~Widow] DeadMan - Henna
White Widow SLURL: maps.secondlife.com/secondlife//134/144/21
SKIN: Go&See * Vivi * Ghost ~ Catwa (came with body appliers)
Go&See SLURL: maps.secondlife.com/secondlife/Bali/234/126/3941
BODY: Maitreya Mesh Body - Lara
Maitreya LM: maps.secondlife.com/secondlife/Maitreya%20Isle/207/165/26
HEAD: CATWA HEAD Catya Bento
Catwa LM: maps.secondlife.com/secondlife/Catwa%20Clip/144/114/24
or get on MP @ marketplace.secondlife.com/p/CATWA-HEAD-Catya/10228934
FACETAT: Mine
SHAPE: Mine
Location/Pose: LEA23 - Gates of Oria
Linden Endowment for the Arts presents (- a Tahiti Rae build -) - This runs till the 31st of Dec 2018 (I added in the small lights and snapped with the sky showing)
Tribute to Lord Lichfield. Professional Photographer to the rich, famous and beautiful.
The above photograph isn't mine, I found it on Blue Sky Seminars website.
"I don't think old photographers retire .... they just go out of focus" - Lord Lichfield
Photographer Lord Lichfield dies
Friday, 11 November 2005
Royal photographer Lord Lichfield has died at the age of 66 after suffering a major stroke.
The Queen was among the first to pay tribute to Lord Lichfield, saying she was "deeply saddened" at the news.
Lord Lichfield was the Queen's first cousin once removed and was the official photographer at the wedding of the Prince of Wales to Diana.
He was being treated in the stroke unit at the John Radcliffe Hospital in Oxford after falling ill.
The renowned photographer had been staying in the area with friends when he suffered a stroke. He died at 0400 GMT on Friday.
A Buckingham Palace spokeswoman said: "It's a private matter. The Queen is deeply saddened and will be sending private condolences."
Lord Lichfield - who inherited the earldom of Lichfield in Staffordshire from his grandfather - has often been asked by the royals to take their official portraits.
He photographed the Queen and the Duke of Edinburgh for her Golden Jubilee in 2002.
In July 1981, he took the official wedding photographs for the Prince of Wales and Lady Diana Spencer.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images" - Geordie Greig, Tatler editor.
Tatler editor Geordie Greig said Lord Lichfield was an "old-fashioned gentleman" whose best work had been his shots of the wedding.
"The royal wedding was spectacularly memorable, he got the intimacy of the Royal Family, he got that fairytale magic.
"There was a sort of almost Hollywood magic dust spread throughout that shoot and the world enjoyed it.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images."
Former royal press secretary Dickie Arbiter said Lord Lichfield had been very close to the Royal Family and was noted for the easy way he handled them during shoots, using a whistle to marshal guests at the wedding of Charles and Diana.
"One year, we were shooting a Christmas card at Windsor Castle it was all over in about 15 minutes, he was almost a one-shot man, he would get it perfect the first time."
Baroness Thatcher, whose recent 80th birthday photos were taken by Lord Lichfield, said: "Patrick Lichfield was not only one of the most talented and professional of photographers, he was also an absolute delight to sit for.
"Always courteous and considerate, he had a rare skill which is now sadly gone."
Friend and photographer Terry O'Neill said Lord Lichfield's style was always spontaneous.
"He did go for the moment. He was instinctive. It was part of his nature."
He remembered that the aristocrat liked to be viewed as "one of the chaps".
In a career spanning 40 years, Lord Lichfield worked for Vogue and photographed many stars, including Sixties singer Marsha Hunt, Michael Caine and Joanna Lumley.
As well as editorial photography, he worked on advertising commissions across several industries, including fashion, tobacco and pharmaceuticals.
He was recently commissioned by the British Tourist Authority, and was involved in Hot Shots, a television series for Discovery Real Time in which amateur photographers are taught by professionals.
Interviewed in October by the BBC News website, he told reporter Caroline Briggs: "Remember that the person you are photographing is 50% of the portrait and you are the other 50%.
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
Lord Lichfield's long-term partner was Lady Annunziata Asquith, and he had had three children with ex-wife Lady Leonora Grosvenor - a son, Tom, and two daughters, Rose and Eloise.
Lord Lichfield : BBC News Website Obituary
Friday, 11 November 2005
Lord Lichfield stretched beyond his privileged upbringing to become a world-renowned photographer.
He first used a camera at the age of seven, taking pictures of his family, pets and scenes at his beloved home, the stately Shugborough Hall in Staffordshire.
He attended Harrow School, and took his first pictures of the Queen as he played cricket against Eton.
While his upbringing was aristocratic, Lichfield's great passion for photography carried him far beyond any blue-blooded barriers, and through an extremely successful 40-year career.
The son of Viscount Anson and Princess Anne of Denmark, Patrick Lichfield - the 5th Earl of Lichfield - was the Queen's first cousin once removed.
He made his break into photography in 1962, after leaving the Grenadier Guards.
Starting out as a photographer's assistant on £3 a week, he made the most of his showbusiness and aristocratic connections, snapping everybody from Mick and Bianca Jagger on their wedding day to the Duke and Duchess of Windsor in exile.
Lichfield's memory of the latter encounter was of deliberately falling off his chair to force smiles out of his straight-faced subjects. The result got him a contract with Vogue magazine.
He also worked for a range of other newspapers and magazines, including Life.
One of his most iconic images, which he recently recreated, was the naked pose of the singer Marsha Hunt, complete with a huge afro hairdo for the musical Hair.
Another was Swinging London, which featured Roman Polanski, David Hockney and Lady Antonia Fraser. Other famous subjects included Michael Caine, Joanna Lumley and a host of 1960s glitterati.
His long career was celebrated two years ago with an exhibition at the National Portrait Gallery, and he was awarded fellowships of both the British Institute of Professional Photographers and the Royal Photographic Society.
Most recently, he took a special set of pictures of Baroness Thatcher to mark her 80th birthday.
His position and profession came together most famously in July 1981, when he took the official wedding photographs of the Prince and Princess of Wales, before sitting down to the wedding feast with hundreds of other royals.
From his studio in north Kensington, Lichfield became renowned the world over for his skill with the lens, and personally admired for his straightforward manner.
Although he was one the official photographers of the Queen's Golden Jubilee, he liked being addressed as plain Patrick Lichfield and was at his happiest poring over shots in his studio.
A self-professed "spiv" and admirer of feminine beauty, one of Lichfield's favourite commissions was the famous Unipart calendar, shot in glamorous locations all over the world with an emphasis on stunning models.
Lichfield admitted to having relationships with many of his pretty subjects but, away from the camera, he found companionship in his own well-bred circle.
He was married for 11 years to Lady Leonora Grosvenor, sister of the Duke of Westminster, with whom he had three children.
His most recent partner was the biographer, Lady Annunziata Asquith.
Like the late Princess Margaret, he often took refuge on the Caribbean island of Mustique. It was at his holiday home there in 1992 that he suffered a very bad fall, from which he had difficulty recovering.
Despite this, he continued to work throughout his life, becoming a champion of the digital revolution, and attending to the photography that he described as his "calling".
As he got older, Lord Lichfield reflected on his legacy, wondering what he would leave behind.
Acknowledging his pedigree, he was delighted that Shugborough was smaller but better managed. But he always added: "There are the pictures."
Readers Comments about Lord Lichfield
Here are some of his Quotes, Tips & Tricks
I thought you all may like...I did.....
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
His quotes...
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
"The distance taught me to love above all else"
MEJOR CON MUSICA - BETTER WITH MUSIC
Richard Hawley - Valentine (Subtitulado/traducido en español)
...y no necesito cartas de amor, oh no , ni quiero rosas
Porque solo me llevan atrás en el tiempo ...y ahora no estas aquí
I have taught myself to crochet hats. Taken a loooong time, but I finally seem to be able to manage one stitch in repetition!
Sooo, I am facing many hours in hotel rooms shortly as we are going on holiday, but as the kids are so small, they won't be able to stay up late. I thought crochet would be a great thing to pack and keep me amused (as I don't want to pay $$$ for internet from the hotel).
What I'd really like to do is make little helmets for my girls but I can't figure out how to do a chin strap! Can anyone give me directions or tell me where to find a pattern?
kat taught me a couple new things! And I experimented a bit.. hope yall enjoy!!
If you would like a client pic, please be aware:
Singles: 2k each pic
Doubles: 3k each pic
Please allow 2-3 days for pictures to be completed for best results! tysm!
288/365,
2022 Local Government Election
In the school where I taught 1970 -1973
Gymnasium south door
Chaffey Burke, Elementary school,
Garden Village, Burnaby, British Columbia
On Saturday, October 15, 2022, Burnaby residents will vote to elect 1 mayor, 8 councillors and 7 school trustees (for School District 41). The mayor, elected councillors and school board trustees will serve a four-year term from November 2022 to November 2026.
My Turkish daughter in law taught me that original Santa Claus history started in Turkey. Shortly, thereafter she started calling me Santa and the name happily has become how she calls me 😊❤️😊. Now, keep in mind, I also have a name for her. I call her Smurf. And when she drops in to visit, I put a small step ladder or stool in the kitchen so that she can reach the dishes on the top shelf. 😊❤️😊 Oh, one more element to the story of this photo. This series occurred totally by chance. at a non-profit donation store in Bellefonte , Pennsylvania. 😊 And Finally, one last thing about this Santa-Me photo series of eleven Santa’s plus one. - I went to this store , the Bellefonte store center Faith which is like their goodwill store there, in order to
return a fan for credit because it turned out to be broken
While the two salespeople were deciding whether or not to give me credit, I walked around the store and saw all these Santa figures.
So needless to say I took only eleven photos of Santa for the 12 days of Christmas – because I will be the last Santa on the twelfth day 😄😄😄.
Moreover I have begun to imagine : a Santa Cocktail Party. But I still have to work on that photo 😄
2010 taught me what happiness is and friendship should be like
2011 left me hopelessly restless and longing for more
2012 ran past me but never let my hand go
2013 had me trying to hold onto connections I didn’t want to change
2014 reminded me to take care of myself
an ongoing series of film self-portraits — all of them are here :)
I was taught that the human brain was the crowning glory of evolution so far, but I think it's a very poor scheme for survival.
Kurt Vonnegut
I taught a one-on-one long exposure workshop last week in Chicago. This is one of the images I shot during our day out in the field. The weather was absolutely perfect for long exposures. I wish I could get these kind of conditions every time I go out to shoot. This scene appears very quiet and calm but there were pretty heavy winds and the water was quite choppy. I did get a bit wet! I have posted a video that I shot while making my exposures that will give you a better idea of the reality of the scene.
When I was taught how to read, I remember being told to respect the punctuation marks. Stresses when there is an exclamation mark, raise your tone with the question mark, short pauses for commas, a little longer for full stops (although I always called them periods). I learned to appreciate those lessons. After all, when you've finished arranging all the words it is those small marks, those cues for pause that ultimately bring meaning.
A gentleman stops to read in front of Journal Café along Flinders Lane in Melbourne.