View allAll Photos Tagged Trusting
This was taken on Saturday 21st September 2013 at the National Trust property Chirk Castle. For more information about Chirk Castle see the national trust web site:
www.nationaltrust.org.uk/chirk-castle/
This image is a HDR image taken as 7 stop exposures and processed using Photomatix and Adobe Lightroom.
for
a wonderful start in new day ....little hopeless...hope also for a good day ...trust is very important !!
Trust yourself to do the things that only you know best
Trust yourself
Trust yourself to do what’s right and not be second-guessed
Don’t trust me to show you beauty
When beauty may only turn to rust
If you need somebody you can trust, trust yourself
Trust yourself
Trust yourself to know the way that will prove true in the end
Trust yourself
Trust yourself to find the path where there is no if and when
Don’t trust me to show you the truth
When the truth may only be ashes and dust
If you want somebody you can trust, trust yourself
Well, you’re on your own, you always were
In a land of wolves and thieves
Don’t put your hope in ungodly man
Or be a slave to what somebody else believes
They were either very trusting or felt that I wasn't a threat to them for them to lay down in front of me.
All bonds are built on trust. Without it, you have nothing.
- Dion shows off her new clothes from @uneekcollection new "Trust yours" brand.
Mark Viso, President and Chief Executive Officer, Pact, USA, in Trust or Bust? at the World Economic Forum on East Asia in Jakarta, Indonesia, April 20, 2015. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
On my way to visit an old friend and her family ... I stopped in Cambridge to stretch my legs ... it was a very long drive !
You know you have your horses' complete trust when they let you hang out with them while they're laying down.
It hasn't been a good past week, but somehow being with my animals always makes it better.
Hope everyone has a good weekend.
I seek protection in Allah, from the accursed Satan.
In the name of Allah,the Beneficent, the Merciful.
Indeed, Allah loves those who rely [upon Him] 3:159
A May Day Bank Holiday Monday visit to Charlecote Park, from the National Trust. My second visit in five years.
Charlecote Park is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Some more views of St Leonard's Church at Charelcote Park.
Grade I Listed Building
Listing Text
CHARLECOTE
SP25NE MAIN STREET, Charlecote
1901-1/2/13 (West side)
05/04/67 Church of St Leonard
GV I
Church. Rebuilt 1851-3. By John Gibson. For Mary Elizabeth
Lucy. Limestone with hammered finish and ashlar dressings;
steeply pitched graduated stone slate roof.
PLAN: 4-bay nave and 2-bay chancel with Lucy chapel to north,
and south-east tower. Decorated Gothic Revival style.
EXTERIOR: moulded plinth; sill courses and top cornices with
foliated ornament and coped parapets; gabled buttresses, and
coped gables with crosses.
Chancel has 5-light east window with Geometrical tracery and
hood with head stops, the sill raised over panel with raised
lettering: THIS IS NONE OTHER THAN THE HOUSE OF GOD; cusped
spherical triangle window to gable which has broken gable
cross; diagonal buttress with rich crocketed gables with angel
corbels. South side has 2-light window flanked by buttresses,
cornice with gargoyles.
2-stage tower with spire: lower stage has offset set-back
buttresses, pointed entrance has moulded arch to plank door
and small light above and to each return. Octagonal upper
stage has gablets over cusped lancets, gabled buttresses to
diagonals; weathered courses to base of bell-stage with cusped
and gabled opening to each side, beast corbels and spire with
fillets and cross.
North chapel has east rose window with cusped lenticular
window to gable; sill course raised over panel with lettering:
I AM THE RESURRECTION AND THE LIFE; diagonal buttress. North
side has 2 buttresses between 3 spherical triangle windows
with hoods, the outer windows traceried, central blind window
with lozenge bearing Lucy Arms impaling Williams Arms for M E
Lucy and date: 1851; 3 panels with lettering: AS IN ADAM ALL
DIE EVEN SO IN CHRIST SHALL ALL BE MADE ALIVE. North-west
angle has octagonal turret with entrance and bell-stage and
spire as above; west end has panel reading: I KNOW THAT MY
REDEEMER LIVETH.
Nave north and south sides have full-height buttresses with
gargoyles in the form of crouched beasts between 2-light
windows with Geometrical tracery and hoods. West end has
diagonal buttresses; entrance of 2 orders with foliate
capitals and leaf trail to hollow moulding, and paired
traceried doors; to each side a 3-bay blind arcade with
benches, foliate capitals and continuous hood with head stops
and stops with symbols of Evangelists; 2 spherical triangles
above have rib bands with lettering: FEAR THE LORD and PRAY TO
GOD; rose window with ballflower to moulded opening and
lenticular window to gable.
INTERIOR: chancel has clustered wall shafts to vaulted roof
with tiercerons, liernes and richly carved bosses; traceried
arch over canopies to sedilia; arches to organ loft and chapel
have continuous moulding; enriched relief panel with
inscription to east. Chapel has waggon roof with moulded ribs
and carved bosses; similar roof to organ loft said to be C15
roof from chancel of former church. Chancel arch of 2 orders
with moulding between and lettering; nave has wall shafts and
lierne vault.
FITTINGS: most woodwork by Gibson including chancel stalls to
west bay with rich gabled canopies to double-cusped arches,
fronts with ogee arches to shields. Chapel has screen with
2-light traceried openings with colonnettes and armorial
bearings over traceried blind panels, foliate cornice and
crest. Nave has richly carved font by Gibson with angels with
shields between ogee arches with crocketed gables and
pinnacles; traceried pew ends; pulpit and lectern are richly
carved oak.
MONUMENTS: 3 notable monuments to the Lucy family in the north
chapel. To east: Sir Thomas, d.1600, and Lady Joyce, d.1595:
alabaster chest tomb has widened chest with slate panels
between panelled pilasters, fluted frieze and moulded top
edge; 2 recumbent effigies, and panel above with inscription
to Lady Joyce, entablature and 3 armorial bearings.
To west: Sir Thomas, d.1605, and Lady Constance, d.1637:
alabaster altar tomb with recumbent effigy flanked by black
Corinthian columns supporting projections of entablature, one
retaining arms, and both with obelisk; back has 2 arched
relief panels and entablature with Lucy Arms to frieze, and
top crest (figure missing); children in relief to chest and
free-standing widow kneeling to front, all facing north.
To North: Sir Thomas, d.1640, and Lady Alice: white and black
marble chest tomb with plain panelled chest, one inscribed, 4
black Corinthian columns to front support arches with
cartouches or masks to keys; entablature has skulls to angles
and central broken segmental pediment with Lucy Arms to
cartouche; recumbent female figure and semi-reclining male
figure, rear relief panels of landscape with horseman and
books; attributed to Nicholas Stone with figures by John
Schoerman.
STAINED GLASS: chancel east window by T Willement; eastern
north window to nave by CE Kempe, c1890; nave west window and
others by O'Connor.
A very fine example of a C19 estate church with outstanding
C16 and C17 monuments, which forms an important group with the
buildings of Charlecote Park (qv).
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 226-7; Shell Guides:
Hickman D: Warwickshire: London: 1979-: 74-5; St Leonard's
Church, Charlecote church leaflet).
Listing NGR: SP2625256554
This text is from the original listing, and may not necessarily reflect the current setting of the building.
As a tribute to National Parks Week, here's our #TBT from Natural Bridges National Monument in Utah. In this short, we see Dan Perkins (USGS) standing on his horse "Cap" on top of Owachomo Bridge. We're assuming, of course, that the horse didn't get spooked suddenly. Thanks Dan for your bravery . Circa 1925. Credit: Lee, W.T., USGS
Another wander around Standen (National Trust) and I thought I'd snapped all the chairs there, but nope, I found 5 more :))))
New project, not quiet sure where this is going and what key themes will be involved ... a works in progress ...
Nikon FM + Nikkor-N Auto 24mm f2.8 pre Ai + FlicFilm UltraPan 400 @ 200 + Orange Filter + HC 110 1:100 @ 1 Hour Stand
Taken on Day of Life #31
I have so many photos that I am just dumping into the New Rescue Family set, but I'll pull a few last photos for the front of the stream this morning.
[SOOC, f/1.6, ISO 1000, shutter speed 1/400, -1/3 EV]
Batizado (graduation ceremony) of Capoeira Beija-Flor,
at CARF (Children at Risk Foundation).
Dedicated to Ordalina :)
Para Ordalina :)
This is a pop up fireworks stand that sets up somewhere along the highway each year. I've been trying to capture its essence for years and maybe I'm finally getting close.
This was taken just outside the subway station at Verdi Square (which you see on the left), and the young girl and older woman were striding purposefully northward, in the general direction of 73rd Street.
What struck me about this was that, from the moment they came out of the subway station, the little girl never looked up, never looked forward, never seemed to know or care exactly where she was going. Instead, she had her gaze fixated on whatever little pink plastic thing she was holding. A hairbrush? A mirror? A doll? Who knows?
But it seemed to me that the girl had implicitly put all her trust in the older woman --trusting her to lead her in the right direction, and keep her safe.
*************************
I am taking a wonderful two-weekend class at the International Center for Photography (ICP) in March 2014, with the title "The Creative Process: Meeting Your Muse."
After two days of very intense discussions during the first weekend of the class (Mar 15-16), we were all given individual assignments to work on during the week leading up to our second weekend gathering (Mar 22-23). Mine was to focus on the concepts of “permanence” and “transience,” and to look for (photographic) ways of expressing those concepts. And during some subsequent back-and-forth email conversations with the instructor, I was urged not to spend too much time thinking about these concepts, but rather to capture (photographically) what I felt about them.
Well... How to avoid thinking about such things? I guess one can look at anything that one comes across and observe, “this feels permanent” or “that feels transient.” But at least in my case, it’s very hard to turn my brain off; and I found it impossible not to think about what these concepts meant. After all, if you remember the old adage that “nothing lasts forever,” it reminds you that nothing is really permanent; it’s just that some things are more permanent than others — and, of course, some things are more transient than others. I have a few things that date back to my early childhood, and a bunch of knick-knacks that date back to my children’s early childhood; conversely, I can look at various gadgets in my office (especially the technological ones) and acknowledge that they probably won’t be here a year from now …
What does this have to do with photography? And specifically, how can you “capture” the concept of permanence (or transience) in a photograph? By sheer coincidence, I happened to be reading a blog posting by a street photographer named Eric Kim, titled “14 Lessons Alec Soth Has Taught Me About Street Photography” while I was working on this assignment, and I was intrigued by what Magnum photographer Soth said at one point:
“Photographs aren’t good at telling stories. Stories require a beginning, middle, and end. They require the progression of time. Photographs stop time. They are frozen. Mute. As viewers of the picture, we have no idea what those people on the waterfront are talking about.”
and the additional comment that
"Photographs can’t tell stories, but they are brilliant at suggesting stories…"
and Soth's final comment on the limitations of a single photograph, with the observation that:
"You can’t provide context in 1/500th of a second."
So … I can take a photograph of an arbitrary object, and when I look at it by myself, I can conjure up an arbitrarily detailed mental “story” about when I first saw it, how long it’s been part of my life, and why I think it’s relatively “permanent.” But if I show it to you, that same photograph might well fall flat on its face — because you won’t have the context that I have. You won’t understand (and ultimately agree with, or disagree with) my sense of the permanence/transience of that object unless I can provide the context, which will require a series of photographs in order to provide the beginning, middle, and end of whatever story I want to tell you.
And all of this seems somewhat pointless if the photograph, and the associated story, is related to any kind of familiar “tangible” object — because even if that object has survived since the day I was born, and even if it will still survive after I’m gone, it’s not really permanent. It probably wasn’t here a billion years ago, and it won’t be here a billion years from now.
Indeed, the only thing that I could imagine as being arguably “permanent” in any meaningful way is human emotion. If we all evolved from tadpoles, perhaps our ancestral tadpoles had different emotions than we do; but as long as we have been humans, we have all had emotions of love and hate, joy and sadness, and the full spectrum of what we typically call “feelings.” My parents and grandparents had them, my children and grandchildren have them, and every generation from the ancient cavemen to tomorrow’s “Star Wars" super-heroes, will also have them.
So that is what I’ve tried to capture in the photographs you’ll see in this Flickr set. All of this had to be done in the space of a week, and I had only three “chunks” of time that I could devote to actual picture-making (alas, I cannot escape the mundane requirements of paying the rent and putting food on the table). Thus, I could only manage to observe and capture a few of the emotions that I saw all around me each day; I took some 900+ images in three different NYC locations, winnowed them down to 9 keepers, and that’s what I’ve uploaded here ...