Family Virtues and Family Values Group
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until sickness comes :-)
Thomas Fuller
HGGT!! stay safe and healthy friends :-)
in the neghborhood, cary, north carolina
Wufeng Lin family is the rich in central Taiwan, to participate in politics and education, the house is very artistic value. Lin family mansion here is one of many species, Called the Yi Pu. A plurality of annular shape metallic device, Very rare, it is clear that after the design, expensive custom iron gate.
霧峰林家是台灣中部的富豪，參與政治和教育，宅第非常具有藝術價值。 這是眾多林家宅邸之一，稱為 頤圃。多個環形裝置，非常罕見，很明顯的是經過設計，價格昂貴的訂製鐵門。
Hemsedal is a municipality located in southern Norway, north of the city Gol. From the north to the south flows the river Hemsil, which carved a valley of high tourist value. Along the river Hemsil runs road 52 from Gol to Laerdal. Hemsedal is best known for the large alpine skiing resort, one of the largest in Norway.
A big tourist attraction in the Hemsil valley is;
*A powerful and impressive double waterfall Rjukandefossen
on the river Hemsil, falling 18 meters down a narrow gorge.
*Hydnefossen is the highest waterfall in the Buskerud region,
which falls from a height of 140 meters from the top of
Veslehorn, total 530 meters high.
-
Hemsedal jest gminą położoną w południowej Norwegii, na północ od miasta Gol. Z północy na południe spływa rzeka Hemsil, która wyżłobiła małowniczą dolinę o dużych walorach turystycznych. Wzdłuż rzeki Hemsil biegnie droga 52 z Gol do Laerdal. Hemsedal jest najbardziej znane z dużego ośrodka narciarstwa alpejskiego, jednego z największych w Norwegii.
Duża atrakcją turystyczną w dolinie Hemsil jest;
*Potężny i imponujący podwójny wodospad Rjukandefossen
na rzece Hemsil, opadający 18 metrów w dół wąskiego
wąwozu.
*Hydnefossen to najwyższy wodospad w regionie Buskerud,
który spada z wysokości 140 metrów od góry Veslehorn przy
całkowitej wysokości 530 metrów.
f i r s t
Runway Challenge
MISS SL 2020
... Women of the World ...
Thai people have always been known to have great respect for old values such as the proper ways a woman should act. The prim and proper ways of a true lady who stays at home spending all her time taking care of children, cook wonderful meals and can make the most marvelous flower creations. These values make Thai women, especially in the area where education is less important than everyday survival, underestimate themselves. We are stronger and we have more impact on society, more than we thought we had. Our opinions matter too and we definitely know more than just the best deals at the supermarket.
It's true that we can't change society and its values overnight but what we can do is to start within ourselves, build confidence within us through knowledge and be the best version of ourselves that we know we could be.
#EachForEqual
Excerpt from uwaterloo.ca:
Description of the District
The Cross-Melville Heritage Conservation District is bounded by Sydenham, Melville, Cross and Victoria Streets in the former Town of Dundas, now the City of Hamilton. The district consists of 49 properties. These properties are predominantly single family dwellings with the exception of three churches.
Cultural Heritage Value of the District
According to the Cross-Melville Heritage Conservation District Study - Background Report the cultural heritage value of the district lies in its historical and associative value, design or physical value as well as the contextual value. The Background Report concludes:
“The Cross-Melville area constitutes a superb collection of buildings with particularly fine architectural attributes. Tree planted along the streets enhance the surroundings of individual buildings and provide expansive canopies over adjacent streets. Developed in the 1840s and 1850s as the first exclusively residential area distinct from the commercial and industrial locales of Dundas, this neighbourhood is associated with numerous prominent citizens, mayors and councillors, including George Rolph, William Notman, Alexis Begue and the Grafton family”.
Canon T5i
Lens 10-18
Av(Aperture Value) 11
Tv(Shutter Speed) 5
ISO Speed 100
M Exposure
ND 1000 filter
Editing: Photoshop and Nik Google software
3/2016
For my friend matiz ° o.
See her art here: www.flickr.com/photos/m2matiz/
As always, a big thanks to my loyal visitors especially now when I'm extremely busy and hardly on Flickr at all. Someday I'll be back........
its value is a part of something larger :-)
Abbas Attar
HFF! Higher Education Matters! Resist the Clueless Orange Clown and his Cabinet of Buffoons!
rhododendron, sarah p duke gardens, duke university, durham, north carolina
Thank you everyone so much for sharing your quality photos which is a great way to see and keep in touch with the world from home as well as with each other.. Also thank you for your kind comments and favours which are much valued. I am not able to take on any more members to follow or to post to groups. I prefer not to receive invites to groups.
Processed in Capture One Windows
Cropped (4:3)
Exp. Program: Normal
Metering mode: Pattern
Exp. Corr. Value: +0.0 EV
WB Settings: Auto
A shot taken almost 46 years ago to the day uploaded for historical value. And, if you're lucky enough to have the space to model Trent Station back in the 1950s / early 1960s with plentiful 9Fs, 8Fs, Duck 6s, Jubes, D1-10 Peaks, Sulzer Type 2, etc etc, then this image just might be helpful.
In the distant past known as Long Eaton Junction Signal Box, this structure controlled the line to Trent Junction from Attenborough / Nottingham, as well as the by now lifted line to Erewash Junction and Long Eaton station, the track bed of which is still visible curving right under the flyover-line bridge a couple of hundred yards away.
Long Eaton station closed in January 1967 (at which time the name was transferred to the then Sawley Junction station), and presumably the curve from just here to Erewash Junction was lifted shortly afterwards.
Along with so many other signal boxes in the area, its final ignominy came in 1969 with the commissioning of Trent Power Box. However, unlike many of the other redundant boxes which saw swift demolition, this one soldiered on as the Meadow Lane Crossing Shunting Frame for several more years, its role simply to open and close the crossing gates over Meadow Lane.
Advances in camera technology finally made it redundant when control of the crossing was passed to Trent Power Box, and the structure was demolished.
Trent Power Box itself was closed in 2013, after 44 years of service, and control passed to Derby Signalling Centre.
For local road users, delays weren't too bad when this shot was taken but, with the much more intensive contemporary timetables, train frequency has significantly increased. So, if you live on this side of the tracks, your only way out by car is over this crossing - and hearsay suggests the barriers can be down upwards of 40 minutes in every hour. Ouch :(
Agfa CT18
12th March 1978
Thank you all my dears Flickr friends for your sweet comments! I do appreciate them very, very much
My Books:
My book "Discover GUIMERÀ" (preview)
My book "Discover SANTA PAU" (preview)
My book "Discover BESALÚ" (preview)
Listen The Legend Of Kristy Lynn - Rudy Adrian
The success of the Cistercian adventure is what actually accounts for Poblet. Cister was founded in 1098, and Poblet in 1151, less than a hundred years later. Both the 12th and 13th centuries are essential to the history of our monastery. Most rooms and buildings were, in fact, finished during those centuries : a space, both beautiful and functional, whereby to seek God. Such a space has come down to us virtually intact. The 14th century was a century of great achievements, but also that of the decline, slow but sure. We must point out that the known records of the time, and which refer to the private life of the community of Poblet, don’t show any noticeable deviations from the original ideals of the founders of Cister and, likewise, the founders of Poblet, who originated from Fontfroide. In fact, this, which is the true history of Poblet, has never been written and probably never will. The history of the monks who, day after day, made the growth and continuity of the house possible, the domus Populeti. Thus we could explain the succession of the days and years over the 15th, 16th, 17th and 18th centuries: Poblet, the institution, the community, its monks, all hasten to find a new visage, new features, forms different from what they intimately live in their hearts. Not always, though, will they succeed in doing so with the transparency and vigour of the first ideal. The 19th century will sow, in a society going through radical changes, the seed of a future recovery, in spite of the abandonment and subsequent plunder of the monastery. A recovery that, along with the monks in 1940, brought back that old way of life, purer, truer, more deeply Benedictine and, therefore, more evangelical. Today the monks, the ancestral ones’ heirs, are perpetually grateful for this legacy, because authenticity is possibly one of the most important values that we can and must offer the men and women of our time.
We haven’t spoken of illustrious abbots of Poblet, nor of counts, kings, nor constructions… We like to think it is humility that writes history, the true history, which is something the tomb slab of a former abbot of Poblet makes overwhelmingly ostensible. The tomb slab of that abbot, fray Vicenç Ferrer, who died in 1411, was put right in front of the Chapter House so that everybody steps on it upon entering or leaving the room, and where we can read a sole revealing inscription: Miserere mei Deus secundum magnam misericordiam tuam [God, have mercy on me in Thy great mercy], borrowed from Psalm 50, the psalm with which St. Benedict tells us to start our daily morning praise, at daybreak, and at which he wants a most scrupulous attendance (cf The Rule of St. Benedict 13,2). A prayer that we, like abbot Ferrer, should make ours, with confidence and gratitude, because after all, the monk’s life is summed up in this unrestrained abandonment to God: «and never to despair of God’s mercy» (The Rule of St. Benedict 4, 73).
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
© Leanne Boulton, All Rights Reserved
Street photography from Glasgow, Scotland.
Colour re-edit of a shot from July 2017. Enjoy.
There's something inherently sad about household objects left out for the trash man. They are like castoffs; broken or no longer cherished, and left ignominiously out on the curb. This easy chair caught my eye the other day. Part of the forlorn quality of scenes like this is the object being ripped from its normal context. I wouldn't give the chair a second look in someone's living room. But it seemed horribly out of place on the edge of the state highway that bisects the village. That, and the sedentary nature of a recliner juxtaposed against passing traffic. Wonderful visual metaphors for the life cycle of things we purchase and the passage of time (and with it life). In the eerie stillness after the truck passed I contemplated the chair and the many other personal objects scattered about the lawn behind me. There's a village-wide trash haul this weekend, and little collections such as this are springing up all around. I have to admit a weird impulse to inspect them, and yearn to pull over when driving by. I can't help but think I will find something of value (I almost never do) but also that idle curiosity about seeing the remnants of someone else's life (remember I did preface this as weird). I'll be placing some of my own items out on the curb soon. I tend to wait until the night before, perhaps to avoid having others inspect them as I did this chair. Even when it's sheer junk, I feel an odd sentimental tug about letting go of things. And that spell lasts as long as the objects remain on my tree lawn before the pickup. Much like this chair, they are in the condemned phase, but still retrievable. I can simply go back out and reclaim them. That sentiment vanishes the moment the objects are tossed onto the truck. Maybe that's why I wait until the last minute to put them out. I just can't stand that in between time.
Europe, The Netherlands, Zuid Holland, Den Haag, Kunstmuseum, P.H. Berlage, Dick Braeckman, 5 B&W photos. People (uncut)
Walking thru the Kunstmuseum The Hague, formerly Gemeentemuseum The Hague) it is sometimes difficult to choose to focus on the delightful early modernist Berlagian flow of space and light or the artworks on display. Luckily there’s photography to balance things out and have it both ways, like in the pic shown here – a light court doing its magic.
Check out Hendrik van Leeuwen's text below to learn about Dirk Braeckman and this work. Thanx Hendrk, also for your narration during the visit to the museum.
“Dirk Braeckman (born in 1958 and closely associated with Ghent) felt that painting was not for him. Just as Odysseus was lured to the rocks by the song of the Sirens, an inner voice lured him to the darkroom of photography. To the magician's chamber that Dutch enthusiasts abbreviate to 'doka'. He felt at home there. Classical rules about tonal value, focus and composition were soon thrown overboard. He started painting with lamps and chemicals, in an increasingly larger format.
With him, every print has a life of its own. In the Kunstmuseum, five photos of the sea hang next to each other. All made from the same negative and yet the differences are enormous. "In my armchair, I often think about art and philosophy, but in the darkroom, I act impulsively," says Braeckman. "I want to surprise myself. Time and again. That is possible with this profession."
What drives a person? Dirk Braeckman does not want to know when he works, but he too must have core images from his youth that do not let him go. He tells us hesitantly about his father. “Unlike me, he was very sporty. He liked to dive deep into the sea. As a child, I often went with him. I would sit on the shore for hours waiting. Or worse, on a boat far out at sea. He didn’t notice it, but I never knew when he would surface again.””
The Merganser tried unsuccessfully for over 20 minutes to try to swallow its catch but eventually had to give up..... a little too big
Porcelain Patchwork by Narin Kantawong:
"I was fascinated by the ancient Chinese Porcelain vases and wanted to re-create the broken pieces patched together. Like putting together a new story, new values and feelings through times."
Elephant Parade® is a social enterprise and runs the world’s largest art exhibition of decorated elephant statues. Created by artists and celebrities, each Elephant Parade statue is a unique art piece. The life-size, baby elephant statues are exhibited in international cities and raise awareness for the need of elephant conservation.
Shot 48/100 x
LA FIAMMELLA CHE SCALDA L'ANIMA.
Il voto religioso consiste in una promessa solennemente formulata, che si basa sul tenere un certo comportamento o meno a favore della divinità.
Una promessa permette l’instaurarsi di un rapporto intimo tra il fedele e la divinità. Accendere una luce in segno di questo legame è consuetudine oramai entrata nella pratica di moltissime professioni di fede.
Nella religione cristiana il voto è un atto di culto a Dio, è l’espressione della volontà umana di far ingresso nel mondo spirituale. Questo ingresso è generalmente accompagnato dall’accensione di una luce.
La candela utilizzata in campo ecclesiale ha una forte valenza simbolica, essa indica la fusione, il punto d’incontro tra la materia e lo spirito. Non è un caso che nella maggioranza delle chiese cristiane lumini e piccoli ceri, (oltre alle candele utilizzate sull’altare, di fronte al santissimo o nelle sacre celebrazioni, che appartengono alle espressioni ufficiali), facciano luce ai piedi delle statue dei santi o di fronte alle espressioni marmoree di Maria e Gesù. Accendere una candela di fronte ad un’ immagine sacra è un pò come dire “io ci sono”, “io ti sto parlando”, “io ti sono devoto”.
------------------------------------------
THE FLAME THAT WARM THE SOUL.
The religious vow consists of a solemnly formulated promise, which is based on having a certain behavior or not in favor of the divinity.
A promise allows the establishment of an intimate relationship between the faithful and the divinity. Turning on a light as a sign of this bond is now customary in the practice of many professions of faith.
In the Christian religion, the vow is an act of worship to God, it is the expression of the human will to enter the spiritual world. This entrance is generally accompanied by the switching on of a light.
The candle used in the ecclesial field has a strong symbolic value, it indicates the fusion, the meeting point between matter and spirit. It is no coincidence that in the majority of Christian churches, small candles and candles, (in addition to the candles used on the altar, in front of the most holy or in sacred celebrations, which belong to official expressions), shed light at the feet of the statues of the saints or of facing the marble expressions of Mary and Jesus. Lighting a candle in front of a sacred image is a bit like saying "I am here", "I am talking to you", "I am devoted to you".
Immagine realizzata con lo smartphone HUAWEI MATE 20 PRO
English ten pound note.
If you are familiar with this banknote then this image may strike you as being a little odd. You’ll know the iridescent holograms on the left, but you may not have seen the large yellow figures ‘10’ formed in the pattern at the top.
That’s because this image was taken in UV light. There are patches of fluorescent ink printed on the note that just look like white paper in ordinary light. The five-pound note has a 5 in the same place. I couldn’t afford a £20 note to check it out for consistency (or should that be cheque?) ;)
The British pound sterling is the oldest currency in the world that has been in constant circulation. It was adopted around 800AD being modelled on the currency of the French kingdom of Charles the Great (Charlemagne) which was established a few years before. Italian, Spanish and Portuguese currency had the same roots.
The French livre (pound) had 20 sous each of 12 deniers, like the 20 shillings and 12 pennies of sterling. Interestingly although the small denomination was called a penny its symbol was the ‘d’, just like the French denier, the Spanish Dinero and the Portuguese Dinheiro. All the names derive from the Roman denarius coin.
Sterling was decimalised in 1971 which caused all the prices to go up and the parking meters to stop working :) The pound now has 100 new pennies (p or pence).
Originally one French livre was worth a pound weight of silver (equivalent to 14.6 Troy ounces), but by 850 the pound sterling was only worth eleven and a quarter Troy ounces of silver. Looking at tonight’s spot price for silver my note should be redeemable for £1868.62 of the shiny metal… times change.
This image measures under 3 inches across as per the rules.
One thing that photographers should be aware of is that it is illegal to reproduce a digital picture of more than 50% of one side of the note without an overstamp, and the Queen’s head must not be distorted. There are the normal copyright issues as well and these can be rigorously prosecuted. See the Bank of England website for more details.
Thank you for taking the time to look. I hope you enjoy the image. Happy Macro Mondays :)
Restoring intended value through an application of intended use.
Paper and masking tape.
Dimensions variable.
On the 15th December 2010, they killed-off the Harrier to save less than £1bn. This year the UK government has already spend more than £300bn fighting COVID-19. That’s more money per day on COVID-19 than the entire savings from retiring the Harrier force.
Barton Hill depot in Bristol will be the temporary home for 20901 and 20905 for the next 5 weeks whilst they undergo a repaint into Balfour Beatty livery.
The depot opened in 1840 as a locomotive depot until 1870 when it became a carriage and wagon servicing facility.
I remember it being the home of the Blue Pullman in the early 70s. It was used by RES for a little bit in the mid 90s and went into Arriva ownership in 2011.
Its great to see some locomotives from the 1960s in a depot building dating back to the 1840s.
Another one of the Bessa Skopar images taken with Bergger Pancro 400, developed by 2 bath Thornton technique.
This is a technical test: experimenting with Bergger Pancro 400, developed in the Thornton 2-Bath developer to see if it's a suitable combination.
Bath A; 13 minutes
Bath B: 5 minutes.
The Bath A went much longer than typical because Pancro 400 requires significantly longer development times than most other films. This 13 + 5 time gave me very good overall density, but a bit excessive contrast, with the brightest values going a bit too far, I think. Next time I would drop the Bath A time to 10 minutes.
In all, a good experiment and reasonable results.
This was using the pre-WW2 Voigtlanger Bessa: 1/2 second at f16 with a medium yellow filter. Apertures larger than f11 deliver rather poor results with this f3.5 Skopar, unless you like the "toy camera" look in your work.