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Water is precious in the desert. Here, in the Grand Canyon, is a great example. An amazing flow of water pours from the cliff at the upper right, and cascades down to form Thunder River, possibly the only river that flows into a creek--Tapeats Creek in this case, lying far below behind the viewer. The water seeped down through the Redwall Limestone above, and was stopped by a less porous layer and diverted to the outside. Plants flourish in a zone as large as the water is adequate.
happy new year everyone!! here's to a fantastic 2014~
background is the incredible Mt. Rainier, model is from Miss Aniela Fashion Shoot Experience workshop in LA 2012.
model: Shameka Jones
stylist: Kendrik Osorio
MUA: Maya Segirah
hair: Kerrie Urban
dress: House of Devali
jewelry: Sue Wong
#TravelTuesday: Join us in #Rwanda in February! ••• Find out more at ift.tt/1xWD4Bp ••• #travel #trip #education #transformation #vision #wellspring #globalgoals #goal4 #qualityeducation
Decided to pick up RAGE again. I played the game a few times, but it never really clicked with me, so I never really got that far. I decided to give it another try. I am really trying to get ReShade working on this game, but it doesn't seem to work, I know it should work since I checked the compatibility list for ReShade. If there is anybody that can help, it would be much appreciated. Besides that, on a graphical standpoint, this game looks pretty good. The textures are not that great, but for lighting and art design, it is really friggin' good.
Decided to pick up RAGE again. I played the game a few times, but it never really clicked with me, so I never really got that far. I decided to give it another try. I am really trying to get ReShade working on this game, but it doesn't seem to work, I know it should work since I checked the compatibility list for ReShade. If there is anybody that can help, it would be much appreciated. Besides that, on a graphical standpoint, this game looks pretty good. The textures are not that great, but for lighting and art design, it is really friggin' good.
Teachers who go through our training are taught a learner-centric method of #education. This helps them to develop love and respect for their students and to even extend that care beyond the classroom. Learn more about a student and teacher who experienced this in another Wellspring 2016 highlight here: ift.tt/2gjwDop ⠀ Remember that generous donors are MATCHING your donations until Dec. 31st. Every dollar you give becomes TWO dollars. Will you help us transform education in #Rwanda?⠀ ⠀ #transformation #goal4
Another image from a very famous place
Do we need another image from Tunnel View in Yosemite National Park? One could argue that after Adams took his iconic "Clearing Winter Storm, Yosemite National Park" in 1944 there has been little need to recapture the public's imagination with the view of this grand valley from a simple roadside pull-out. Yet there is rarely any shortage of photographers and nature lovers peering out over the stone wall making memories and photographs of the valley's major features laid out in such stunning symmetry. So then, what is the reason for snapping away (see below for proof of just how many people bore witness to the grandeur represented in this photograph)? Do we need more nature images of landscapes thoroughly inhabited and (theoretically) protected? Why is a culture so hell-bent on consuming and utilizing every natural resource possible even interested in nature photographs, especially of landscapes which have been (at least temporarily) spared from mining, drilling, clear-cutting and development? I have two answers to these questions - the general and the personal.
The Wellspring
The valley called Yosemite, and a few other spots on Earth, have served as the nursery for ideas. These ideas were the basis for a series of successful and unsuccessful marches in the name of conservationism and environmentalism. The valley was the gray-walled and sand-floored crib of Muir's preservationism. If Muir loved the wilds before (and he certainly did) he came to Yosemite, he got so near to the heartbeat of the Earth that he wanted for the rest of his life to try and get nearer. The valley was the luminous, storm-ravaged epic landscape of Adams' classic photograph - laid out like some glamourous nude, covering just enough with a lacy veil of fog and snowcloud to elicit excitement and inspire others to the same end as Ansel. Camp 4 was the cradle of the American love affair with rock climbing and the first rungs of Rowell's ladder from a poor mechanic to influential photojournalist and world-explorer. Perhaps too The Valley has been the nursemaid to our love of hiking and exploring the wilder places of America as something, if not vocation, then more dear than avocation. Thomas Jefferson famously wrote, "The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants. It is it’s natural manure." Conservationism did not die as some antiquated nineteenth century ideal, but it too must be refreshed from time to time. It's night-soils were the words of Muir, the photographs of Adams, Rowell, and others. There is much yet in this world, and even in the Yosemite Valley, that needs protecting and conserving. I don't know that my photographs will change anyone else's mind about how to behave in the valley or in their own backyards, but I do know the process of taking photographs of this place has fixed in my mind the value of this wonderful place. The argument, therefore, is that ideas need expression and the continual flow of nature imagery is an effort to convince the apathetic and timid of the great value inherent in conservation. Great photography is a call to action, it draws the breath from our lungs and the blood from our hearts for a moment only to rush it back two-fold and inspire us to do more (by doing less) than gnaw with an axe at old, pine-perfumed gardens. Maybe Ansel's was just an aperitif to some great and yet-unmade masterpiece more completely encapsulating the million-fold images, emotions and experiences that are Yosemite. Not all of us are going to make these still epics, however, and the reason to justify our personal photographic efforts are perhaps subtly different.
Making memories and photographs
The process of taking photographs is more about what is not in the photograph than what makes it into the frame. This is true in the compositional sense - often exclusion of extraneous elements and isolation of subject is the key to a successful photograph (a lesson I must constantly learn and a tree that is continually refreshed by the "manure" of deleting photographs poorly executed). This statement is also true in the figurative sense. These photographs are about more than their subject. They are about an amazing light show as dessert to a full meal of hiking and camping, they are about sitting at what seems like the top of Eden and enjoying a simple cup of hot soup as the blood-crimson of sunset gives way to steel-blue of twilight and finally to soot-black of night. They are about the fan-blade whoosh of ravens' wings over the Pines campground and the long light of drawing winter skies in the high country of the Tuolumne Meadows - sundogs and all. The act of photographing is an act of personal education and change.
What I've learned in my time as photographer hobbyist is that you cannot collect or consume nature images. This is where I think most of us who aspire to wonderful amateur photography fail. There is an oft-considered difference amongst photographers between "taking" a photograph, like a vacation snapshot or a record shot of some event, and "making" a photograph through careful composition, consideration, patience and thought. So too there is a difference between remembering things and making memories. Stopping at a roadside pullout and clicking away at even the most gorgeous and tumultuous light shows of our Earth, only to pop back into the car and head out along a drab ribbon of asphalt is to take a snapshot in your mind's eye and does disservice to the photograph, no matter how grand. If I could have told something to my younger self when looking to learn about how to make photographs, I would have told myself "Sit the $&#@ down and absorb the world you're trying to photograph - you can't photograph something you don't understand and you won't understand it until you let it in." I say all this because the photograph above of the valley from the famous Tunnel View pullout was populated with an enormous number of photographers, each very earnest and very serious and very talented. I counted at least two workshops going on and quite a bit of knowledge seemed to be in the offing. By the time I took the second photograph - my wife and I were alone. We had been alone for an hour by the time I took the fourth photograph on this post.
"Letting it in" is something different for everyone and I probably couldn't teach it to my younger self, let along a stranger. It's something like how Buddha can't share enlightenment, but can only share the "way." It is a balancing act between imaging, imagining and observing. Compare the difference in the quality of the light between the photograph that leads this post with the one below (taken just a moment apart). The conservationists problems would quickly end if only he or she could bring all the skeptics, miners and misers to Tunnel View for a late-fall light-show and therein lies the dichotomy.
The Dichotomy of the Valley
Tunnel View is famous because it presents the major aspects of the valley so harmoniously. Yosemite's scale seems to grow in proportion to its distance from the viewer. Half Dome is distant but towering, El Capitan is accurately represented as an impossibly sheer and impossibly beautiful slab of granite, some titanic slab table laid on its side, and nearest of all is the Bridalveil spilling fresh mountain run-off from the high country into a flower garden of amber- and ocher- and scarlet-leaved trees. The valley has just overcome the crisis of its birth, trees new and the cataclysm so near that water has not yet had time to erode its way, crashing instead from precipitous heights and providing our only clue of the impossible scale involved. I had made the pull-out having just hiked 12 miles of the valley floor trail that day and the complementary 10 miles the day before. In that hike I was struck with the out-of-place luxury of the guest resorts within the valley. To me there is something idealogical irreconcilable between a luxury hotel and a preservation of wilderness like Yosemite. I had many thoughts rattling around in my head while I took this last 16-minute exposure. I was thinking about originality, documentation, and the value of an image. The idea I wanted to convey was the dichotomy inherent to these national parks of ours. Yosemite village has a gift shop that sells purses and t-shirts and other trinkets designed to separate bused-in tourists from their money. The shop has a large plaque decrying how many plastic water bottles were consumed in Yosemite the year previous. The plaque is hung above a display selling plastic water bottles. Forever increasing pressure from the outside world to bring more visitors, to consume more wilderness, is one aim of these parks. In stark opposition is the initial, Muir-esque ideology of the parks - a preservation outside of development and the mar of humanity. So I waited for the last rays of twilight to fade and I left my shutter open for what seemed like an eternity, capturing the light pollution of a parade of cars, thundering past Tunnel View, casting their headlamps on the bows of nearby pines and then, on the valley floor, weaving through the gathering fog along the park road between the Pohono bridge and the northern park destinations; I imaged behind it all and above the valley the collected pollution casting a red pall on the sky like the representation of distant war by some Renaissance master.
Originality
To take a step back, and to put an end to my ramblings, it is hard not to take a good photograph from Tunnel View, or for that matter, of the valley. In two trips, I have been able to produce what I think are two rather unique images of the place (at least to the degree that any photographic act is one of creation or uniqueness): "The Dichotomy of the Valley" (above) and "We are Killers" (below). Far more importantly I spent two unforgettable evenings trying to absorb a bit of the grandeur in the thin and chilly mountain air. Had I to boil down the thesis here at play I would simply say that what is lacking in poor photography when compared to great photography are ideas and the successful expression of those ideas. The world is full of information easily found about how to successfully express a photographic idea, but often woefully short of fresh ideas themselves. This is why there was only one Muir, one Adams and one Rowell and why there is only one you. The reason that we need more images of nature, of Tunnel View, of the valley is that no two images are the same, they are all products of their respective creators and our thirst for brilliant creators is never quenched though the wellspring of Yosemite has provided amply. The trick isn't to represent Tunnel View, but to represent yourself through Tunnel View.
Blue like a blue sky, clear, playful on the shores and waterfalls water that brings life in rocky villages and places it's river Cetina.
Nice to remember that this valuable resource is responsible for the gift of life here on planet earth in our corner of the Milky Way Galaxy. It's certainly a too precious a resource to waste or polute.
Blue like a blue sky, clear, playful on the shores and waterfalls water that brings life in rocky villages and places it's river Cetina.
A sculpture nearly completely out of 2x2-bricks.
See more: www.brickup.de/gallery/wellspring-of-life/
height / width / depth: 74 / 27 / 37 centimeters
weight: 2,89 kilograms
// The cure for indifference is curiosity // For an inquisitive mind // Shall never be vacant //
// Model // Kruti Shah //
#Repost @teachforuganda ・・・ The United Nations' World Day of Social Justice is annually observed on February 20. #TeachForUganda aims at encouraging and supporting social justice through education. An education is the best way out of poverty! #socialjustice #povertyalleviation #education #Uganda #worlddayofsocialjustice
Beauty appears to gush from the center of these beautiful flowers. Does anyone know what they are called?
Wellspring Well Dressed for Spring Fashion Show. Toronto, Canada. February 22, 2017. (photo: Vito Amati/Ryan Emberley Photography)
Yesterday I asked the wonderful Tom to take my photo. It was a bit odd to be on the other side of the camera... but I like the photos he took. Thank you, Tom.
Have you read about the parent-led initiatives that are transforming Musave School yet? Thanks to our Asset Based Community Development (#ABCD) training, communities are recognizing their own assets and skills in problem solving. With this program, communities like the one surrounding Musave School can ensure the sustainability of quality education by using their own strengths to support their school.⠀ ⠀ Learn more here: ift.tt/2gIV9mG ⠀ Thanks to generous donors, donations are MATCHED until December 31st. Will you partner with us and invest in #sustainable change?⠀ ⠀ #community #communitydevelopment #education #qualityeducation #Rwanda⠀
Wellspring Well Dressed for Spring Fashion Show. Toronto, Canada. February 22, 2017. (photo: Vito Amati/Ryan Emberley Photography)
Wellspring is a small, contemporary Anglican church in a Denver suburb. This mailer is for a marriage series they are starting in January. It will go to surrounding neighborhoods. They have never done anything like this before. They want their vision statement on the mailer, but I am concerned that it comes off a little stiff and unclear. Any thoughts on content and design? I have to turn this around quickly.
Wellspring's Well Dressed for Spring Event. Toronto, ON, Canada. Feb 25, 2015. (Image: Ryan Emberley)