View allAll Photos Tagged affection
Photo taken some years ago in the plant department of a large grocery store, Toronto, Ontario, Canada.
Ensemble Constantinople "Pero que seja a gente/Virgen Madre Groriosa"
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photo:
inner narthex 14th century mosaic detail of
"The Virgin given affection by her parents"
"Η Κολακεία της Θεοτόκου" - "Φιλοστοργία της Θεοτόκου"
from the Cycle of The Life of the Virgin
Church of the Holy Saviour in Chora, Istanbul
www.columbia.edu/cu/wallach/exhibitions/Byzantium/html/bu...
Chora Museum, Chora Monastery (Contantinople)
Μονή της Χώρας, Μουσείο Χώρας, Κωνσταντινούπολη
Kariye Müzesi, Kariye Camii, Kariye Kilisesi, Istanbul
en.wikipedia.org/wiki/Chora_Church
www.columbia.edu/cu/wallach/exhibitions/Byzantium/
www.byzantium1200.com/chora.html
www.sacred-destinations.com/turkey/istanbul-st-savior-in-...
www.doaks.org/library-archives/icfa/moving-image-collecti...
Masai Mara (MMNR) | Kenya
This is Naibor - one of the adult lionesses of the Enkoyonai Pride - with one of her three fast-growing cubs who are now just over a year old and, as you can see, is nearly the same size as her mother.
It's a while since I uploaded a photo of all the cute alpacas I met on our spring road trip last year.
My album of farm animals here.
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Le Robert-le-Diable (Polygonia c-album) est une espèce de lépidoptère de la famille des Nymphalidae, de la sous-famille des Nymphalinae, de la tribu des Nymphalini.
C'est un papillon diurne.
Le Robert-le-Diable a des ailes très découpées.
Le dessus des ailes présente sur un fond orange vif, des marques brunes et des taches claires en bordure.
Le revers est marbré de brun.
Replié, le papillon ressemble à une feuille morte.
Les ailes postérieures présentent au revers une tache blanche en forme de C
Les plantes hôtes sont nombreuses : ortie dioïque (Urtica dioica), houblon (Humulus lupulus), orme champêtre (Ulmus minor), noisetier (Corylus avellana), saules (Salix), framboisier (Rubus idaeus), groseilliers (Ribes uva-crispa et Ribes alpinum).
Le Robert-le-diable affectionne les haies, les clairières et les lisières.
Comme la plupart des espèces hivernantes, il apprécie en automne les fruits tombés au sol dans les vergers.
fr.pinterest.com/PortPersII/the-old-man-in-good-company/
In 1960, Los Angeles shone like a promise. Hotel façades glittered under neon lights, orchestras played standards in glowing garden lounges, and society evenings followed one another like an endless parade. It was in this vibrant city that Meur Morris, a respected elderly businessman, arrived for a series of receptions meant to strengthen his alliances. To accompany him, he hired Sharra, a young woman whose elegance matched the sharpness of her mind.
Sharra was not only beautiful. She possessed that rare way of looking at people as if they were already important before they even spoke. In the hushed salons, she stood straight and attentive, offering Morris a reassuring and distinguished presence. But it was Darius, an associate from Chicago, who first noticed the gentleness behind her confidence.
Darius lived a tidy, almost motionless life. Married for ten years, father of a little boy he saw too seldom, he moved through existence as one walks down a corridor without windows. The Los Angeles soirées were a parenthesis for him, a space where he could breathe differently. When he met Sharra, he felt something inside him awaken instantly.
Their first conversation took place on a terrace overlooking the city. Sharra simply asked whether he liked his work. Darius answered with a banal sentence, then found himself speaking more: about Chicago, about routine, about the feeling of having become a man no one truly noticed anymore. Sharra listened without judgment, with that rare attentiveness that gives each word a new weight.
As the receptions went on, they often found themselves off to the side— in a corner of a salon, near a window, or in a garden where the music seemed to float above them. Nothing abrupt, nothing forbidden: only sincere exchanges, whispered confidences, smiles that lasted a little too long. Darius discovered in Sharra a quiet strength, a way of understanding the world without forcing it. She, in turn, saw in him a tired but deeply good man, someone who had never truly had the chance to be himself.
One evening, after a particularly lively reception, they walked together along the hotel pool. The lights reflected on the water like shards of glass. Darius stopped, hesitant, then admitted he no longer knew what he was searching for in his life. Sharra placed a light hand on his arm and told him he didn’t need to understand everything right away. Sometimes, she said, it’s enough to recognize what moves us in order to move forward.
That sentence stayed in him like an ember. Their relationship, though discreet, took on an unexpected depth. They didn’t speak of the future or of promises. They simply remained present for one another, in this city where everything seemed possible and yet so fragile. Darius found himself smiling more often, looking at Sharra the way one looks at a light one no longer expected.
But Los Angeles was only a stopover. The receptions ended, the contracts were signed, and each had to return to their own path. The night before departure, they met in an empty salon. Darius told her he didn’t know how to name what they had lived. Sharra replied that some encounters don’t need a name to exist. They leave a trace, and that is already a great deal.
They parted without drama, without tears. One last look, one last softness. Darius returned to Chicago, aware that his life would no longer be quite the same. Sharra stayed in Los Angeles, carrying within her the memory of a man who had found, for the span of a few evenings, a space where his heart could breathe.
What was meant to be a simple contract had become a luminous parenthesis. A brief but sincere adventure. A meeting where Darius’s need for affection crossed Sharra’s quiet strength. And in the tumult of the years to come, each would keep this story as a gentle secret, a reminder that even the most monotonous lives can be touched by an unexpected spark.
Srimongol, Bangladesh 2015
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All rights reserved worldwide. DO NOT use this image in any commercial, non-commercial or blogging purpose without my explicit permission. Otherwise, you'll face legal action for violating national or international copyright law.
For permission, mail me at:
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A favourite view, with the line of the Highland Boundary Fault running along a tree-covered dip in the landscape between Stare Bridge Viewpoint and Rohallion Lodge.
Les Cascades de Fourgassié (Guyane Française)
Situé à une dizaine de kilomètre de la commune de Roura , ces cascades ne sont pas spectaculaires , mais la fraîcheur des lieux invite à la baignade .
Pour les moins courageux , il sera toujours possible de juste y tremper le bout des pieds . Prenez garde tout de même à ne pas glisser sur les rochers humides en vous déplaçant .
Tout à fait le genre d endroit que j'affectionne et qui m'aide à décompresser ! J'étais ce jour là de sortie avec mon pote Damien .(autre photo du même jour)
Exposition : 13"
Soft utilisés : Aperture / Photoshop
Cette photo n est ni un montage ni du HDR .
Filtre : Singh Ray "Gallen Rowell" GND3 / Lee ∅105mm Polarizer filter
Large size
Je vous prie de ne pas utiliser, copier ou reproduire les photos de mon photostream sans ma permission. Merci.
Cigarettes After Sex_Affection
I know that you say I get mean when I'm drinking, but
Then again sometimes I get really sweet, so
What does it mean if I tell you to go fuck yourself
Or if I say that you're beautiful to me
It's affection, always
Ooh; you gonna see it someday
My attention for you
Even if it's not what you need
Sometimes we talk all night long, we don't shut up
And when it's late we'll say we're still wide awake so
We love to talk about how you'll come up to visit me
And we'll rent a car and we'll drive upstate
It's affection, always
Ooh; you gonna see it someday
My attention's on you
Even if it's not what you need
I think of you, I want you too
I'd fall for you
I think of you, I want you too
I'd fall for you
I think of you, I want you too
I'd fall for you
I think of you, I want you too
I'd fall for you
Songwriters: Gregory Steven Gonzalez
Picture taken @ the studio
Another shot of a male jackal showing affection to his mate after they had killed, partially devoured and buried a scrub hare.
Olympus EM-1ii, 300mm F5.6, 1/1250 ISO 250
#Jackal #blackbackedjackal #silverbackedjackal #TrueLove
#LaikipiaWilderness
#Laikipia #Kenya #Africa #Safari
#wanderlustmagazine #travelphotography #naturephotography #africanimals #safariphotography #adventure #Iloveyou
#microfourthirds #microfournerds #omsystem
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© All Rights Reserved by Galib Emon.
Thank You For Watching My Photograph.
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The maternal bond is strong in whitetails. This doe still has last year's fawn following her around. Our beautiful world, pass it on.
Thank you to these two fine gentlemen who let me take this affectionate photo in a department store in Leeds.
Courtship displays of the Australasian Gannet include bill fencing (shown in a previous photo) , bowing and pointing their heads skywards . The birds generally follow this exchange with allopreening (mutual preening), shown in this image.
Another shot of the interaction that we were so privileged to watch between this 2 month old cub and the lioness. She was not his mother but was incredibly patient with him. Taken in South Luangwa, Zambia. We watched this pride for close to an hour and I doubt that I will ever have this amazing opportunity again.
www.flickr.com/photos/bonnie_grzesiak/10831840836/
Thank you for your visit and comments.
EXPLORE Nov 30, 2013
“Time spent with a cat is never wasted.” ― Colette
A random nendoroid photo for today ^^ Hope you like it and have a good day everyone!
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Slowly easing in into my photography craft again. I'm glad to be back, seriously. Thank you again for those who are so warmly welcoming me back, I love you all so much ❤️
》 L I S T E N I N G
Crystal Castles - Affection ♪
This image just reminded me of this saying somehow as the Gibbon slowly removed bits off the top of the grasses.
He loves me, he loves me not or She loves me, she loves me not (originally effeuiller la marguerite in French) is a game of French origin[citation needed], in which one person seeks to determine whether the object of their affection returns that affection.
A person playing the game alternately speaks the phrases "He (or she) loves me," and "He loves me not," while picking one petal off a flower (usually an oxeye daisy) for each phrase. The phrase they speak on picking off the last petal supposedly represents the truth between the object of their affection loving them or not. The player typically is motivated by attraction to the person they are speaking of while reciting the phrases. They may seek to reaffirm a pre-existing belief, or act out of whimsy.
In the original French version of the game, the petals do not simply indicate whether the object of the player's affection loves them, but to what extent: un peu or "a little", beaucoup or "a lot", passionnément or "passionately", à la folie or "to madness", or pas du tout or "not at all."
This fortune-telling is shown as a pantomime in the 1st act of Giselle, ballet by Jean Coralli and Jules Perrot (Paris, 1841).