View allAll Photos Tagged affection
Black-tailed prairie dogs.
Photo taken at Twycross Zoo, Warwickshire, UK.
DVD Forums Photograph a Day in July Challenge 2009 - 9th July.
Yuba decided affection was a good substitute for a snack and settled down so I could take his picture and pet him.
A Red Crested Pochard couple was judging my intimate and dead slow approach by a boat with concern. The male was showing the paths to escape my intimacy and maintain a safe distance to keep me at bay to their private affairs and his partner simply following her love. But I managed to permit few moments from them to have such shots that will remain in my memory for long long time. Pics was from Ahiron, W.B., India.
Shelter Series cats.
Considering a new addition to your heart & home? Why not check out your local SPCA or animal shelter where so many hearts are waiting to be loved & to give love.
You'll both be glad you did.
(Lore of Ekelia Part 1) Ekelia was bestowed the duty of protecting an ancient creature known as the great elk, one which blessed the entire woodland region with a holy ore. After it's final rest Ekelia made pact with the exhalted cult expressing her strong affection and dediction to the great elk. With hopes to retain the link between such precious creature the cult engaged in a ritual that would transcend imagination. In contrast to the warped devotee's Ekelia was granted an enchanted form believed to be born again with high faith and knowledge from the deepest memories of the ancient creature. Upon her ancesion a horrific threat began a widespread of bloodshed upon the woodland region where corpses multipled. The forest dwellers we're robbed of all peace and there was no choice but to silence the unpredictable evil.
"Fondness"
Ethnie minoritaire des Hmong Fleurs au marché de Bac Ha (Vietnam)
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
This is my very first attempt to capture birds. I picked flamingos because they are gregarious birds that always stay in big flocks. So I assumed I would have better odds to capture either their long legs or short tails. While most of the birds in the flock were indifferent to my fiery passion in taking pictures of them, the two beautiful flamingos cast me an affectionate look!
In order to appreciate the generous affection from them, I didn’t eat any birds for my thanksgiving dinner. :-)
Vincenzo Foppa (Brescia, 1427 circa - 1515 circa) - Madonna and Child (1480) - tempera on panel 61 x 38 cm. - Poldi Pezzoli Museum, Milan
Il rapporto di affettuosità contenuta e malinconica tra la Madre e il Figlio è espresso nei gesti delicati delle mani, come quello della mano destra di Gesù che accarezza il viso di Maria. Gli sguardi non si incontrano, e la particolare mestizia dei volti allude forse a una precoce premonizione della Passione e del Sacrificio di Cristo. Il drappo in velluto sulla destra, una tappezzeria, indica che ci troviamo in un interno domestico. Il tessuto giallo lumeggiato d’oro è decorato da un grande fiore di cardo, il cui significato simbolico è riconducibile al tema della Passione di Cristo. Sul lato sinistro, inquadrato da una finestra, si apre un bellissimo paesaggio, tracciato con rapide e sintetiche pennellate e solcato da un corso d’acqua, in cui non compare alcuna presenza umana. Nell’aureola della Vergine è inscritta un’invocazione in latino alla Madonna: "GENUISTI EUM QUI TE FECIT" (partoristi colui che ti creò). Nel dipinto la ricerca di un linguaggio essenziale, privo di ogni ornamento e di ogni preziosità esteriore, si traduce nella scelta di una gamma cromatica di grande sobrietà , in cui dominano il rosso dell’abito e il blu scuro del manto della Vergine, e nello stesso modo semplice ed efficace con cui sono definiti i piani di profondità : da quello più vicino allo spettatore, determinato dal parapetto su cui è appoggiato un libro di preghiere aperto, a quello nel quale sono collocate le figure della Vergine e del Bambino - che occupano uno spazio tridimensionale, quasi a simulare l’effetto di una scultura a tutto tondo - allo sfondo, definito in modo molto efficace dalla linea di orizzonte del paesaggio. Il dipinto, tra le più alte creazioni della maturità del pittore, è databile verso la fine del XV secolo.
The relationship of contained and melancholic affection between Mother and Child is expressed in the delicate gestures of the hands, such as that of Jesus' right hand caressing Mary's face. The gazes do not meet, and the particular sadness of the faces perhaps alludes to an early premonition of the Passion and Sacrifice of Christ. The velvet drape on the right, a tapestry, indicates that we are in a domestic interior. The yellow fabric luminized with gold is decorated with a large thistle flower, whose symbolic meaning can be traced back to the theme of the Passion of Christ. On the left side, framed by a window, a beautiful landscape opens up, traced with rapid and synthetic brushstrokes and furrowed by a stream of water, in which no human presence appears. In the Virgin's halo is inscribed a Latin invocation to the Madonna: "GENUISTI EUM QUI TE FECIT" (you gave birth to him who created you). In the painting the search for an essential language, devoid of any ornament or exterior preciousness, is translated into the choice of a chromatic range of great sobriety, in which the red of the dress and the dark blue of the Virgin's mantle dominate, and in the same simple and effective way in which the planes of depth are defined: from the one closest to the viewer, determined by the parapet on which rests an open prayer book, to the one in which the figures of the Virgin and Child are placed - which occupy a three-dimensional space, almost simulating the effect of a sculpture in the round - to the background, defined very effectively by the horizon line of the landscape. The painting, among the highest creations of the painter's maturity, can be dated towards the end of the fifteenth century.
Usual shot. Dull cool light of dusk. Nice pointy mountain. Nice rowan tree. Nice waterfall with not too much flow. Nice rhyolite rocks.
Also possibly better in colour.
Once more, with feeling
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Love And Affection · Joan Armatrading