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A strange thing happened to me today. I saw a big thundercloud move down over Half Dome and it was so big and clear and brilliant that it made me see many things that were drifting around inside of me. Things that relate to those who are loved and those who are real friends. For the first time I know what love is, what friends are and what art should be. Love is a seeking for a way of life, the way that cannot be followed alone, the resonance of all spriritual and physical things. Friendship is another form of love, more passive perhaps, but full of the transmitting and acceptances of things like thunderclouds and grass and the clean granite of reality. Art is both love and friendship and understanding, the desire to give. It is not charity, which is the giving of things. It is more than kindness, which is the giving of self. It is both the taking and giving of beauty, the turning out to the light of the inner folds of the awareness of spirit. It is a re-creation on another plane of the realities of the world. The tragic and the wonderful realities of earth and men and of all the interrelations of these.
June 10th - 1937. Letter written by Ansel Adams.
Thanks to Marjorie for the source of inspiration. Your comment is wonderful, a precious gift. Grazie davvero.
Turkish Proverb
"Insan demirden daha sert, taştan daha kuvvetli ve gülden daha hassastır
For Fauzilina and Soo, both having a tough time at the moment thanks to bloody cancer. Love you both lots xx
I've been cheated by you
since I don't know when
so I made up my mind
it must come to an end
look at me now
will I ever learn
I don't know how
but I suddenly lose control
there's a fire within my soul
just one look and I can hear a bell ring
one more look
and I forget everything
Mamma mia, here I go again
my, my, how can I resist you
mamma mia, does it show again
my, my, just how much I've missed you
yes, I've been broken-hearted
blue since the day we parted
why, why did I ever let you go
mamma mia, now I really know
my, my, I could never let you go
I've been angry and sad
about things that you do
I can't count all the times
that I've told you we're through
and when you go
when you slam the door
I think you know
that you won't be away too long
you know that I'm not that strong
just one look and I can hear a bell ring
one more look
and I forget everything
Mamma mia, here I go again
my, my, how can I resist you
mamma mia, does it show again
my, my, just how much I've missed you
yes, I've been broken-hearted
blue since the day we parted
why, why did I ever let you go
mamma mia, even if I say
bye, bye, leave me now or never
mamma mia, it's a game we play
bye, bye doesn't mean forever
Mamma mia, here I go again
my, my, how can I resist you
mamma mia, does it show again
my, my, just how much I've missed you
yes, I've been broken-hearted
blue since the day we parted
why, why did I ever let you go
mamma mia, now I really know
my, my, I could never let you go.
[Mamma mia-Abba]
... after the rain
"Nature, like a kind and smiling mother, lends herself to our dreams and cherishes our fancies."
~ Victor Hugo
“i say,
continuing, that,
long before
we were at the foot of the high tower,
our eyes went upward to its top
because of two flamelets
that we saw set there,
and another giving signal back
from so far that hardly could the eye reach it.
and i turned me
to the sea of all wisdom;
i said, "this one, what says it?
and what answers that other fire?
and who are they that make it?"
and he to me,
"upon the foul waves
already thou mayest discern
that which is expected,
if the fume of the marsh
hide it not from thee."
dante’s inferno
canto VIII
norton translation
st. johns bridge
oregon
zero image 69
pinhole camera
ilford delta 100
black & white film
rodinal 50:1
I took this picture last Sunday morning in Delhi, the rain was becoming very strong however there was a very long line of pilgrims in that street.
People were waiting in order to worship in a temple nearby and they were enjoying the first showers of the monsoon.
Monsoon is here, earliest in 108 years, a good two weeks ahead of the normal date in Delhi.
The city received 30.3 mm of rain on Sunday, the total rainfall till now in June has been 34.8 mm.
The rainfall brought down the heat by 11 degree Celsius (28.5°).
The monsoon is now advancing rapidly, covering the entire country.
Most of the people over here are happy, they find the monsoon season very romantic...
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
This gives a view of the 'bridge' for want of a better word :-O
Tintagel is a village situated on the Atlantic coast of Cornwall, in England, UK.
These precarious steps that hugged the mountainside around Tintagel Castle, the legendary home of King Arthur, were very treacherous.
The mist rolled in from the unforgiving seas and walking on the slate, almost vertical steps, was like stepping onto sheet ice. The steps wound around to a shakey bridge of sorts, for the more intrepid :-O
EXPLORE,Sep 10, 2009 #191
Plant the thought and watch it grow
Wind it up and let it go
~Glen Hansard
God loves a trier, an articulate liar...series
____________________
The element heats the air
But it's still damp, cold and bare
You must wear
Another layer
In the shadow of an empire
The factory made
Can be heard in the arcade
Or stall owners who trade
Every grain must be weighed
In the shadow of an empire
The painted lady
By the little town hall
Shivers sadly, shoulders in shall
Hoping the kerb will crawl
Through the shadow of an empire
We are cast in a role
Like the fish are in a shoal
Leap the wear or forever toll
In the shadow of an empire
The filament shattered and broke
The fusebox it went up in smoke
Leave the premises so not to choke
On the shadow of an empire
On the sawdust, the circus band
Are heard rehearsing on the strand
By the lovers who understand
Every note must be planned
In the shadow of an empire
The pupil waves a seagull feather
The see-saw eats his shoes of leather
There's been a turn in the weather
In the shadow of an empire
The newborn in the hammock rocks
Below a bolted sky that unlocks
For the departing of the flocks
From the shadow of an empire
God loves a trier, an articulate liar
The auctioneer makes it clear
And booms "Can you bid any higher
Or is the gentleman at the back a buyer"
In the shadow of an empire
(The Shadow Of An Empire, Fionn Regan, 2010)
To borrow a phrase from the Catholic Worker movement, laments aid in “clarification of thought.” Whether traditional or newly composed, prayers of lament articulate in precise ways how things have fallen apart. Brought before God, they enable us to see clearly what is wrong, to specify fractures in systems and relationships that destroy us, and to realize ourselves how our lives are barren.
Laments empower sufferers to speak for themselves. When we tell how desperate we are, we become actors in the world. No longer passive recipients of pain, we become agents who name and interpret reality. Slowly such speaking may alter our relationship to suffering and release energies to act. Naming suffering before God reclaims human dignity and power that has been trampled and violated. Speaking pain, perhaps repeatedly, “like a broken record,” can move sufferers toward healing, because it brings denial to a halt and enables truth to come to the surface.
-Lamentations and the Tears of the World, Kathleen M. O’Connor
Un ricordo rosso sbiadito.
Una pagina ingiallita dal tempo.
Un amore sfiorito.
Una musica dimenticata.
Un fiore perso nel tempo.
Passione
Tristezza
Addio
Version 1.0
I'm still iterating on this one, but I wanted to document the process.
Wings articulate into a flight position.
In case you were wondering, this is a single exposure (I'm not into blending multiple lightning exposures).
Surfers Paradise, Gold Coast, Australia.
STONE POEMS
To Antoni Gaudí, poet and architect
"The "torres del Naixement " are like flames,
the lightning of forged iron shout at the wind,
the seats that surround Parc Güell resemble waves
the mosaics of live colors are like rising sun.
God´s poet, space´s poet and nature´s poet,
poet of the well-being and of peace,
you have built your world of architecture
garnishing the blue ski with magic poems.
Les torres del Naixement són com les flames,
els llamps de ferro forjat criden al vent,
els bancs que envolten Park Güell són com les ones
i els mosaics de colors vius són sols ixents
Poeta de Deu, l'espai i la natura,
poeta del benestar i de la pau,
has construït el teu mon d'arquitectura
guarnint de màgics poemes el cel blau."
- Pere Brosa
Park Güell is a garden complex with architectural elements situated on the hill of el Carmel in the Gràcia district of Barcelona; Catalonia. It was designed by the Catalan architect Antoni Gaudí and built in the years 1900 to 1914. It is part of the UNESCO World Heritage Site " Works of Antoni Gaudí" .- en.wikipedia.org/wiki/Park_G%c3%bcell
I'd wanted to try something like this for ages, so with an empty house, a fully articulating camera screen and a camera club competiion entitled "Faces" that was coning up, I took a series of images, some with my hands in front of my face with the intention of merging a number of them together. Lit with two flashes, fired by triggers, either side of me.
"A monstrous tripod....a walking engine of glittering metal... articulate ropes of steel dangling from it." H G Wells, War if the Worlds
Nature's Palate - first colors of Autumn. I could hardly resist this colorful leaf, so I adorned a tree with its beauty, and snapped some shots with the green bokeh behind.
Hyperbolic rhetoric reverberating rhyme,
movement of articulating variegated chime,
A favorite of mine,
Extrapolated dime,
Investigative grime with green bokeh behind.
"Magic Square # 5" (1977) is part of a group of six works that are articulated around the square.
Based on the square, these spaces are offered to the viewer as large areas of permanence and conviviality, putting it in experiential contact with form, color and materials.
Thus, the Magic Squares belong to the group of Penetrable Works, in which the artist's research around the occupation of space by color reaches an environmental scale and articulates with an idea of renovation of the architectural space, approaching it to the garden, the square, the labyrinth, the amusement park and the shed.
By "Hélio Oiticica", Very important Brazilian artist.
Born in Rio de Janeiro in 1937 and died in the same city in 1980.
"Inhotim" Foudation, Brumadinho, Minas Gerais, Brazil.
“The effect of sincerity is to give one's work the character of a protest.
The painter being concerned only with conveying his impression, simply seeks to be himself and no one else.”
(Claude Monet - French painter, initiator and leader of the Impressionist style, 1840-1926)
This is a new image which comes in the series of pictures that I have been working like the Water Lilies (or Nympheas) by French Impressionist Claude Monet (1840-1926).
This game is coming from my imagination only where the impressionist painter could have been painting his series (about 250) of oil paintings not in Giverny but in India as I shot this in the beautiful and serene Lodhi Garden in Delhi.
It was before a storm at dusk so I also borrowed the title to Monet, "Le bassin aux nympheasr" (Water Lily Pond).
The Lodhis were a pashtun Muslim dynasty which ruled much of Northern India during the 16th century.
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
A quick moc I did for a BioniLUG display where we each were assigned a Toa Nuva. This moc went quick as I used the Torso of Bonele and changed some stuff around to make it work for Tahu.
His waist does articulate, from side to side and minimal back and forth.
We might kiss when we are alone
When nobody's watching
We might take it home
We might make out when nobody's there
It's not that we're scared
It's just that it's delicate
www.youtube.com/watch?v=dRPwFAoQwxc
best view on black :
First Manchester: 12016 (YN05 GYS) a Scania Omnicity articulater bud, painted in First Group corporate livery, captured here on Piccadilly in Manchester City Centre about to depart on Service 135 to Bury.
© Christopher Lowe.
Date: 20th November 2007.
Ref No. IMG_1546/JL.
One year and 308 days later...
The Snow that never drifts --
The transient, fragrant snow
That comes a single time a Year
Is softly driving now --
So thorough in the Tree
At night beneath the star
That it was February's Foot
Experience would swear --
Like Winter as a Face
We stern and former knew
Repaired of all but Loneliness
By Nature's Alibit --
Were every storm so spice
The Value could not be --
We buy with contrast -- Pang is good
As near as memory --
~ Emily Dickinson ~
There are times when you choose to believe something that would normally be considered absolutely irrational.
It doesn't mean that it's actually irrational,but it surely is not rational.Perhaps there is suprarationality:reason beyond the normal definitions of fact or data-based logic;something that only makes sense if you can see a bigger picture of reality.
Maybe that is where faith fits in.
"like beautiful dawns*, all made up and bright
radiant people in splintering light
all moving at the speed of life
reflecting in each other's eyes
but you're moving so fast
through this beautiful scene
you don't see me
you don't see me"
--- Keane, You Don't See Me
* dolls (from the album sleeve) ; dawns (from a lyric website)
While studying photography in Pathshala, I developed new technical and aesthetic skills at an academic level and gained a fresh perspective on seeing the world around me. However, I still felt that something was missing. That missing piece was the ability to articulate aesthetics through language and to experience aesthetics with the basis of life itself.
During this time, I developed a deep desire to understand philosophy. Within a few months, I decided to pursue academic studies in philosophy. There were two main reasons behind this decision: first, to gain knowledge of philosophy, and second, to reshape my photographic view point through a philosophical angle—essentially, to integrate aesthetics with philosophy.
As I delved into this complex subject, I found myself particularly influenced by three philosophical ideologies: the philosophy of Nihilism, Engels and Marx’s materialism, and Gautama Buddha’s theory of Functionalism. These perspectives began shaping my understanding of life, humanity, society, and aesthetics. My way of seeing the world started to transform.
Nihilism and materialist philosophy argue that humans are not a special species. According to Buddha, life itself is full of suffering. Since humans are not inherently special and life has no predetermined purpose, people often experience restlessness. My photographs reflect this idea through landscapes, where excessive negative space in the frame symbolizes despair, purposelessness, and solitude in human life. Most people live under the illusion that they are unique compared to the surroundings. This belief prevents them from feeling truly connected to nature.
Lalon once said, "He and Lalon exist together, yet they are separated by infinite distance." Even though humans exist within nature, they somehow remain detached from it. In my frames, vast negative spaces with tiny human figures symbolize this very detachment. Here, nature is immense, and humans are small—serving as a reminder that humanity is not any superior to nature.
The mist in my photographs enhances the minimalist effect, further detaching people from their surroundings. The presence of human-made structures in the background represents our ongoing struggle to prove our superiority. However, the blurred, barely visible architecture behind the fog reflects the failure of this pursuit. Humanity is trapped in this endless contradiction, deepening its existential despair. Meanwhile, the fog thickens, and the distance between humans and nature continues to grow.
This final blended image is from 93 images stacked via Stackshot and Helicon Remote. Post processing done in Helicon Focus 7 and Photoshop CS6
i want to stand as close to the edge as I can without going over. out on the edge you see all the kinds of things you can't see from the center.
kurt vonnegut, jr.
Last year we discovered these recordings of the Mozart keyboard sonatas performed by this pianist. His interpretations are playful and articulate and there is a clarity to this fortepiano which cannot be produced by a modern piano. His playing is refreshing and intelligent.
Although we have other recordings of the complete piano sonatas by Mozart we now prefer these. We highly recommend these performances.
Complementary: adjective
1. supplying mutual needs or offsetting mutual lacks.; completing
2. forming a satisfactory or balanced whole
3.complementary color: A color directly opposite another on a color wheel and providing the greatest chromatic contrast to it.
Not to be confused with
Complimentary
1. conveying, containing, or resembling a compliment
2. expressing praise; flattering
3. given free, esp as a courtesy or for publicity purposes
Cosmic Lavender || Cotswold Lavender, Snowshill, Worcestershire, England
Ok, so I've been a little creative with this one and got down amongst the bees for this not so 'classic' lavender row composition. It's at times like this where you wish your lens was a little wider and the D810 had an articulating screen.... 14mm would have been perfect. This one really pushed the limits of my skills. Anyways, I hope you enjoy!
Nikon D810
AF-S NIKKOR 18-35mm f/3.5-4.5G ED
iOptron Skytracker
FLM Tripod
Finally got a chance to use this Cyborg Superman figure in a photo. It's not very articulate, but I like the look of it, and it's a good match for that Superman figure.
" None but God can satisfy the longings of an immortal soul; that as the heart was made for Him, so He only can fill it. " --- Richard Chenevix Trench
*** for a tired heart... please know that God is holding you in His hands.
The Security Building is a historic site in downtown Miami, Florida. It is located at 117 Northeast 1st Avenue. On January 4, 1989, it was added to the U.S. National Register of Historic Places. The building has 16 floors with a height of 225 feet (69 m) and was built from 1926 to 1927.
The Dade County Security Company was organized in 1901 and moved to a nearby headquarters in 1923. By the mid-1920s the company needed a larger headquarters. In 1921, the Dade County Security Company had acquired the McKinnon Hotel which occupied a mid-block parcel on Northeast 1st Avenue and renamed it the Security Hotel. Dade Security had considered adding stories atop the hotel but opted in 1925 to raze the hotel and construct a new headquarters on the same site under the direction of architect Robert Greenfield.
Construction on the Security Building began in 1926. The building was known as the Security Building from its opening in 1927 until 1945. Upon opening, the first level and mezzanine were devoted to banking offices. The floors above provided 275 office suites and were reached by four "high speed" elevators.
The Security Building faces west onto NE 1st Avenue. It is located in mid-block with buildings on either side. Those buildings are considerably shorter than the Security Building. The building maintains a zero-foot (0 m) setback, and the entry doors open directly onto the sidewalk. There are no landscape features on the property. The building is composed of a main block parallel to the street, and a second block connected perpendicularly that extends to the east.
With only a 50-foot (15 m) frontage, the architect made a grand statement by creating an almost temple-like base, consisting of the first three stories. Engaged pilasters, that also frame the center bay, articulate the corners creating three distinct bays. Spandrels between the floors are bronze and feature relief ornament. The pilasters carry the entablature, with the name “Security Building” in incised letters. A dentilled molding ornaments the cornice that terminates this division of the building.
The fourth floor begins the transition to the high-rise portion of the building. Stone panels with a similar relief accent the corners and separate the bays. Above the windows of the fourth floor is another projecting element, a stringcourse that is ornamented with a guilloche pattern in relief.
Floors five through 13 continue the three bays with window arrangements that are grouped in pairs on each of the end bays, and are grouped in three in the center bay, emphasizing the importance of the center bay to the entire composition. The windows are a metal casement type.
Security Building (Miami) South and West Facades, top floors with mansard roof and cupola.
The 14th and 15th floors function as the base for the great mansard roof, which terminates the building. To balance the composition, the two floors are treated as if they were one by the use of a round arch at the 15th floor that is carried by the pilasters of the 14th floor, so that the two floors are visually united.
A bracketed cornice separates the building from the roof form that is so decidedly different from roof treatments in Miami during this period. A mansard roof is a double-pitched roof with a steep upper slope. The mansard roof was named for architect Francois Mansart (1598–1666). Mansart worked in the 17th century and introduced the roof form that extended attic space to provide additional usable area. The mansard roof is a character-defining feature of the Second Empire style that was named after Napoleon III, who took on major building projects in Paris during the 18th century.
The mansard roof of the Security Building is clad in copper and terminates in a series of antefixae. A series of arches containing windows and serving as dormers penetrates the roof. Bull's-eye windows are placed between the arched windows. An eight-sided cupola that extends from the center of the roof is fenestrated on each side with a multi-paned arched window. The dome of the cupola also is clad in copper.
The north and south ends of the building are not ornamented. The windows are a metal casement type. The quoining on the corners of the west elevation is repeated in the north and south elevations of the building. The extension to the east is flat-roofed and is terminated by a defined cornice. The majority of the wall surface contains windows that are either square or rectangular in shape. They contain metal casement windows.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Security_Building_(Miami,_Florida)
miami-history.com/security-building-in-downtown-miami/
© All Rights Reserved - you may not use this image in any form without my prior permission.
Why must we be put down when we try to get away ?
Why must we all grow up when we could just play and play ?
Good things in life are free - can't buy everything, that's true
Only one thing wrong with that - what it don't buy I don't use
Human beings are dangerous and they call me in the dark
But everything gets twice as cold in marching for a lark
At the later date , Ian Curtis†- Joy Division
It was a beautiful Spring Day and I had to go out on an errand. I am certainly not fully healed yet, but am out of pain, at least. I thought to test my stamina by taking out my fully loaded camera to check for eagles. The only eagle I saw while being there for an hour, was at extreme range and didn't give me enough pixels to work with once I loaded the raw files on my computer.
Once I got home, I noticed that I had access to my little patch of crocuses, without having to climb through snow still on the ground. I sat down on a tarp, the camera mounted on a 'table-top' tripod, and the articulating screen pointed up, nice and comfy with no strain on my back. This was one of the shots that I took of my little patch of crocuses. Like usual, the first shot I take of them implies a snow storm will be coming within the week, and that is confirmed by our weather forecast.
Spring brings Nature's Revival, and I hope all of you have a great one, with health and happiness.
Taken at the house, in Moncton, NB, Canada on 11 April 2018
The prince leans to the girl in scarlet heels,
Her green eyes slant, hair flaring in a fan
Of silver as the rondo slows; now reels
Begin on tilted violins to span
The whole revolving tall glass palace hall
Where guests slide gliding into light like wine;
Rose candles flicker on the lilac wall
Reflecting in a million flagons' shine,
And glided couples all in whirling trance
Follow holiday revel begun long since,
Until near twelve the strange girl all at once
Guilt-stricken halts, pales, clings to the prince
As amid the hectic music and cocktail talk
She hears the caustic ticking of the clock.
Sylvia Plath
I know it`s just a common Dandelion but the only I spotted along a path and the only splash of colour I had seen along that way. Down on my knees to get a perspective along the path and a bit of blue sky in . I am finding how versatile an articulating LCD is too, really useful for images such as this.
love comes in colors i can't deny
all that shimmers is love, love, your love
your love
your love
smashing pumpkins
I'm findin' ways to articulate the feeling I'm goin' through
I just can't say I don't love you
'Cause I love you, yeah
It's hard for me to communicate the thoughts that I hold
But tonight, I'm gon' let you know
Let me tell the truth
Baby, let me tell the truth, yeah
You know what I'm thinkin', see it in your eyes
You hate that you want me, hate it when you cry
You're scared to be lonely, especially in the night
I'm scared that I'll miss you, happens every time
I don't want this feelin', I can't afford love
I try to find a reason to pull us apart
It ain't workin' 'cause you're perfect
And I know that you're worth it
I can't walk away, (oh)
Even though we're going through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It'll never change my mind
'Cause baby, I would die for you
Baby, I would die for you, yeah
I'm finding ways to manipulate the feelin' you're going through
But baby-girl, I'm not blaming you
Just don't blame me too, yeah
'Cause I can't take this pain forever
And you won't find no one that's better
'Cause I'm right for you, babe
I think I'm right for you, babe
You know what I'm thinking, see it in your eyes
You hate that you want me, hate it when you cry
It ain't workin' 'cause you're perfect
And I know that you're worth it
I can't walk away
Even though we're going through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It'll never change my mind
'Cause baby, I would die for you
Baby, I would die for you, yeah
I would die for you, I would lie for you
Keep it real with you, I would kill for you, my baby
I'm just sayin', yeah
I would die for you, I would lie for you
Keep it real with you, I would kill for you, my baby
Na, na, na, na, na, na, na, na
Even though we're going through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It'll never change my mind
'Cause baby, I would die for you
Baby, I would die for you, yeah
Die for you
~The Weeknd