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Find my amazingly talented Husbands version: here⚡
I love every and any opportunity to work beside him ❤️
New at the Horse Show!!!!!!!!!!!!
Teegle Horse Clover the Irish Cob
The Horse Show Sales Event: maps.secondlife.com/secondlife/Equestrian/107/201/1501
Teegle Mainstore: maps.secondlife.com/secondlife/Teegle/209/134/21
Teegle Flickr: flic.kr/ps/2XQzWf
Teegle Marketplace: marketplace.secondlife.com/stores/214988
Teegle Heavy Harness Bridle
Teegle Heavy Harness Irish Cob
The Horse Show Sales Event: maps.secondlife.com/secondlife/Equestrian/107/201/1501
Teegle Mainstore: maps.secondlife.com/secondlife/Teegle/209/134/21
Teegle Flickr: flic.kr/ps/2XQzWf
Teegle Marketplace: marketplace.secondlife.com/stores/214988
Beautiful Coat by Texture Barn:
Texture Barn Charcoal Rabicano
Texture Barn Mainstore: maps.secondlife.com/secondlife/Pebbles%20Island/201/48/23
Texture Barn Flickr: flic.kr/ps/3VFafD
Eudora3D Lara TankTop
Eudora3D Lara Pants Leather
Eudora3D Ylva Boots
Eudora3D Flickr: flic.kr/ps/2srs29
Eudora3D Mainstore: maps.secondlife.com/secondlife/Eudora3D/208/76/1502
[monso] Pink Hair
faMESHed Event: maps.secondlife.com/secondlife/FaMESHed/226/144/1001
monso mainstore: maps.secondlife.com/secondlife/Sweet%20Isle/196/108/21
monso flickr: flic.kr/ps/L86Ey
Thanks a bunch for all the support! 😁
Sershul Tekchen Dargyeling སེར་ཤུལ་ ཏེཀ་ ཆེན་ དར་ གྱེ་ གླིང་
Founding (1759) > Monks 1255 •Religious Sect > Geluk སེར་ཤུལ་དགོན། > ser shul dgon > Sershül Gön Sershul Tekchen Dargyeling སེར་ཤུལ་ ཏེཀ་ ཆེན་ དར་ གྱེ་ གླིང་ is an important monastery of the Gelukpa School, located 20 km west of Deongma, on the right side of the road. This is currently the largest monastery in Sershul county, with 1200-1300 monks divided into six colleges, under the guidance of the youthful but charismatic Drukpa Rinpoche. The rain retreat festival held in August is a magnificent spectacle, attracting nomad communities. The hills and grasslands around the monastery are sparse and spacious.
The complex was founded as a branch of Chunkor but soon outgrew the latter. The recently restored buildings at Sershul, which are all near the motor road, include the Tsokchen (assembly hall), the Jamkhang (Maitreya temple), the Gonkhang (protector temple), the Dewachen Lhakhang (Amitabha temple), the Mentsikhang (where Mipham Rinpoche`s tradition is maintained), the college, a Mani Wheel chapel (containing three wheels constructed by the father of the present Drukpa Rinpoche) and a small guesthouse. A new Tsongkhapa Lhakhang, resembling a giant cathedral, has been constructed below the main complex, and was due for completion and consecration on 12 December, 2008. www.footprinttravelguides.com/c/2848/tibet/&Action=pr...
Meiji Jingu, Tokyo, Japan
[Photo Archive] June 2007
Location: Tokyo, Japan
Camera: Nikon D80 + 18-135mm lens kit
© Kalandrakas | www.jessleecuizon.com
Not what you expect of a Spring night, but the water droplets that made up the mist at least gave a resting place for the rays of light emanating from the lighthouse.
_____
» LongExposures website and blog
Mechthild of Magdeburg: God Is Hopelessly in Love
In season eight of Turning to the Mystics, James Finley points to the guidance Mechthild of Magdeburg offers to people in relationship with God:
We turn to the guidance that Mechthild of Magdeburg offers in The Flowing Light of the Godhead. Through what we know about her life, she’s mentoring us and modeling for us this Christlike life. Mystics such as Teresa of Ávila, John of the Cross, and the author of the Cloud of Unknowing all share their way as mystically awakened Christians. They try to offer guidance to help us discern our awakening, with instructions such as how to recognize our awakening starting, how to conduct ourselves, and so on. Mechthild doesn’t do that….
Mechthild shares this deepening love between herself and God, but she doesn’t share it by talking about it. She lets us in on it with the language of intimacy and bears witness to it. As we read her book, insofar as we’re touched by the beauty of what she’s saying about the deepening of this love, we’re being guided by her. The very fact that we’re touched by it and its beauty reveals that we’re also being drawn into this love—or we wouldn’t be touched by it. That’s how she guides us. That’s the intimacy of her teaching.
Finley describes how we might connect with Mechthild’s emphasis on love:
"In a way, Mechthild is playing a violin with just one string on it, which is love. But the more we listen to it, it’s the beauty of the whole orchestra. It’s the beauty that permeates the reverberations of all the various aspects of this. Even though she just stays on point, never leaving this love, she makes stunning statements about love. We wonder, “Where did that come from, seriously?” When we sit with her, we learn these endless variations are unfolding in us. It’s endlessly evocative and she helps us to be sensitized to surrendering ourselves over to that flow of love….
God says to her that he’s so freely chosen to be so hopelessly in love with her, that he quite honestly doesn’t know if he could handle being God without her. And she says back to God, “Take me home with you. I’ll be your physician forever!” [1] The power of these words is that, as we’re reading them, we know they are true of us. We know that God has freely chosen to be so hopelessly in love with us, and that God doesn’t know if God can handle being God without us in our brokenness…. It circulates back around, and we give back to God the gift that God longs for, which is us!...
To sit with Mechthild and to read her is to be taken by the beauty of what she says. It is to sit in silence and ask God to deepen our capacity to realize how the love of which she speaks is already unfolding within us, and how to be faithful to that, and to carry it through the day."
[1] Mechthild, The Flowing Light of the Godhead 3.2.
Adapted from James Finley and Kirsten Oates, “Turning to Mechtild of Magdeburg,” in Turning to the Mystics, season 8 (Albuquerque, NM: Center for Action and Contemplation, 2023), podcast, MP3 audio.
This photo holds a great deal of spiritual significance for me. The circumstances of my life have been nothing short of tragic over the last 5 months or so. Yet, I have made the decision to hold on to God's hand even as I am led into the cold, deep of the ocean. I know I'll be okay...just as long as I keep holding on.
Explore # 68. Thanks all:)
Explored - Highest position: #274 on Sunday, March 19, 2017.
A cold sunday in my hometown Tønsberg. This is the essence of 5 minutes.
After sunset taken in Richmond, BC, Canada.
Copyright © AwesomeFoto Photography. All rights reserved. Please do not use it without my permission.
You are welcome to visit my iStockPhoto or shutterstock. com/g/jameschen (remove space) to buy it.
Pigeon Point Lighthouse - California
My favorite thing about this shot is that i pulled it off handheld at only 1/6 second and still got it sharp. that and it was a really pretty place to shoot. From my last trip with McMike- down the California coast.
"I see and I forget , I hear and I remember , I do and I understand" - A Chinese proverb
Explored ,(6th may , 2011.)
Cape Spear Lighthouse, NL
It is natural for us as humans to seek guidance throughout many aspects of our life...seeking out answers that while help us accomplish our goals. Often times hoping that the ones we reach out to have all the answers and that they can layout the path in front of us so that we can just easily walk down it. Even though this may work for certain situations in life this can have a negative effect when it comes to creativity...like photography. When I started out in photography I did just that...seeked out the pros for all the answers. I figured that if only they would share their methods I could be as great as them. I have poured over hours upon hours of tutorials, lectures, interviews, blogs and tips..what I have come to slowly realize is that no matter what I have learned, not matter what they have taught me...I still need to find me..my creative side. That I still need to answer my own questions. What do I like, why do I like it..how can I use the tools and skills I have learned to create or capture what I want. We are often so focused on achieving what others have done that we place a blinder on to our own creativity. When it comes to photography both capturing and processing an image there are so many different ways of doing so that really there is no right or wrong answer. You just have to find out what works best for you...what method or path achieves the look you want or helps you get closer to your goal. Use the knowledge and experience of others like a lighthouse to guide you along but keep in mind you still have to stir your way through to the end.
This image was one I had in my mind for a while. I wanted to capture a series of images from twilight to sunrise and blend them together to simulate all those moments in one image. The fading stars as the sun begins to rise. I love the idea of creating an image that displays moments in time through out a sunrise or sunset.
Best viewed in Lightbox (press 'L')
Photos in set "With Descriptions" (flic.kr/s/aHsjDcxkUo) contain descriptions regarding my intentions, background of the shooting, etc. Enjoy!
London
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As I stood before this amazing statue, my mind went into a playback loop trying to comprehend how it was I came to find myself here. One moment I was in a grocery store crowded with Saturday morning shoppers. Next moment I'm here in this desolate burial ground, completely alone in the presence of this figurine. The intermediate movements were already becoming vague. I simply reacted to a sudden urge to gather up the camera and come here. I wandered about for perhaps half an hour, shooting many photos but not feeling fulfilled. My hands were numbing from the cold wind. I headed back in the direction of my car which beckoned me with warmth and security. I stood there for a few moments, but instead of getting in I started walking away. This happens so often I've become accustomed to it although to relate it to others makes me sound like a crazy person. At times I actually feel I'm being led about, guided as to where to go. Sort of instinctual I suppose yet it often feels external, as if it's not of my own choosing. I equate the feeling to a water witch, a person driving for underground water with a dousing rod. Anyway, back in the moment, I felt a spiritual presence even before I saw this figurine. When it came into view I knew immediately this is why I had been brought here. I approached with a sense of reverence. This seemed to be way more than a simple figurine. Everything about it seemed so lifelike. The facial expression was filled with emotion, a weird combination of joy and anguish. It was haunting and so eerie yet comforting to be next to. The entire morning boiled down to this place and time. As usual, the lighting and conditions were perfect, like walking onto a sound stage that had been thoroughly prepared. The heavy Nikon hung uselessly at my waist. It was simply not needed; way past overkill. I pulled out the iPhone and captured not just the scene, but the emotion I felt and the overwhelming serenity in the face of the statue.
There is no bigger story from local rail preservation this year than that of the resumption of work on Rio Grande 223 under the guidance of the C-16 Locomotive Society and the Colorado Railroad Museum. After six years of the locomotive sitting in a state of suspended animation, the resumption of work and its eventual return to Colorado is an exciting conclusion to a long restoration process.
It's also elicited a bit of reflection, I never was a member of the Golden Spike chapter of the R&LHS but my family offered some financial donations (okay my dad bought me the poster they were selling as a fundraiser when we first visited the 223 shops), and I was cheerleading the project from the comfort of my armchair. Occasionally a narrative still arises that that the R&LHS chapter failed the restoration effort, when what I have gathered it was a fairly steady restoration job; paying as they could go and putting quality if slow going work into the engine. Ultimately what doomed the Golden Spike R&LHS was difficulty navigating the mercurial world of city politics, and Ogden City's shut down of the project in 2019 was a slap in the face towards the volunteers working on the engine (que some "well you need to own the property" quote from online commentators, advice I'd argue while true always comes across as "well no shit Sherlock... hammocks! Why didn't I think of that?"). Understandably the Golden Spike chapter continued to fight for the engine's future and by extension the Utah State Railroad museum's future as a whole, creating a narrative as seen by some that they were an obstinate party, despite their effort leading to local news coverage of their efforts making it to the broader public raising awareness of the locomotive and the museum.
In a way the Golden Spike chapter's stubbornness paid off in drawing attention to redevelopment plans at Union Station. One of the biggest controversies my social media and photography pages have ever stumbled into was a report my friends and I published while I was in college over planned changes to Ogden's Union Station (written some years before the 223 lock-out), having seen early draft renovation plans for the site that would have removed the rail displays in favor of an ice rink. We got a lot of push back on that subject (in part because of our panicked, overeager and screaming from the rooftops tone that I can best attribute to "I was younger then"), and I understandably dropped it and shrank away from discussions of it; only to see the discussions on the museum's future flare up after the 223 lock-out occurred. In looking back on the matter recently, I got a chuckle that I threw out barbs out at the time rooted in a "poor, poor, pitiful me" attitude on local rail preservation; it's something that can still stick with me to some regard but has been tempered a lot by a) reminding myself of my armchair enthusiast position in almost all of this and that it isn't so fair to throw darts from the comfort of home and b) the realization that my own dissatisfaction with local steam lacking in action pushed me to take visits to some of my now favorite railroads in Nevada, Oregon, Colorado, Ohio and as far as Britain last year (and also with it a greater appreciation for the National Park Service ran Golden Spike site as my one local exception to the norm, I love my time visiting there) in the last few years leading to some of my most favorite adventures and memories that I could never have achieved as a railfan had I just stayed home waiting stubbornly for 223 or some other local project to suddenly roll out in steam here in Utah without any effort from my part! There is also some vindication too with time, since I also believe what has helped shaped Union Station's direction recently for the better has been consistent public feedback and even outcry from the community showing how much we love our railroad museum.
What has happened since, in the whims of city politics Ogden still is marching ahead with considering plans to renovate the Union Station site but public feedback has helped them keep the rail history as part of their future plans. The former Golden Spike members became one of the most vocal voices on this and groups such as "Save Union Station" on social media proved the public desire to see rail history remain on site as renovation plans continued to involve On the museum's end, this has included a growth in the diesel locomotive displays (and an eagle eye looking at my photo can spot the Western Pacific engine down the track, fulfilling a long vacant need to represent Utah's smallest Class One at the museum); and Ogden's work recently shows a continued interest in moving forward with the museum and site redevelopment in step. It is a reminder that for all the foibles of governance, that local voices can matter; and I hope the former 223 restoration crew continues to publicly voice their approval or disapproval of changes at the museum as the place continues to evolve; and that victories such as the Western Pacific finally being fully represented at the museum continue to benefit the local community and preservation interests. Maybe with the right voices in the room as the station's future redevelopment is considered, we can have our cake and eat it too; getting both a better rail museum and a downtown commercial/tourist anchor in the process; but that cannot be achieved if the rail preservation parties were to roll over silently and not raise their voices since without that open public dialogue we could always end right back up at those days of "ice rink" site plans again.
If anything while 2019's 223 shut down could have been read as a local government callous to its rail history, the 2025 donation of the engine seems a more calculated decision to deaccession the piece from the collection to its proper home in Colorado while turning the focus to Utah related subjects (although trust me, I wish something at least could stand in at the museum for Utah's often forgotten narrow gauge history! Anyone got a spare Utah Northern engine lying around?) This last week a former DRGW SW1200 made its way into Utah, en-route to Ogden; the latest addition to a collection of Utah rail history to come to the museum, it's shared time here with 223 before the narrow gauge engine leaves for its new home will likely be short but it is a neat changing of the guard as the collection in Ogden both expands in scope yet with a more narrow focus on Utah railroading.
It is unfortunate though that in a change of stewardship, that the R&LHS chapter won't have much of a hand on the wheel for 223's future; but I suspect once the engine arrives in Colorado the completed cab, appliances and tender worked on by the Golden Spike chapter will be a blessing for the new restoration crew; and attention can be focused on the boiler and running gear instead. The work the R&LHS put in will hopefully prove invaluable to bringing the rest of the project to a close. I think many of us will be excited for the day 223 once again steps out on the rails under steam, the conclusion of a long, sometimes painful, yet what shall be an ultimately victorious restoration effort born from starry eyed and dedicated volunteer work in the full Titfield Thunderbolt-ian vein. Every piece worked on from the Golden Spike R&LHS' contributions to the eventual conclusion in Colorado will represent one of the most storied restoration efforts in American rail preservation history; and I hope that when the day comes 223's whistle is heard in the Rockies again that everyone who has ever worked on the project can smile knowing it proved the naysayers who looked at a pitiful wreck of a locomotive dragged from a Salt Lake City park saying "it can't be done!" wrong once and for all! When we're standing trackside watching 223 roll by someday we'll all owe our gratitude to the dreamers who said it was possible and started the project. I hope to be there in Golden, or Durango or Chama or wherever it is that day when it finally happens to see it myself.
One of my most satisfied shot. My definition of satisfacation is almost identical to previsualization. If I met the scene, saw the result, and finally carried it out, that's a satisfied shot.
I arrived there when the sun was still above the horizon. Once I saw the lighthouse I saw the final image that's almost identical to the one posted here. I waited for the twilight, took some silhouettes, and kept analyzing the final image I saw. Since elements in the image were few, variables were few accordingly, but there were still some:
1. The lighthouse and the bank must be pure black, but the twilight must be bright enough to keep the sky saturated in red.
2. Lighthouse must start emitting its beam before or when variable 1 occurred.
3. Aperture must be small enough to make the rays from lighthouse start-shaped.
4. Shutter speed must be long enough to include light tracks of sailing passenger ships. This meant that aperture should be small enough and sky light should not be too bright.
The key was "WAIT": wait for the sky light, the beam of the lighthouse, and passing by passenger ships.
Accidents were inevitable, but they did good here:
1. The tracks of moving ships were positioned correctly, which composed the image instead of ruining it.
2. I waited for one arriving ship when exposing, but after exposing for half the required time another leaving ship was on the way, which added more tracks than expected.
That's it. The shot looks like a paint, and excitingly I'm the painter.
200706300970
www.youtube.com/watch?v=T90mL6uZi5Q
Before I die, I'm tryna fuck you, baby (Yeah)
Hopefully we don't have no babies (It's Nyree)
I don't even wanna go back home
Hopefully you don't leave on your own (Rudexter)
What is this, love and war?
He know that I love him, got him fuckin' me raw
He know I ain't with it, never did it before
He got me all in my feelings
Now he got you all in yours
Ooh, it's like that
He ain't never leavin' or he comin' right back
I know that he need it 'cause shorty gon' bite back
And he don't want nobody else hittin' it like that
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave you on your own
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
I just want him blessin' me
I don't want your bag, give your best to me
Shorty got the bread and the recipe
He already know it, why she testin' me? Uh
I'm so fly, I rock Margiela
I won't die 'til I get better
Money and clout won't get me wetter
I need real love, I need hella
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
(Yeah, yeah, yeah, yeah)
Hopefully you don't leave on your own
Got the car, got the keys, what you on?
Pick a nigga or an internet star
Promise you, neither of 'em pleasin' at all
None of these niggas is down to play part
God knows what he does to my heart
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
Before I die, I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
I don't even wanna go back home
I'm tryna fuck you, baby
Hopefully we don't have no babies
I don't even wanna go back home
Hopefully you don't leave on your own
Yeah, oh, oh
Baby, you got my heart
None of these niggas is fuckin with your spot, ooh
Shorty ain't fuckin' a player
All them lame bitches got the key to they heart, ooh
Ain't built like that
None of them niggas is gettin' in my bed, ooh
Shorty ain't built like that
Baby, I got you
I don't wanna play no games. play no games
I don't wanna play no games, play no games
I don't, I don't, oh
I don't wanna play no games, play no games, ooh
All these lame niggas keep pissin' me off
All them lame bitches tryna fuck with your heart
I know you what want, I ain't fucking you off
Bae, you deserve it all, I know who you are
I don't wanna play no games. play no games
I don't wanna play no games, play no games
I don't, I don't, ooh
I don't wanna play no games, play no games
I don't, I don't, ayy-ayy
I don't, I don't, oh
I don't wanna play no games. play no games
I don't wanna play no games, play no games