View allAll Photos Tagged longing
“A feeling of sadness and longing that is not akin to pain, and resembles sorrow only as the mist resembles the rain.”
Henry Wadsworth Longfellow
taken through a moving car window while touring in northern california...
Reached Flickr Explore on Oct 21, 2008 #448
My reference for this drawing was a photo taken by Shirren Lim who is a flickr member (used with permission)
Left these beautiful Roses at my dad's grave. Over half a year without him and it's really sunk in that it's forever. That he is gone. I miss him.
Tomice, Poland, February 2010
Sometimes a simple motif awakes a longing for good old days. Days, that will never come back. And yet, one keeps on dreaming...
• NIKON D700 • ¹⁄₃₂₀₀ sec at f/3.5 (0 EV) • ISO 200 • Pattern metering • Aperture priority • no flash • @ 105 mm •
• NIKON D700 • Shooting Mode↔Single-Frame • AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED • VR↔On • Focus Mode↔AF-C • AF Area Mode ↔Dynamic Area (9 points) • Primary AF Point ↔C6 (Center) • AF Points Used ↔C6 • Focus Distance ↔3.76 m • DOF ↔0.26 m (3.63 - 3.89) • FOV ↔18.9 deg (1.25 m) • Hyperfocal Distance ↔104.84 m • Light Source ↔Unknown • Flash ↔No Flash • Flash Mode ↔Did Not Fire • Flash Control Mode ↔Off • Flash Setting ↔Normal • Flash Type ↔ • Flash Flags ↔(none) • Group A (Mode, Compensation, Output) ↔(Off, 0, -) • Group B (Mode, Compensation, Output) ↔(Off, 0, -) • Group C (Mode, Compensation, Output) ↔(0, 0, -) • File Type ↔NEF • Bit Depth ↔14 •
2010-02-22-1313-1916
Please do not use this image on websites, blogs or other media without my explicit permission.
Copyright © 2010 yOOrek
Note the reflection of the front door, through which the cats can see a world which they will never explore.
I'm so tired of being here, suppressed by all my childish fears
And if you have to leave, I wish that you would just leave
Your presence still lingers here and it won't leave me alone
These wounds won't seem to heal, this pain is just too real
There's just too much that time cannot erase
When you cried, I'd wipe away all of your tears
When you'd scream, I'd fight away all of your fears
And I held your hand through all of these years
But you still have all of me
You used to captivate me by your resonating light
Now, I'm bound by the life you left behind
Your face it haunts my once pleasant dreams
Your voice it chased away all the sanity in me
These wounds won't seem to heal, this pain is just too real
There's just too much that time cannot erase
When you cried, I'd wipe away all of your tears
When you'd scream, I'd fight away all of your fears
And I held your hand through all of these years
But you still have all of me
I've tried so hard to tell myself that you're gone
But though you're still with me, I've been alone all along
When you cried, I'd wipe away all of your tears
When you'd scream, I'd fight away all of your fears
And I held your hand through all of these years
But you still have all of me, me, me
Evanescence - "My Immortal"
www.youtube.com/watch?v=idd_92ajjwY&feature=fvw
It was difficult to decide either B&W or the other one! Both versions gave me special feelings...so i decided to post both of them and let you express what impression you get from these two!
Just feel free and criticize me!
Thank you all!
Our poor indoor cats! Lily was watching Jack intently through the window. It's nice for the cats that the only cat window happens to look out at one of the busiest cat highways around our house. Most of the outdoor cats are from our feral colony, but we also get the occasional neighborhood straggler.
"AVRELI, pater esuritionum,
non harum modo, sed quot aut fuerunt
aut sunt aut aliis erunt in annis,
pedicare cupis meos amores.
Nec clam; nam simul es, iocaris una,
haerens ad latus omnia experiris.
Frustra; nam insidias mihi instruentem
tangam te prior irrumatione.
Atque id si faceres satur, tacerem;
nunc ipsum id doleo, quod esurire,
A! meme, puer et sitire discet.
Quare desine, dum licet pudico,
nei finem facias, sed irrumatus.
(Catullus, Carmina, XXI.)
"Aurelius, father of the famished,
in ages past in time now present and in future years yet to come,
you are longing to fuck my love in the ass.
Nor privately : for you are with him jesting,
closely sticking at his side, trying every means.
In vain : for, instructed by your artifice,
I'll strike home beforehand by forcing you to make me a blowjob.
Now if you did this to work off the results full-living I would say nothing.
But what irks me is that my boy must learn
to starve and thirst with you.
Wherefore, desist, while you may in modesty,
lest you reach the end, - but making me a blowjob."
("The Carmina of Caius Valerius Catullus", London, 1894. Modernized by myself... :S)
"Aurelio, que eres padre de las hambres,
presentes y pasadas y futuras,
quieres follarte a mi chaval.
Y encima sin esconderte. Andas a su lado,
os enrolláis, te arrimas y lo intentas
todo. Pero es inútil. Por más trampas
que me tiendas, yo voy a someterte
antes y voy a hacer que me la mames.
Si al menos fueras rico, no diría
nada de tus acosos, pero sufro
por mi chaval, el pobre, que contigo
va a aprender a pasar hambres y sed.
Así que déjalo, termina ya,
mientras puedas hacerlo con honor.
Que vas a terminar, pero mamando."
(Catulo, Poesías, edición bilingüe de José Carlos Fernández Corte y Juan Antonio González Iglesias, Cátedra, « Letras Universales », Madrid, 2006.)
Aurélius, ô père de la diète,
Pas seulement celle du jour,
Mais d'hier, d'aujourd'hui, de demain, de toujours,
Tu veux te taper le garçon que j'aime,
Tu le poursuis, flirtes sans te cacher,
Collé à lui tâtes de tous tes trucs,
En vain. Malgré tes ruses louches
C'est moi qui te foutrai le premier, dans la bouche.
Si encor tu draguais le ventre plein, d'accord.
Malheur, ce qui m'ennuie, c'est que tu l'endoctrines
A crever de faim et de soif.
Alors, fuis dans l'honneur tant qu'il est encor temps,
Sinon tu t'enfuiras mon foutre dans les dents.
("Le Roman de Catulle, poésies complètes", émendées, traduites, mises en ordre, commentées et romancées par Olivier Sers, Les Belles Lettres, Paris, 2004.)
And Me "Barbie". Symbol of his life continued to make a dress-up dress. Author: Fumiko Miyatsuka
Her in 1958, raised the first cry in Japan. And wearing a stylish dress in perfect proportion, it became longing for girls around the world in a moment. Against the background of the era of Showa, the biography of upheaval "Woman work" which was pushed up to the world based on Japanese products that are said to be "cheap and nasty".
Ernie, longing for Ducky.
Must watch Ernie bathing with Ducky
Strobist: Sb-800 at 1/8th power, 105mm, through half-folded 42" shoot-thru umbrella camera left and above - guess that one is obvoius :D
Glass of water from above - there are a dozen or so messier shots, but loved this subtle effect the most.
does it make you cry when you dream that he loves you?
does it make you smile when you dream that he loves you?
"Longing"
Do you hear that voice that calls to you from deep within? Sometimes the voice is unclear, merely a wordless emotional scream that aches within, but if we are patient and set aside some time to listen each day, the voice becomes clearer. It begins to gain power and direction. This voice is your heart, and it will lead you to the happiest place you've ever been if you have faith.
single exposure image photographed at Dragonfly Mountain Lodge AR
Model: Kendra Ridenour
Re-purposed prom dress
Hair and makeup by me.
THE RESTLESS EARTH
28 APR - 20 AUG 2017
Triennale Milan
The exhibition explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus.
The Restless Earth borrows its title from a collection of poems by Édouard Glissant, a Caribbean writer who probed the question of how different cultures can coexist. The exhibition shares in Glissant’s project—a pressing and necessary one that tries to describe this unstable and agitated present as a polyphony of voices and narratives. Through the works of more than sixty artists from more than forty countries—such as Albania, Algeria, Bangladesh, Egypt, Ghana, Iraq, Lebanon, Morocco, Syria, and Turkey—and with historical documents and objects of material culture, this exhibition charts both experiences and perceptions of migration and the current refugee crisis as an epoch-making transformation that is reframing contemporary history, geography, and culture.
The Restless Earth explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus inspired by varying degrees of urgency and longing. The exhibition revolves around a series of geographic and thematic lines of inquiry—the war in Syria, the state of emergency in Lampedusa, life in refugee camps, the figure of the nomad or stateless person, and Italian migration in the early 20th century—which intersect with works that serve as visual metaphors for conditions of mobility and precariousness.
The Restless Earth focuses in particular on how artists bear witness to historic events, and how art can describe social and political change in the first person. The works on view point to a renewed faith that art and artists have a responsibility to portray and transform the world, creating not just images of conflict, but images that provide a space for critical thinking and exchange. Together, these stories—poised between historical epic and real-time diary—yield a vision of art as lyrical journalism, emotional documentary, and vivid, vital testimony.