View allAll Photos Tagged omnipresent
Escale sur le tire-bouchon afin de photographier quelques trains en cette saison 2021. Il semblerait que les automoteurs aient succédés aux autorails cette année, avec l'omniprésence des AGC au lieu de l'habituelle UM3 d'X73500
In my IT job, I can recall the first time someone suggested we buy a domain name. We simply did it cause it didn't cost much. Can't believe how omnipresent it is now.
I am so glad this item was on the scavenger hunt list, cause it turned out to be at a driveway for the Blue Heron and there were flowers everywhere. It was one of the most fun picture-taking stops ever. It did end badly though. I dropped my camera and broke the lens.
Mt. Shasta, the second-highest peak in the Cascades and the fifth-highest in the state of California. Driving through this majestic mountain is a roller coaster ride. This shot recorded the last straight section of this road before a winding road journeying into omnipresent redwood forest and lakes by the Shasta.
De nos jours, les TGV Inoui sont quasiment omniprésents dans la France entière, mais des TGV ayant encore la magnifique livrée nommée Atlantique, continuent à mener les voyageurs dans les 4 coins de la France.
Lors d'une matinée mitigé, je m'étais rendu à Marseille Saint Charles pour x raisons mais un TGV en provenance de Lyon Part Dieu attirait mon attention, surpris, je me suis rendu sur le quai E de la gare pour le mettre en boîte.
C'était donc en quittant la gare de la Cité Phocéenne à tout petit essieux après avoir fait 15 minutes d'arrêt, que l'un des touts derniers TGV Duplex Bleus de France, ici le beau TGV Duplex N°275 à la splendide livrée Atlantique, était mit en boîte sur la voie F alors qu'il assurait en US*, le TGV N°6801 avec pour prochain arrêt : Toulon, avant de filer vers Nissa la Bella, son terminus.
US* : Unité Seule.
TGV N°6801 : Lyon Part Dieu (6:28) -> Nice Ville (11:09).
Prise de vue : 9 octobre 2021 à 8:27 à la Gare Saint Charles (Marseille, 13).
This shot, taken with my wife, captured a scene in the country side of our valley as the greatest painter, Sun, peeked through a gap between omnipresent clouds and the horizon. The shot along with another shot entitled "Lake Forest" in my flickr account both won the 2017 photocontest in my county.
We decide to include this shot in my flickr account to showcase it along with my other camera works. The image reminds me scenery in Tuscany, and I hope viewers like you finding it mesmerizing.
Lorsque les frontières s'ouvriront vers l'Australie via la Nouvelle Zélande, je ne manquerai pas d'apporter mon chapeau Jacaru en cuir de Kangourou et de ma paire de lunettes solaires. L'été y est très chaud et le soleil omniprésent. #Macro #MacroMondays #SunSafety #Glasses #Hat
Los discretos viñedos riojanos con su variedad de uva monastel, tempranillo, viura..., acompañan el transito del peregrino hasta Navarrete y son un elemento omnipresente en todo el recorrido jacobeo por esta pequeña comunidad riojana.
...................................................................SIGUIENTE
Todos los derechos reservados - All rights reserved - copyright © Pilar Azaña Talán
El Parlamento (Országház en húngaro) fue diseñado por Imre Steindl y construído entre 1885 y 1902, siendo el edificio parlamentario más grande hasta entonces, y la obra arquitectónica más ambiciosa y costosa de su época.
El edificio tiene una longitud de 268 metros y 118 m de profundidad.
Contiene más de 20 km de escaleras, y 691 habitaciones (incluyendo más de 200 oficinas).
La cúpula central (donde se encuentran las joyas de la Corona de Hungría) tiene una altura de 69 metros, y es donde veremos los adornos más bonitos.
El edificio está situado junto al río Danubio. Por eso al planificar su construcción tuvieron que reforzar el suelo con más de dos metros de cimientos, dispuestos de forma muy precisa.
La fachada principal da al río Danubio, pero la entrada oficial está justo en el lado contrario.
Presenta estatuas de gobernantes húngaros, líderes de Transilvania y famosos militares de la historia del país.
El estilo principal del parlamento es neo-gótico, pero también son claras las influencias renacentistas, con un toque bizantino omnipresente en sus salas y pasillos, especialmente apreciable en la delicada decoración de las escaleras que conducen al salón principal.
Mediante esta mezcla de influencias, se pretendía representar las diferentes culturas que han influído y conformado a Hungría a lo largo de sus mil años de historia.
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The Parliament (Országház in Hungarian) was designed by Imre Steindl and built between 1885 and 1902, being the largest hitherto parliament building, and the most ambitious and costly architectural work of its time.
The building has a length of 268 m and 118 m deep.
It contains more than 20 km of stairs, and 691 rooms (including more than 200 offices).
The central dome (where they keep the crown jewels of Hungary) has a height of 69 meters, and is where we see the most beautiful ornaments.
The building sits on the banks of the Danube river. So when planning to build next to the river, , they had to reinforce the soil with more than two meters of foundations, arranged very precise form.
The main facade overlooking the Danube, but the official entry it is on the opposite side.
It presents statues of Hungarian rulers, Transylvanian leaders and famous military history of the country.
The principal style of the parliament is Neogothic, but are also clear Renaissance influences, with an omnipresent Byzantine touch in the rooms and corridors, especially noticeable in the delicate decoration of the stairs leading to the main hall.
Through this mix of influences, it was intended to represent the different cultures that have influenced and shaped to Hungary throughout its thousand-year history.
Résineux caducs , les mélèzes sont omniprésents sur les montagnes d'Alpes du Sud . Saint Véran est face à un masif couvert de mélézes . C'est la premiere fois que j'utilise le procédé de bouger vertical avec vitesse lente ; mais le resultat correspond bien à l'impression que j'ai ressenti sur le terrain .
Genus and generically usually called Scaevola, except in Hawai'i.
I know this shrub from Hawai'i, where it lines many of the sandy beaches of the islands. There are at least 130 species worldwide, most common in the Pacific; Hawai'i has 10 of them, and 9 are endemic there. In Florida, where this photo was taken, they are an invasive species.
The Hawai'ian legend has several variations, but most center around the beautiful Princess Naupaka, who falls in love with the commoner Kaui. The goddess Pele desired Kaui for herself, but Kaui remained faithful to Naupaka. In retaliation, Pele separated the two lovers, banishing Naupaka to the seashore and Kaui to the mountainsides. Each was changed into the flower on the shrub, with the coastal shrub having flowers on the bottom half of a fan, and the mountain version on the top side. Other variations of the story have the full-flowered shrub witnessing the separated lovers' sadness, and in sympathy, the ones on the coast with the princess shed the mountaintop half of their flower form, while the ones with Kaui retained the top portion but are missing the lower half. (And yes, the ones at elevation are reversed from this one pictured.)
The plants are very common, and useful: divers and snorkelers who forget the anti-fog liquid for their masks can crush the leaves and use the juice for the same purpose. It's omnipresent and eco-friendly.
(Explore 5/18/2015)
After a hiatus of nearly four years a revenue passenger train returned to the end of the line in downtown Newport Rhode Island. The Mass Bay RRE's Narragansett Bay Special made a round trip over the entire thirteen mile length of the Newport Secondary.
The train consisted of two GE centercabs, Newport and Narragansett Bay Railroad numbers 14 and 66.
The former still dressed in yellow paint is a GE 80 tonner built in July 1941 as the 5th of the model off the production line. Originally numbered GE 14 it worked at the company's Schenectady plant until being sold and rebuilt in the late 1980s to serve at Northeast Utilities' West Springfield power plant. However, after coal and oil fired units 1 and 2 were shut down in 1999 the locomotive had no purpose. It sat on site there for more than two decades until the NNBR purchased it in 2023 and shipped it to Fall River on a flat car and then had it trucked over to the island and set back on the rails and put back into service.
The latter is freshly repainted into the very attractive paint scheme featuring colors that pay homage to the state of Rhode Island and the omnipresent sea. It wears a newly applied logo for the Grand Bellevue Dinner Train for which it is the regular power. A GE 65-tonner, it was built in 1943 and was most recently numbered USN 65-00566 where it served with a sister unit at the Portsmouth Navy Yard until being replaced with a trackmobile several years ago. In 2024 she and sister unit USN 65-00308, two years her junior, were purchased by Eric Moffett and turcked to Rhode Island with the the 65-00308 being assigned to the Seaview Railroad freight operations at Quonset Business Park.
Trailing the two GEs is the five car consist of the dinner train consisting of:
Generator Car former USAX 89657 built by St. Louis Car Company in 1952 for the US Army as a kitchen car, then later served Amtrak as a baggage car.
Theater Dining Car Atlantic Rose built by the Budd Co. in 1946 as a 46 seat coach for the Atlantic Coast Line Railroad as car number 220. It served on the famed Champion and passed to SCL and then ultimately Amtrak before being sold in the 1980s.
Kitchen Car Bellevue Clipper built by the Budd Co. in 1948 as a 52 seat coach for the Seaboard Air Line Railroad where it served on the famed Silver Meteor. It passed to SCL and then ultimately Amtrak before being sold and gutted and rebuilt into a modern full service kitchen in 1987.
Dining Car Aquidneck Spruce was also built by the Budd Company in 1946 as a 54 seat coach for the Pennsylvania Railroad as their number 4051 and originally assigned to pool service on the Champion to Miami in conjunction with the RF&P, ACL, and FEC railroads.
Diner Lounge BC-30 is a Budd RDC-3 built in 1956 for the Pacific Great East Railway. The self propelled car was one of seven the railroad bought which passed to BC Rail and remained in daily scheduled passenger service until discontinued by the province of British Columbia in 2002. It and sister BC-15 spent a couple years on the short lived Wilton Scenic Railroad in New Hampshire before coming to the island in 2007. The car is in the process of being remodeled into a dining car and bar with the headlights and horn operational and used as a shoving platform from the cab.
The train is seen here approaching the end of track at MP 0 as they cross Elm Street before arriving at the bumper beside the little depot alongside America's Cup Avenue. Historically this would have been about MP 30 as measured from Myricks and the junction with the New Bedford mainline.
As for the line itself, this scenic route opened in 1864 and over the years passed from the Old Colony Railroad to the New Haven and Penn Central. Regular passenger service ended in 1938 and freight traffic dwindled. The state bought the lower half of the line to preserve it in 1976 and CR operated this northern section until around 1982 when the P&W assumed the freight rights on the island. Although a few PW moves on the island are known to have taken place they ultimately chose to contract with Conrail to serve their customers in Portsmouth (since CR was still regularly serving Fall River only a few miles away) and an occasional blue CR unit made its way part way down the islandvuntil as late as 1988.
Over the years a succession of tourist and dinner train operators have continued to use the now isolated trackage as there is no longer a connection with the outside rail network since the drawbridge over Tiverton narrows was damaged by a barge collision in the 1988 (ending freight service) and then subsequently removed a couple decades later.
If you're interested in learning more or having dinner on the rails check out their website here: www.thegrandbell.com/
Newport, Rhode Island
Saturday May 17, 2025
Have been wondering how this strait was named "Golden Gate". Watching this view says it all. Here, I woke up at 3AM, drove 1 hr, and hiked about 1/5 mile to a vantage point for watching the dawn. Result: a drowsy mind awaken by a panoramic view of a gate in omnipresent golden sky and light reflection.
Technical: D810, 48mm, ISO64, 1/10 sec, f/13. RRS multi-rows pano system. Six still images stitched.
Eine der Besonderheiten am Schlosspark Pottendorf ist das allgegenwärtige Wasser. Um an das Wasser für den Wassergraben rund um die Burg bzw. für das spätere Schloss zu kommen, wurde seinerzeit der ausserhalb des Schlossparks vorbei fließende Fluss Fischa angezapft. Der breite Bach, der dann innerhalb des Schlossparks zum Wassergraben floss und heute noch fließt, entwässert nach Norden hin wieder zurück in den Stammfluss, den man heute die "Alte Fischa" nennt. Den Bach innerhalb des Schlossparks nennt man "Neue Fischa". Der Bach sorgt nicht nur für die Bewässerung des Schlossparks sondern bietet auch viele Stellen mit reizvollen Spiegelungen und Abwechslung in der Wegführung durch den Park, zum Beispiel mit kleineren Brücken und Stegen.
One of the special features of Pottendorf Castle Park is the omnipresent water. In order to get the water for the moat around the castle and for the later palace, the Fischa river flowing outside the park was tapped at the time. The wide stream, which then flowed inside the castle park to the moat and still flows today, drains northwards back into the main river, which today is called the "Alte Fischa". The stream within the castle park is called the "Neue Fischa". The stream not only provides water for the castle park but also offers many places with attractive reflections and variety in the pathways through the park, for example with small bridges and footbridges.
Riquewhir, , Alsace, France.
Riquewihr en idioma francés, Reichenweier en alsaciano, es una localidad y comuna francesa situada en el departamento de Alto Rin, en la región de Alsacia.
Por su belleza y atractivo turístico es uno de los pueblos distinguidos por la asociación Les plus beaux villages de France.
Esta ciudad fortificada rodeada de viñas es una auténtica joya. En el pueblo de Riquewihr abundan las casas de colores con entramado con fachadas decoradas con viejos rótulos. Algunas casas están adornadas con bonitas ventanas saledizas. Las omnipresentes flores y plantas trepadoras refuerzan el atractivo del pueblo.
Para descubrir el patrimonio arquitectónico único de Riquewihr, lo mejor es pasear y admirar, en el ocio, los innumerables monumentos. Se puede descubrir el ayuntamiento de estilo neo-clásico. El castillo de Württemberg en 1539 ahora alberga el museo de la comunicación. Además del edificio notable, puede supervisar la posición a través de las edades. El antiguo patio de la Abadía de Autrey desde 1510 tiene un innegable encanto con su torreta ascendente desde el sótano hasta el ático y bóveda con ocho costillas apoyo a una terraza. Va a pasar por el Museo del Dolder. Esta entrada de la puerta fortificada de la ciudad tiene un campanario de 25 metros de altura con una cara exterior bélico y la apariencia benévola en el casco urbano. La torre de los ladrones 1550 es la antigua prisión. Se pueden visitar las cámaras de tortura y mazmorras húmedas donde matones estaban cerradas. Por último, paseando por las calles, se pueden admirar las fachadas de las casas de los siglos XVI y XVII incluidos en el inventario de monumentos históricos. Entre ellos, por nombrar algunos sólo por el bien de sus nombres tan evocador, la antigua casa de tonelería, la casa llamó a los ranúnculo y enólogos de casas esperan en silencio.
Riquewihr in French, Reichenweier in Alsatian, is a town and commune in the department of Haut-Rhin in the Alsace region.
For its beauty and tourist attraction is one of the villages distinguished by the association Les plus beaux villages de France.
This fortified town surrounded by vineyards is a real gem. In the village of Riquewihr, houses with colorful, half-timbered facades adorned with old signs abound. Some houses are adorned with pretty bay windows. The ubiquitous flowers and climbing plants reinforce the appeal of the town.
To discover the unique architectural heritage of Riquewihr, the best is to stroll and admire, in leisure, the countless monuments. During your no, you can discover the neo-classical style town hall. The castle of Württemberg in 1539 now houses the Museum of Communication. In addition to the remarkable building, it can monitor the position throughout the ages. The old courtyard of the Abbey of Autrey since 1510 has an undeniable charm with its turret ascending from the basement to the attic and vault with eight ribs supporting a terrace. You will pass by the Dolder Museum. This entrance of the fortified gate of the city has a bell tower of 25 meters of height with an external warlike face and the benevolent appearance in the urban helmet. The tower of the thieves 1550 is the old prison. You can visit the torture chambers and wet dungeons where thugs were closed. Finally, walking through the streets, you can admire the facades of the houses of the sixteenth and seventeenth centuries included in the inventory of historical monuments. Among them, to name a few just for the sake of their names so evocative, the old coop house, the house called the ranunculus and house winemakers wait in silence.
Weather-beaten CN SD75I 5785 rests in the setting sun at Hawthorne Yard on the old IC Iowa Division (CN Freeport Sub) at Cicero, Illinois on a muggy summer evening. The omnipresent Sears Tower makes an appearance to the left.
The Drop pays homage to the element of water and the untamable forces of nature which are omnipresent in Vancouver. The slender, elongated sculpture balances as if a huge raindrop were on the verge of landing on the sea walk
Canada Place-----Vancouver, BC
Here is another from 2018 that I kind of like. This is a piece of railroad that I've always been fascinated by ever since first learning about it in a 1995 issue of Trains magazine. I think it was the fact that I had a love of the state going back to several family trips taken as a child to the region. And the fact that by that late date this was an island disconnected from the balance of the Chicago and Northwestern System since the Cowboy Line had been abandoned and the PRC had been sold off to the Dakota, Minnesota and Eastern.
I'd never rail fanned in South Dakota, but when I drove cross country in January 2018 I snagged what trains I could, and this was one I ran into and tried to chase for a bit. Not knowing anything about this route I wasn't too successful but did get a few I kind of liked on this bitterly cold but perfectly clear afternoon. Here is a southbound Rapid City, Pierre & Eastern train rolling thru Rapid City with a nice original DME blue and yellow leader. The train is crossing East St. Patrick Street at MP 97.6 on the Black Hills Sub only a half mile from the north end of the yard where they will end their day. It seems that billboards are omnipresent throughout the state and I remembered being entertained with them (especially the 'Where the Heck is Wall Drug?' ones) on those childhood cross country trips. So it was great to include the train passing beneath a few that are wedged between the tracks and parallel East St. Joseph Street.
Considering that I'd never seen this railroad before, even this little taste was a treat, but I really want to go back. I believe this was a turn coming back from Belle Fourche with bentonite loads out of Colony, Wyoming but it may have turned at Whitewood. I'm honestly not at all familiar with this road's operations so maybe one of my followers here can elaborate.
Rapid City, South Dakota
Thursday January 11, 2019
Aménagée à la fin du XIXe siècle, cette salle de style Renaissance, avec son plafond à caissons, faisait office de salle à manger de réception. C’est là que le duc d’Aumale accueillait le dimanche toute l’élite artistique et intellectuelle de son temps. Loisir favori des princes, la chasse est omniprésente dans le décor. Huit tapisseries ornent les murs : elles ont été tissées au XVIIe siècle à la manufacture royale des Gobelins, d’après une célèbre tenture du XVIe siècle : Les Chasses de Maximilien.
Fitted out at the end of the 19th century, this Renaissance-style room, with its coffered ceiling, served as a reception dining room. It was here that the Duke of Aumale welcomed the artistic and intellectual elite of his time on Sundays. Hunting was a favourite pastime of the princes and is omnipresent in the décor. Eight tapestries adorn the walls: they were woven in the 17th century at the Royal Manufacture of Gobelins, based on a famous 16th century hanging: The Hunts of Maximilian.
Listen: www.youtube.com/watch?v=8VF4P9D1Nuw
Today marks another trip around the sun for me—the end of one means the start of another. I shot this self-portrait with the help of my love, Adric Knight, during a camping trip a few weeks ago up on Mt. Rainier, one of the most beautiful places on the planet. I've been steeped in a deep, omnipresent depression for a few years now, but lately, I can feel myself lifting out of the mire, *finally*. I wanted an image that depicted how it's felt to rise up once more—to feel the kiss of sunlight and the brisk wind and to recognize the beauty in this place.
Life is fleeting, yes, but those words tend to feel empty and redundant. So I'll try to describe how those words hold deeper meaning for me these days than they did five and more years ago...
When I was in my early twenties, I was caught up in a terrible relationship that fed on my very spirit. I wasn't making art. In fact, I'd given up on the idea of ever being an artist—despite having growing up with a pencil and paper in hand for the entirety of my childhood—and resigned myself to simple office work for a state-run company. I was miserable. I had no friends to speak of. I was being dominated in an unhealthy, abusive situation, and I had just enough energy to get myself up in the morning and go to my day job, followed by my evening job, trying to keep up with bills. I put myself through community college, which gave me a spark of hope and began to remind me that deep down, I'm an artist. Still, I persevered in an unhappy marriage and continued to sell myself short by not freeing myself from the entrapments and damage of those closest to me.
Eventually, I got out. Escaping this situation was no small feat. And I do mean escaping. Slowly, over the years, I tended to the wreckage that was my life. It was hard to watch myself starting over again, from the beginning, with a wounded heart and spirit, feeling so incredibly destitute and dealing with the harm that had been caused for years to come (truly, dealing with it even now, all this time later). And yet, the freedom I had gained invigorated and intoxicated me to no end. Just what I needed at the time.
It wasn't until a few years later that I picked up a used camera, on a whim, and began taking photos... Suddenly, I was impassioned. I realized that this camera wasn't just a tool and means of expression—it was a lifeline.
One of my favorite sayings is "The way out is through." The past few weeks, this saying has been ringing in my head as a mantra. Reclaiming myself as an artist and using this means of expression has been my way through. And the journey continues on—there's still so much damage to work through. Deep inside me, there's still a small girl who was neglected and scorned and abused. I know the *only* way to help her is by moving through the years and reassuring her that it will be okay because it IS okay now.
Life is fleeting. This is what I mean when I say those words. No matter our damage, we make choices to end up wherever it is we are now. No matter how trapped we may feel, we can find the way back to ourselves, if we push hard enough. Every day is a new opportunity to be grateful for the smell of the rain on the air, the sparkling dew on grass blades, the simple, complex prospect of being alive. What a gift. I don't intend to waste it. I've come too far and fought too damn hard to allow myself to stay steeped in wallowing self-doubt and depression. I embrace this next trip around the sun with clarity, an open heart, and a resilience I've earned over many years of hard-won battles. To this year, and many to follow. But especially: to art. <3
Aménagée à la fin du XIXe siècle, cette salle de style Renaissance, avec son plafond à caissons, faisait office de salle à manger de réception. C’est là que le duc d’Aumale accueillait le dimanche toute l’élite artistique et intellectuelle de son temps. Loisir favori des princes, la chasse est omniprésente dans le décor. Huit tapisseries ornent les murs : elles ont été tissées au XVIIe siècle à la manufacture royale des Gobelins, d’après une célèbre tenture du XVIe siècle : Les Chasses de Maximilien.
Fitted out at the end of the 19th century, this Renaissance-style room, with its coffered ceiling, served as a reception dining room. It was here that the Duke of Aumale welcomed the artistic and intellectual elite of his time on Sundays. Hunting was a favourite pastime of the princes and is omnipresent in the décor. Eight tapestries adorn the walls: they were woven in the 17th century at the Royal Manufacture of Gobelins, based on a famous 16th century hanging: The Hunts of Maximilian.
Petit montage sans prétention...mais hommage à Alfred Hitchcock. Les corbeaux sont omniprésents à Versailles.
Riquewhir, , Alsace, France.
Riquewihr en idioma francés, Reichenweier en alsaciano, es una localidad y comuna francesa situada en el departamento de Alto Rin, en la región de Alsacia.
Por su belleza y atractivo turístico es uno de los pueblos distinguidos por la asociación Les plus beaux villages de France.
Esta ciudad fortificada rodeada de viñas es una auténtica joya. En el pueblo de Riquewihr abundan las casas de colores con entramado con fachadas decoradas con viejos rótulos. Algunas casas están adornadas con bonitas ventanas saledizas. Las omnipresentes flores y plantas trepadoras refuerzan el atractivo del pueblo.
Para descubrir el patrimonio arquitectónico único de Riquewihr, lo mejor es pasear y admirar, en el ocio, los innumerables monumentos. Se puede descubrir el ayuntamiento de estilo neo-clásico. El castillo de Württemberg en 1539 ahora alberga el museo de la comunicación. Además del edificio notable, puede supervisar la posición a través de las edades. El antiguo patio de la Abadía de Autrey desde 1510 tiene un innegable encanto con su torreta ascendente desde el sótano hasta el ático y bóveda con ocho costillas apoyo a una terraza. Va a pasar por el Museo del Dolder. Esta entrada de la puerta fortificada de la ciudad tiene un campanario de 25 metros de altura con una cara exterior bélico y la apariencia benévola en el casco urbano. La torre de los ladrones 1550 es la antigua prisión. Se pueden visitar las cámaras de tortura y mazmorras húmedas donde matones estaban cerradas. Por último, paseando por las calles, se pueden admirar las fachadas de las casas de los siglos XVI y XVII incluidos en el inventario de monumentos históricos. Entre ellos, por nombrar algunos sólo por el bien de sus nombres tan evocador, la antigua casa de tonelería, la casa llamó a los ranúnculo y enólogos de casas esperan en silencio.
Riquewihr in French, Reichenweier in Alsatian, is a town and commune in the department of Haut-Rhin in the Alsace region.
For its beauty and tourist attraction is one of the villages distinguished by the association Les plus beaux villages de France.
This fortified town surrounded by vineyards is a real gem. In the village of Riquewihr, houses with colorful, half-timbered facades adorned with old signs abound. Some houses are adorned with pretty bay windows. The ubiquitous flowers and climbing plants reinforce the appeal of the town.
To discover the unique architectural heritage of Riquewihr, the best is to stroll and admire, in leisure, the countless monuments. During your no, you can discover the neo-classical style town hall. The castle of Württemberg in 1539 now houses the Museum of Communication. In addition to the remarkable building, it can monitor the position throughout the ages. The old courtyard of the Abbey of Autrey since 1510 has an undeniable charm with its turret ascending from the basement to the attic and vault with eight ribs supporting a terrace. You will pass by the Dolder Museum. This entrance of the fortified gate of the city has a bell tower of 25 meters of height with an external warlike face and the benevolent appearance in the urban helmet. The tower of the thieves 1550 is the old prison. You can visit the torture chambers and wet dungeons where thugs were closed. Finally, walking through the streets, you can admire the facades of the houses of the sixteenth and seventeenth centuries included in the inventory of historical monuments. Among them, to name a few just for the sake of their names so evocative, the old coop house, the house called the ranunculus and house winemakers wait in silence.
Le ciel offre des paysages vraiment mystiques.
On trouve ainsi dans la constellation de l'Eridan NGC1909, une nébuleuse par réflexion qui se nourrit de la lumière de Rigel (septième étoile la plus brillante du ciel, 80 fois plus large que notre soleil), pour briller et laisser apparaitre son nuage en forme de tête de sorcière.
Il m'aurait fallu imager bien plus longtemps sur cette cible de faible intensité lumineuse pour améliorer cette image, mais comme souvent, si le ciel des Landes est par endroit exempt de pollution lumineuse, il en est tout autrement de la brume omniprésente 😅.
Première prise de vue avec mon Canon 70D défiltré partiel de chez Photomax
Images :
Canon EOS 70D défiltré
Irix 150mm F2.8
Monture Skywatcher Star Adventurer
Trépied Vanguard Alta Pro 264 AT
50*90s à F3.5 et 1600ISOS + 20 darks + 20 offsets + 20 flats.
Traitement :
Siril
Lightroom
Photoshop / Astronomy Tools Action Set.
The last days have brought storm and much rain. So the canyon creek has much water to get down. This place is just underneath the last shooting (Rocks). The canyon is narrow, green is omnipresent, water is loud, the spot is charming. Far below there once was a mill fed by 8 springs and destructed by a debris avalanche in 1964. Currently this is a natural preserve.
My third Stranger Things vignette shows the gate inside the Hawkins National Laboratory, which plays a important role in the Netflix series. It is the entrance to a different world, the Upside Down.. It contains the same locations and infrastructure as the human world, but it is much darker, colder and obscured by an omnipresent fog while ash-like spores drift through the air. In Episode 4: The body you can see inside the Hawkins Laboratory one of Brenner's workers attached to a security line goes through the gate to the alternate dimension. The worker reaches the other side, but the Monster seemingly finds him and cuts the worker off from the security line. Brenner's crew was not able to reel him back in time, instead pulling out a metal hook smothered in blood.
The gate is cordoned off inside the Hawkins Lab because of the ash-like spores in the air and the people don't know what the gate is or if it is dangerous.
I hope you like my third vignette, I would be pleased to get feedback.
Greetings Kevin
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
.
Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
Time in Color
Quick! Colors through the window
Colors on fields and forests
Before the weather changes
And changes everything
Empties fields and forests of their substance
And ponds and farms
How fleeting the sun is!
How the sky mocks our admiring gaze
Eternity is an optical illusion
Immensity a dubious abstraction
The wheatfields’ gold – quick!
The pink of bricks piled on a building-site – quick!
The foliage’s chilly green – quick!
The rust-color of bushes, train-tracks, roadbeds – quick!
The yellow of colza in nearly-black fields
The silver of streams
The silt-browned green of fish-filled rivers – quick!
Cabbages’ purple in well-mannered squares – quick!
The road’s grey – quick!
The absolute blue of clear sun-softened autumn days – quick!
Red! Red! Tractors’, cars’, traffic-lights’ red – quick!
The red of a hunter’s cap, his rifle wedged in his armpit – quick!
(And soon the imagined red of a slain beast’s blood)
The metallic green of our roadside poplars – quick!
Blue slate roofs – quick!
The blue of distant mountains – quick!
Stone blue, horizon blue,
Blue light falling in a fine mist on the world – quick!
And white – I had almost forgotten white – the white of dusty roads, earthen ones
The white of cows lazing in pastures – quick!
Omnipresent white, that the eye disdains
Of a wall between two cypresses, of trucks going swiftly past
White – quick!
Then black! Black! The black of fertile earth ploughed over and over again – quick!
The black of a horse driven mad by the trains
Who gallops in crazed circles alongside the fence – quick!
The black of a village chimney silent as a closed mouth – quick!
The black of a village church-bell never to be caught up in the savior’s arms –
quick!
White, black, green, pink, blue and gold –
Quick! Quick! Quick!
Emmanuel Moses
Translation: Marilyn Hacker
Going west, way home. With the sun on my face while stepping over the exhausted crops. And technology, omnipresent, doesn't still capture my soul.
Serie: Landscapes from La Mancha
"Green Path", between Ciudad Real and Poblete. Spain. Fall 2016.
Licensed under CC Attribution-No Derivatives. All use without explicit authorization is allowed under the terms of the license. Higher resolution with no signature version is available.
Licenciada bajo CC Atribución-Sin Obras Derivadas. Se permite todo uso sin autorización explicita bajo las condiciones de dicha licencia- Disponible versión en mayor resolución sin firma.
I think many of us struggle with the trust it takes to fall in love, and to allow someone to love us back. Past hurts and memories are haunting things, and they keep us from fully living sometimes. I'm definitely no different. It is with much difficulty these days that I find myself actually wanting to go down that road, to trust someone with that much of myself. Because I honestly don't see the point in half-relationships. Either I'm in, or I'm out. And I really believe that as human beings, we all crave that sense of safe-ness that finding someone to love brings. It is innate in our nature to want to give and receive something so intangible, while at the same time something so omnipresent that all we need to do is walk out into the world to see proof of.
When I went to shoot this picture, I had a very clear idea of what I wanted it to look like. Yet, when actually shooting I found myself keeping the hands bound instead of being already free. I've struggled for several years with the desire (yet immense fear) of letting someone truly close to me, knowing the havoc they could wreak. I've lied and said I wasn't afraid, that I wouldn't want to be the kind of person who runs or hides from loving someone in a romantic way... yet I found myself avoiding any kind of contact that would lead to it. Because I thought I felt safer not relinquishing that level of trust. But the thing is, I also could feel an important part of me seem to go dormant, and not necessarily in a good way. That wasn't what I wanted, and it wasn't what I needed. And I reminded myself that not everyone is going to be callous with that trust. It's funny. You can almost physically feel the portals of your heart start to open up as they swell. And while I feel myself opening up with gratifying leaps, I still struggle from time to time and find myself grow doubtful for only a moment. It might be a bit of a struggle, but it's well worth it. It's so worth it.
The North Frisian North Sea coast with a view of the salt marsh landscape. Oystercatchers and sheep are omnipresent on the green dike. In addition, the cyclists and the endless sky to the horizon. And one of the most beautiful German lighthouses: The Westerhever lighthouse on the Eiderstedt peninsula.
Oz oder OZ (* 1950 in Heidelberg; † 25. September 2014 in Hamburg; bürgerlich Walter Josef Fischer) war ein deutscher Graffiti-Künstler. Er galt als „Großvater der Sprüherszene“ in Hamburg. Seine Werke sind im Hamburger Stadtgebiet omnipräsent, vor allem in Form von Smileys, Spiralen und Tags. Für seine Graffiti wurde er mehrfach zu Haftstrafen verurteilt.
Oz or OZ (born 1950 in Heidelberg, † September 25, 2014 in Hamburg, real name Walter Josef Fischer) was a German graffiti artist. He was considered the "grandfather of the sprayer scene" in Hamburg. His works are omnipresent in the city of Hamburg, especially in the form of smileys, spirals and tags. For his graffiti, he was repeatedly sentenced to prison terms.
(Wikipedia)
Dieses ist sein Grabstein
This is his tombstone and grave
Sacré omnivore, ce héron était très sérieusement à son affaire! La pêche c'est une sérieuse affaire. Mais les libellules omniprésentes peuvent quand même le distraire. Non sans conséquences par contre. Après tout, c'est aussi de la protéine. Et quand la protéine est en train de se multiplier autant en profiter.
Une libellule c'est bien, mais deux c'est mieux !
A Green Heron appetizer.
Very seriously focused on harpooning some succulent fish or crawfish, then comes around a frolicking pair of darters. Big mistake ! Protein is protein and a 2 for 1 is not to be missed.
Riquewhir, , Alsace, France.
Riquewihr en idioma francés, Reichenweier en alsaciano, es una localidad y comuna francesa situada en el departamento de Alto Rin, en la región de Alsacia.
Por su belleza y atractivo turístico es uno de los pueblos distinguidos por la asociación Les plus beaux villages de France.
Esta ciudad fortificada rodeada de viñas es una auténtica joya. En el pueblo de Riquewihr abundan las casas de colores con entramado con fachadas decoradas con viejos rótulos. Algunas casas están adornadas con bonitas ventanas saledizas. Las omnipresentes flores y plantas trepadoras refuerzan el atractivo del pueblo.
Para descubrir el patrimonio arquitectónico único de Riquewihr, lo mejor es pasear y admirar, en el ocio, los innumerables monumentos. Se puede descubrir el ayuntamiento de estilo neo-clásico. El castillo de Württemberg en 1539 ahora alberga el museo de la comunicación. Además del edificio notable, puede supervisar la posición a través de las edades. El antiguo patio de la Abadía de Autrey desde 1510 tiene un innegable encanto con su torreta ascendente desde el sótano hasta el ático y bóveda con ocho costillas apoyo a una terraza. Va a pasar por el Museo del Dolder. Esta entrada de la puerta fortificada de la ciudad tiene un campanario de 25 metros de altura con una cara exterior bélico y la apariencia benévola en el casco urbano. La torre de los ladrones 1550 es la antigua prisión. Se pueden visitar las cámaras de tortura y mazmorras húmedas donde matones estaban cerradas. Por último, paseando por las calles, se pueden admirar las fachadas de las casas de los siglos XVI y XVII incluidos en el inventario de monumentos históricos. Entre ellos, por nombrar algunos sólo por el bien de sus nombres tan evocador, la antigua casa de tonelería, la casa llamó a los ranúnculo y enólogos de casas esperan en silencio.
Riquewihr in French, Reichenweier in Alsatian, is a town and commune in the department of Haut-Rhin in the Alsace region.
For its beauty and tourist attraction is one of the villages distinguished by the association Les plus beaux villages de France.
This fortified town surrounded by vineyards is a real gem. In the village of Riquewihr, houses with colorful, half-timbered facades adorned with old signs abound. Some houses are adorned with pretty bay windows. The ubiquitous flowers and climbing plants reinforce the appeal of the town.
To discover the unique architectural heritage of Riquewihr, the best is to stroll and admire, in leisure, the countless monuments. During your no, you can discover the neo-classical style town hall. The castle of Württemberg in 1539 now houses the Museum of Communication. In addition to the remarkable building, it can monitor the position throughout the ages. The old courtyard of the Abbey of Autrey since 1510 has an undeniable charm with its turret ascending from the basement to the attic and vault with eight ribs supporting a terrace. You will pass by the Dolder Museum. This entrance of the fortified gate of the city has a bell tower of 25 meters of height with an external warlike face and the benevolent appearance in the urban helmet. The tower of the thieves 1550 is the old prison. You can visit the torture chambers and wet dungeons where thugs were closed. Finally, walking through the streets, you can admire the facades of the houses of the sixteenth and seventeenth centuries included in the inventory of historical monuments. Among them, to name a few just for the sake of their names so evocative, the old coop house, the house called the ranunculus and house winemakers wait in silence.
food line
for
the
untouchables
the same lines......... omnipresent in AMERICA
life is tough
in 2020
for
billions
“Extreme poverty anywhere is a threat to human security everywhere.”
— Kofi Annan, Seventh Secretary-General of the United Nations
HANUMAN MANDIR ( TEMPLE )
NEW DELHI
Photography’s new conscience
The medieval history of the Square Mile is omnipresent and in use today. But London is much older than many people know...
Los coatíes son animales omnipresentes en el parque de Iguazú. La mala costumbre que tiene la gente de darles comida ha hecho de este mamífero un oportunista casi ladrón.
Rochefort-en-Terre est classé comme l'un des Plus Beaux Villages de France et Petite Cité de Caractère en Bretagne.
La cité bretonne de Rochefort-en-Terre donne une impression d'homogénéité malgré la diversité des courants architecturaux qui s'y sont exprimés : maisons à pans de bois, bâtiments de style gothique, demeures Renaissance, hôtels classiques, architecture XIXème... C'est la pierre, ici omniprésente, qui fait le trait d'union entre ces différents témoignages de l'Histoire.
Rochefort-en-Terre is classified as one of the Most Beautiful Villages in France and a Small Town of Character in Brittany.
The Breton city of Rochefort-en-Terre gives an impression of homogeneity despite the diversity of architectural trends expressed there: half-timbered houses, Gothic style buildings, Renaissance residences, classic hotels, 19th century architecture... It is the stone, omnipresent here, which forms the link between these different testimonies of History.
Explore - 23rd April 2009 #89
The title is in sanskrit..It means 'here, there, everywhere' simply to mean 'the omnipresent' :)
Thanks for all your views, comments and favorites :)
Playa of Tengradin, Noja, Cantabria, Spain, 12th Oct 2012
In the photo tour in Cantabria the weather was definitely not on my side, especially in Noja where I had little chance to photograph because of the omnipresent rain.
However, a couple of days later it went well; here's the first shot of the beautiful Tengradin di Noja Beach.
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Playa di Tengradin, Noja, Cantabria, Spagna 12/10/2012
Nel tour fotografico in Cantabria il meteo non è stato sicuramente dalla mia parte, soprattutto a Noja ho avuto poche possibilitò di fotografare per colpa della pioggia onnipresente.
In un paio di albe però è andata bene, ecco il primo scatto della splendida Playa di Tengradin di Noja.
Full Album: www.flickr.com/photos/125866625@N08/albums/72157673842247501
Theme: Mutual One-Way Street
www.youtube.com/watch?v=2aiagDwit7E
Like the wind above Akota Nui, the Le-Akotan are fleeting, yet omnipresent, in nature. They drift across the land, seeking fulfillment before their passing. As such, they may be found in virtually all parts of Akota Nui- living all manner of lifestyles. The largest settlement of Le-Akotan is that of Le'kainga, a large village perched upon Ga'maunga Peak. It is here Lenua resides.
Lenua tends to the young Le-Akotan, helping them prepare for their journey of self-fulfillment. The beginning of this journey is christened by the Ceremony of the South Wind during which the young matoran leap from the side of the mountain and glide off to parts unknown. While Lenua takes satisfaction in training the young matoran, she is haunted by an indiscernible emptiness. It was upon meeting the young matriarch Galia that she had discovered what she truly yearned for.
En este macizo calizo están en su salsa los rebecos. Un macho dominante se asoma por debajo de una imponente haya con las hojas ya teñidas por el otoño.
Entre rocas desprendidas de las altas paredes calizas existe un mundo de micro ambientes. Las hay grandes como una cabaña, otras de menor tamaño y multitud de fragmentos erosionados de las anteriores. Por esas laderas salpicadas de vigilantes pétreos , se parapetan los rebecos (Rupicapra pirenaica parva). Algunos ejemplares de haya (Fagus sylvatica), escalan las verticales laderas extendiendo sus poco profundas raíces en el fino sustrato, rivalizando con el omnipresente reino mineral.
Fotograma completo.
Au bord du lac se déploie une atmosphère si particulière. Un silence apaisant envahit les lieux, tandis que le brouillard s'étend, omniprésent, bloquant la vision, aiguisant les sens…
Au milieu de cette brume épaisse et opaque, une forme énigmatique apparut. Une île mystérieuse surgit des profondeurs du brouillard, semblant flotter au-dessus des eaux calmes.
L’eau reflétait à la perfection ses formes, sa grande voile et sa coque. Ce vaisseau était unique, il naviguait silencieusement, tel un spectre, comme s'il était propulsé par une force mystérieuse.
La brume sinistre se répandant telle une créature maléfique qui tend ses griffes invisibles. Elle avance, inexorablement, glissant sur l'eau tel un monstre vorace assoiffé de proie.
Le vent s'affaiblit progressivement et les voiles du navire fléchissent, réduisant son allure. L'obscurité envahit l'espace, engloutissant le navire pour l’éternité.
I don't know why I'm drawn to that nuclear powerplant so much. Maybe it's its esthetics, combined with its enourmous sight and its omnipresent white smoke on the horizon... and there is of course that beautiful reflection...
And here's something, just for fun (classic french comedy): www.youtube.com/watch?v=Rnz1xvblGvQ