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Church of the Assumption of the Virgin Mary (Mohelnice nad Jizerou, Bohemia)
The Roman Catholic Church of the Assumption of the Virgin Mary in Mohelnice nad Jizerou (Mladá Boleslav district) is a stone sacral building from the second half of the 12th century. The church falls under the parish-deanery of Mnichovo Hradiště. In addition to the church itself, a part of the protected area is also the adjacent functional cemetery with a morgue and a wall.
The single-nave church has a rectangular floor plan. It was built by sandstone from Hrubá Skála, the masonry of precisely machined blocks is row-shaped, while each row has a different height. On the west side of the church there is a prismatic tower, on the east there is an apse, inside there is a glass conch. On the north side is a pseudo-Romanesque sacristy and a cross vault, completed during reconstruction in 1876.
The church was restored in 1876 in the spirit of historical purism of the 19th century by the architect Josef Mocker, known for his reconstructions and completions of a number of important medieval monuments, including St. Vitus Cathedral in Prague and Karlštejn Castle. After this purist reconstruction, the original Romanesque church was significantly changed. The windows were modified and enlarged, the ceiling in the nave was replaced, the main entrance to the church was relocated and the floor in the church was raised. Of the original windows, only one small four-leaf rose in the shape of a four-leafed rose, located on the southwest side of the church, has been preserved. During the reconstruction, a new staircase was also built from ground level, making the entrance hall accessible through the entrance from the ground floor of the bell tower on the west side of the church.
(According to the Czech wiki)
07-march-2021: the Prominence of Cima dei Preti from Cimoliana valley (almost 2100m, or the height of the mountain not from sea level, but from where it REALLY RISES) is one of the most massive in the South-Eastern Alpine Sector.
Although it is a "Natural Park" and even if it is an asset of humanity for UNESCO, it is precisely this "humanity" that cannot benefit from the splendid excursions in this fascinatingly wild area!
The area, despite taxes and European funds, is left to its FATE, as is for the naturalists, hikers and old mountaineers who would like to get to know it better (without risking a heart attack).
From a certain point of view, being also a very tormented area from an orographic and morphological point of view, the fact of leaving it to itself, without wanting to develop any form of mass tourism, can be a good thing to preserve the virginity of these mountains, of their vegetation. and their animals, BUT to find only closed roads, barred, with no access everywhere (roads that would be used and were used to avoid walking 15 and pass kilometers of paved roads on the long and flat valley floor, reaching the real starting point of the excursion not already sweaty and annoyed!) is far too demoralizing.
The territory is also quite small, they would have only 3 asphalted streets to keep in order that flow on the bottom of the 3 main valleys of the area, the Zemola, the Settimana and, of course, the Cimoliana, but all three are closed from the start at 600m a.s.l.
It's okay to preserve Nature, but for this to make sense, the area must, in a contingent and intelligent way, be able to access and use them, otherwise everything is an end in itself and a good way to spend citizens' taxes in other ways... Which??
It is not a problem that concerns only the Friulian Dolomites (although only here you can reach 100% inaccessibility), there are many mountain areas that keep mountain roads closed (essential for an average walker), using several excuses as the restoration of the road following a landslide, but landslide was in 2018...and no one works there...
The reachability of Nature, I repeat, with intelligence, is fundamental for the harmony and symbiosis between Man and Nature, but if this were not enough, I would add that it is a Human Right to be able to access the public domain, within the limits of their own safety, that of others and the utmost education.
This scene, of course, comes from a zoo, more precisely: from the Zoo am Meer in Bremerhaven, northern Germany. There is a huge underwater aquarium, in front of whose glass this moment was captured.
He often sees swiftly an entire scene that most people would pass unnoticed. His vision is objective, primarily. His focus is on the world, the scene, the subject, the detail. As he scans his subject he sees as the lens sees, which differs from human vision. Simultaneously he sees the end result, which is to say he sees photographically :-)
Berenice Abbott
The Environment Matters! Resist the Despicable Ignorant Orange Cockroach and his Cabinet of Stooges and Buffoons!!
Gates Pass, Tucson, Arizona
26-October-2023
This is the little area of the western sinkholes at the foot of Mount Škalun (1106m a.s.l., Javorniki), transformed into resurgences with the filling of the aquifers, and covered by water.
The Cerknica basin is approximately 40km2 wide, 38 of which can be submerged by water during periods of heavy, prolonged, repeated and frequent rains!
The maximum size has not been reached for many years, but once the water arrives from all sides it is quite easy (generally for a short time) to cover the entire plain which has the same altitude.
Cerknica town and villages are all built a few meters above this limit, precisely because the flood phases are recurrent and it has been seen that, beyond a certain limit, the permeable calcareous soil resumes and therefore the water (except for very rare extreme occasions) begins to be absorbed before reaching the homes.
Artfully and precisely stacked Cabernet barrels at Chateau Camou winery in Valle de Guadalupe wine country, Baja California, Mexico
EN: Worldwide known are the vineyards of the Douro Valley and their precious good in the shape of exquisite wines or the famous port wines. In autumn, the vineyards literally glow and invite tourists from all over the world.
A special spectacle for the railroad fans is the use of the around 60 years old diesel locomotives of English Electric. Built for the Portuguese railroads as the 1400 series, the locomotives have a design that takes a lot of getting used. However, it is precisely the design that makes the locomotives so special! Originally intended for storage, a lack of traction units led to a rebirth and the locomotives can be seen daily with the cars of the same generation on the interregional trains between Porto and Pocinho.
******
DE: Weltweit bekannt sind die Weinberge des Dourotals und ihr kostbares Gut in Form von exquisiten Weinen oder den berühmten Portweinen. Im Herbst leuchten die Reben förmlich und laden Touristen aus der gesamten Welt.
Ein besonders Spektakel für die Eisenbahnfans ist der Einsatz der rund 60 Jahre alten Diesellokomotiven von English Electric. Für die portugiesische Eisenbahn als Serie 1400 gebaut, weisen die Loks ein sehr gewöhnungsbedürftiges Design auf. Gerade dies macht die Loks jedoch so speziell! Ursprünglich zur Abstellung vorgesehen, führten Triebfahrzeugmangel zu einer Wiedergeburt und die Loks sind mit den Wagen gleicher Generation täglich an den Interregiozügen zwischen Porto und Pocinho anzutreffen.
Pas de FAV sans commentaire.
No FAV without comment
Non, nous ne sommes pas dans quelque désert de l'Arizona, mais bien dans le Puy de Dôme,
Plus précisément dans la carrière du puy de la Nugére, où est exploitée la pouzzolane.
Bonne journée à tous.
Merci pour vos visites et commentaires
en ---------------
No, we are not in some desert in Arizona, but well in the Puy-de-Dome,
More precisely, in the career of le puy of the Nugére, where is operated the pozzolan.
Good day to all.
Thank you for your visits and comments
de ---------------
Nein, wir sind nicht in irgendeiner wüste in Arizona, sondern in der Puy de Dome, %%, genauer gesagt in der karriere des puy der Nugére, in denen ausgenutzt wird, die puzzolan.
Guten tag an alle.
Danke für eure besuche und kommentare
es ---------------
No, no estamos en el desierto de Arizona, pero también en el Puy-de-Dome, %%, Más precisamente, en la carrera de le puy-de la Nugére, donde se opera la puzolana.
Buen día a todos.
Gracias por sus visitas y comentarios
nl ---------------
Nee, we zijn niet in een woestijn in Arizona, maar ook in de Puy-de-Dome,
Meer precies, in de carrière van le puy van de Nugére, waar is geopereerd pozzolan.
Goede dag allemaal.
Dank u voor uw bezoeken en opmerkingen
it ---------------
No, non siamo in qualche deserto in Arizona, ma nel Puy-de-Dome, %%, Più precisamente, nella carriera di le puy dei Nugére, in cui è gestito il pozzolana.
Buona giornata a tutte.
Grazie per le vostre visite e commenti
pt ---------------
Não, não estamos em algum deserto no Arizona, mas bem no Puy-de-Dome, %%, Mais precisamente, na carreira de puy do Nugére, onde é operado a pozolana.
Bom dia a todos.
Obrigado por suas visitas e comentários de
Steps on Water
Two crows, quiet residents of our parks, stepped into a shallow puddle as if checking what the night had left behind. Their slow rhythm, the tilt of their heads, the careful picking through tiny leaves and grasses — everything feels like a small morning ritual of nature that usually goes unnoticed unless you truly stop and look.
There is something calming in their steps on the water: as if they’re gently parting the surface of the world, opening for a moment a window into a simpler, quieter time. And the water, always patient, remembers every one of their movements and returns it as a trembling reflection — like a sentence that remains unspoken.
Small things. Ordinary birds. A moment that could easily disappear — and precisely because of that, it becomes even more precious.
Koraci po vodi
Dvije vrane, tihe stanovnice naših parkova, zakoračile su u plitku baru kao da provjeravaju što je noć iza sebe ostavila. Njihov usporeni ritam, nagib glave, pažljivo prebiranje po travkama — sve djeluje kao mali jutarnji ritual prirode koji prolazi nezapaženo sve dok ne zastaneš i pogledaš stvarno.
U njihovim koracima po vodi ima nečeg smirujućeg: kao da razmiču površinu svijeta i na kratko otvaraju prozor u jedno jednostavnije, tiše vrijeme. A voda, uvijek strpljiva, pamti svaki njihov pokret i vraća ga u obliku odsjaja koji titra poput neizgovorene rečenice.
Male stvari, obične ptice, trenutak koji bi lako nestao — ali baš zato vrijedi još više.
Always liked how the towers in the downtown core reflect first light at sunrise.
This is a blend of two frames, one taken precisely at sunrise at 8am and earlier at 7:26am. I wanted to add a little more contrast behind the Ice District towers.
Thanks to my Icelandic contact I now know what this place is called its Mosfellskirkja.
Thank you Thorsteinn Egilson
Not sure precisely where this was taken, somewhere on the main road between Reykjavic and Pingvellir National Park. It was my first full day in Iceland and almost every turn of the road brought forth a new amazing sight. I loved the way this church just sits in this landscape though I am not quite sure were the congregation came from
THANKS FOR YOUR VISIT HAVE A GREAT DAY
But poetic theology is not “word-magic,” just as other theological forms, such as Scripture, liturgy, or iconography, hold no inherent power to magically transport the believer into communion with the hidden God. The point is, God is already present. Liturgy, iconography, and poetics function as vehicles of presence, even for the nonbeliever, to the degree they facilitate a re-centering of subjectivity from the self and community to God. This transformative dynamic unites the poet, prophet, priest, and mystic, and unites them with every human being who has experienced that paradoxical moment in which one “dies” or “loses oneself” in the immediacy of something (some One) infinitely greater. Indeed, this sense of “infinitely greater” is such that the thought of freezing it in any kind of a system, linguistic or otherwise, feels like a violation, an act of reclaiming the center for ourselves too quickly. Contemplatives become prophetic witnesses precisely when they interrupt this act, interjecting the divine perspective into an imaginative framework that has become opaque, forgetful, or contemptuous of God—that is, the nest of the Unspeakable.
-Sophia, The Hidden Christ of Thomas Merton, Christopher Pramuk
The Ponta do Escalvado Viewpoint is a lookout located on the west coast of São Miguel Island, precisely at Ponta do Escalvado. Its main attraction is the spectacular view it offers of the sea and the west coast of the island.
I was green. Unaware, untested, still carrying the remnants of the relative gullibility that accompanies fortunate children into adulthood, before life strips it away. And with that came that particular brand of arrogance young men are often guilty of— the flaw in the inexperienced exercise of agency, exacerbated by delusions of invincibility, of power, of control. I couldn’t be conquered – or so the delusion went.
I took things in stride, with the kind of calm that can only be born out of complete ignorance. The lattice of carefully selected words, deployed so deliberately and so precisely, was flawlessly constructed. A noose, expertly applied, on a subject lacking in insight to see it for what it is.
Life would later usher the understanding that none of it had been accidental, the understanding of the weight of intent. The deliberateness of an older, more capable adult, deploying a honed skill. With patience born of certainty, and with certainty born of experience. With absolute mastery in creating the illusion of choice.
It began mildly enough, testing the malleable boundaries of the untested. In time, the nature of the fabric revealed itself, something woven out of denial and shame, consumed then regurgitated drenched in bile. Not violently, but quietly, with the skill of someone who truly understood the momentum of words. Verbal constructs that grew tighter and tighter, fueled by a visceral resentment if not outright hatred, forging a mental noose.
The thing about the young and inexperienced is how slowly something cerebral registers. My body was safe in stature, and my heart was safe in detachment, but I hadn’t accounted for my mind – a grave error. I hadn’t considered the pieces of myself that were methodically carved out, replaced by pieces of him. For his voice, embedded into deep recesses, clashing with everything I was and everything I stood for. For the inevitable conflict – the way the seams pulled along the lines of our vast differences, and the way they tore when my confrontational streak surfaced. I hadn’t accounted for how these rips would be branded as failures of control, of character, indicators of fundamental defects, and for the corrosive nature of such pronouncements.
It gave him proverbial standing – he had become Goliath. And Goliath was no longer tightening the noose; he was waging an outright war. Goliath, at my final frontier, singularly determined to reduce the core of personhood to rubble. A war fought with careful words and weaponized silences.
The gravity of such an approach is why I still occasionally think about this.
I am not rebellious by nature. People mistake those who follow the beat of their own drum for rebels, but rebellion is externally rooted. The beat of one’s own drum is wholly internal, and following it is instinctive – the guide to the only viable route in a world of choices. It is neither directed at, nor is it for the benefit of others. And in an outright war, the internal drums became war drums.
It took a long time to understand what triggered that change – like everything else, clarity came with age and a better understanding of myself. But I had understood the threat for the shape that it took, the death sentence to agency – no longer an adjustment or a compromise, but an absolute, nullifying dismantling. Now I know it to also be the grave miscalculation made in betting on the sentimentality of a pragmatist.
The thing about pragmatists is they deal in naked truths and tallies that can seem transactional in nature, but are grounded and inevitable. A cold calculation of net losses and gains - what is given and what is taken, in sharp relief. Including the manufactured reliance – a psychological construct that, when examined closely, had no substance. A voice he’d embedded in spaces he’d created – spaces, it turned out, that can be easily reclaimed.
For something that had become remarkably excruciating, the other truly remarkable aspect of it is how rapidly it came apart from there. Not in days and weeks, but in hours. Years of construction, collapsing like a house of cards. It dissolved not into rage, not into resentment, but into indifference.
Goliath, stripped of the magnitude psychological violence had granted him, was nobody.
He revealed his hand to someone who had finally learned to read the tells and call the bluff. When strategic silences didn’t work, he appeared to pretenses of magnanimity. When he was dismissed, he threatened. When the threats were dismissed, he groveled. And when everything failed, he left – on a lengthy stream of insults against the character he’d ultimately failed to completely break. Words that once held power, but rang hollow overnight.
Nearly two decades have passed. I’ve navigated adult relationships, and done the unthinkable in his book, in building a life with another man without shame. I’ve learned the appropriate terminology for what had been done to me. But more importantly, I’ve come fully unto myself; the good, the bad, and the undoubtedly ugly – knowing, deliberate, and unflinching. A pragmatic, tallying streak that runs deeper than sentimentality. A low tolerance. A readiness to excise. An unwillingness to compromise, for better or for worse, on specific sets of preferences, principles, or simple truths. An assortment of parts, of varying merit, equally owned and retained.
In those decades, his news always found their way to me — because offenders of all persuasions often emerge from one’s own circle. News of someone I cannot comment on, because his truth is not mine to disclose, in disclosing a shared past. He carried the lie so far, I believe the infamous closet swallowed him whole and chewed thoroughly. When he finally emerged, it wasn’t into the open world — the closet spat him into an early grave.
I remember him now through the lens of a man at the tail end of 30s. And through that lens, I remember the most unsettling element – the pattern. The deliberate preference for the defenselessness of inexperience against the words crafted by someone both remarkably underhanded and experienced. Never had the weight of his intent felt heavier than it did, when I approached age he was when he approached me, coming face to face with the colossal chasm between the person I once was, and the person I had become, and with it the gravity of actions.
And I remember him through the lens of my younger self. I remember the anger and resentment, palpable entities that drove him to destroy self-acceptance wherever he found it in others, like a misguided act of revenge against those the arbitrary injustice inflicted upon him didn’t reach. And beneath them the guilt and shame that he wasn’t – nor could he ever be – who he believed he should have been.
As I sit and reflect over the news of his premature passing, I find myself unmoved. The standard gamut of acceptable sentiments – sympathy, empathy, and other…athies, the sentiments provoked by those who take their own lives, are simply absent. But neither is there a trace of relief or reveling. I find the indifference he’d eventually engendered all those years ago to hold true, even in death.
It’s fitting that this final recollection is scattered into the oblivion of this unending stream.
Üsi Rechnig isch begliche. Zwüsche üs git’s weder Richter no Gschwornig, weder Groll no Gfüehl. Nume d’Zyt – und jetzt nume no Äsche un Staub.
Ade.
This street artist, named Bordalo II, uses wastes to build improbable bas-reliefs …
This one was posted on a Paris' street …
Precisely rue du Chevaleret.
* * *
Ce street artiste, nommé Bordalo II, utilise des déchets pour construire d'improbables bas-reliefs...
Celui-ci est accroché dans une rue de Paris…
Précisément rue du Chevaleret dans le XIIIe arrondissement.
I opened this Flickr account in order to share some pictures I took during a trip around the world. It's precisely during this journey that I (re)discovered photography. And because storing thousands of images takes so much time, I kept on shooting in the meanwhile. That's why my gallery is now quite hybrid and is not really related with travel anymore. However, I want now to go back in time and post a little serie of pictures taken in Cambodia ...
..И вдруг поймёшь, что в мире бренном,
Где все надежды хороши,
Дороже всех прикосновений -
Прикосновение души.
Душа должна души коснуться
И от касанья - задрожать.
Ожить, оттаять, встрепенуться,
Тиски свои на миг разжать.
Понять устойчивость к пожару.
На ощупь. В ширь и глубину.
Как пальцы, взявшие гитару
С опаской трогают струну.
Душа с душой должна сливаться.
В один аккорд, в единый стон,
Не прекращая изумляться,
Что можно просто. В унисон.
Душа должна другую душу
Понять мгновенно и принять
И научиться молча слушать
Или, точнее, осязать...
Тогда (Восьмое чудо света!)
Вскипит, разбуженная кровь,
Являя в дымке предрассветной,
для вас рождённую Любовь!
Автор (Злата Литвинова)
...............................................................................................................................................................
..And suddenly you realize that in the mortal world,
Where all hopes are good,
The touch of the soul is more precious than all touches.
The soul must touch the soul
And from touch - to tremble.
Come alive, thaw out, wake up,
Loosen your vise for a moment.
Understand the fire resistance.
By touch. wide and deep.
Like fingers picking up a guitar
They gently touch the string.
Soul with soul must merge together.
In one chord, in one moan,
Never ceasing to be surprised,
Which could be simple. In unison.
The soul must have another soul
Instantly understand and accept
And learn to listen in silence
Or, more precisely, to touch ...
then (the eighth wonder of the world!)
the awakened blood will boil,
Appearing in the predawn haze,
Love is born for you!
Author (Zlata Litvinova)
This very exotic looking flower isn't a carnivorous plant, even if it's somehow looking like it would bite any moment.
This is the flower of a pumpkin and to be more precisely of a button squash. You can see the fruit already at the bottom. I almost missed this hidden beauty, because it's hiding really good below large leafs. I thank my wife, that she did draw my attention to it.
Diese sehr exotisch aussehende Blüte ist keine fleischfressende Pflanze, auch wenn sie irgendwie aussieht als würde sie gleich zuschnappen. Das ist die Blüte von einem Kürbis, um genau zu sein einem Patisson. Die Frucht ist am unteren Ende auch schon zu sehen.
Diese versteckte Schönheit hätte ich fast übersehen, denn sie versteckt sich wirklich gut unter großen Blättern. Ich danke meiner Frau, dass sie mich darauf aufmerksam gemacht hat.
more of this on my website at: www.shoot-to-catch.de
AVE Madrid - Sevilla a cargo de un S-100 de Renfe. El 21 de abril de 2017 se cumplieron 25 años desde la puesta en marcha de la alta velocidad en España, precisamente en la LAV Madrid - Sevilla y con los trenes S-100 de Renfe. 14/01/2017
Renfe S-100 in charge of an AVE Madrid - Seville service. On April 21, 2017, 25 years have passed since the launch of high speed railways in Spain, precisely in the Madrid - Seville line and with the trains S-100 of Renfe.
You've heard of "Turkey in the Straw" now here is "Turkey on a Toyota" (on the luggage rack precisely).
USAF personnel moving bombs as part of a loading competition. In the background is the Boeing (Rockwell) B-1B Lancer jet bomber her team is working on. Despite participating in this timed competition, the service personnel followed protocol very precisely without undue hurry. Very reassuring!
This is a branch of Bacchiglione River called Tronco Maestro (Master Trunk) where, until 1884, up to thirty-four water wheels of as many mills mounted on boats operated.
The name derives precisely from the numerous water mills, 34 in 1300, once floating on the river, decreased to 24 towards the eighteenth century and all remaining removed 1883-1884.
Ƈяєɗιт
In the world of outdoor décor, there are spaces that transcend aesthetics to become experiences. This outdoor haven is precisely that: an invitation to pause, breathe, and reconnect with nature through a thoughtfully considered design.
Surrounded by the majesty of the forest and caressed by the soft sunlight filtering through the trees, this relaxation space celebrates relaxed elegance and timeless comfort. The choice of a neutral palette, with ivory, stone, and sand tones, allows the natural landscape to take center stage, while the textile details add a sense of warmth and refuge.
The wrought iron lounge chairs with soft upholstery evoke the classic charm of European terraces, while the parasols create delicate shaded areas that play with the natural light, generating a dynamic and deeply realistic atmosphere. Every element seems to have been placed with a clear intention: to invite contemplation and relaxation.
Personal accessories, such as the hat, sandals, and handbag carefully placed on the seat, add a personal and intimate touch. This is not simply a decorated space, but a lived-in place, where someone has chosen to treat themselves to a moment of respite amidst the landscape.
The presence of natural elements, from the leaves scattered on the ground to the vegetation that embraces the surroundings, creates a harmonious transition between architecture and landscape. This integration with nature is one of the fundamental pillars of contemporary exterior design: spaces that don’t compete with the environment, but rather engage in a dialogue with it.
Lighting plays an essential role in the atmosphere of this scene. Sunlight, projected from a soft and warm angle, casts delicate shadows on the stone and textiles, adding depth, texture, and a sense of realism that transforms the composition into a sensory experience.
This outdoor retreat reminds us that true contemporary luxury lies not in opulence, but in the ability to create places where time slows down, nature envelops us, and well-being becomes the absolute focus of the design.
Avani Marketplace Hotmess Bag, Decor
Nutmeg @MadPea Productions
Nutmeg. Riviera Terrace Fruit Bowl Gilded Marble
Nutmeg. Riviera Terrace Lounger Adult
Nutmeg. Riviera Terrace Parasol
Nutmeg. Riviera Terrace Reclined Lounger Adult
Nutmeg. Riviera Terrace Rolled Towel
Nutmeg. Riviera Terrace Side Table
Nutmeg. Riviera Terrace Towel Stand
Nutmeg @Kustom9
Nutmeg. Sunny Riviera Binoculars / Gold
Nutmeg. Sunny Riviera Bistro Table
Nutmeg. Sunny Riviera Casual Flip Flops L
Nutmeg. Sunny Riviera Casual Flip Flops R
Nutmeg. Sunny Riviera Curvy Deck Chair Adult
Nutmeg. Sunny Riviera Fresh Plum Tray
Nutmeg. Sunny Riviera Parasol
Nutmeg. Sunny Riviera Woven Beach Tote
hive // falling leaves . close
hive // falling leaves . spread
hive // falling leaves . windswept
hive // ground leaves . spread
Chinese gardens reflect Mentality, Tradition, and the feeling of nature.
This garden is located in Rostock, more precisely is the IGA-Park.
Harmonisches Gleichgewicht…
in Chinesische Gartenanlagen spiegeln sich Mentalität, Tradition, und das Naturgefühl
des Volkes.
Diese Gartenanlage befindet sich in Rostock genauer gesagt ist der IGA-Park.
Thanks for your Visit Views Faves and Comments, have all a Nice Day. 🍂✌
Beautiful Salamanca's Puente romano - construction date of the bridge not is precisely known, but is among the mandates of the Emperors Augustus (27 B. C.-14 D. C.) & Vespasian (69-79), making it a bimillennium architectural monument. Salamanca is truly one of many Spains must see cities.
The Ballarò Market is the oldest market in the city of Palermo and the largest. It is located (of course) in the heart of the old city. Its origins date back to the 10th century, therefore to the Arab domination, precisely for this reason, it strongly recalls the Arab souk. The name is thought to derive from the term Balhara, which means mirror. In fact, it is as a mirror market that it was built in the 10th century.
This pretty ground-hugging Geranium or Cranesbill was - among many other names - once described at 'lancastriense', and more precisely as endemic to Walney Isle, the largest of the Furness Islands, British in the Irish Sea off the coast of Lancashire. Here it's in our Hortus, where there are lots of Geraniums and Pelargoniums.
I can tell you a little more precisely where we are here than the title suggests.
This photo was taken somewhere in Glencoe National Park in the west of Scotland.
Now that I've just looked back at the photos from my last visit, I feel an almost painful longing for this indescribably fascinating region.
Let's see, maybe I'll make it here a third time. After all, they say that all good things come in threes.
Ein klein wenig genauer, als es der Titel vermuten lässt, kann ich es schon sagen, wo wir uns hier befinden.
Und zwar entstand dieses Foto irgendwo im Glencoe Nationalpark im Westen Schottlands.
Jetzt, wo ich die Fotos meines letzten Besuches gerade wieder angesehen habe, verspüre ich eine fast schmerzhafte Sehnsucht nach dieser unbeschreiblich faszinierenden Region.
Mal sehen, vielleicht schaffe ich es ja noch ein drittes Mal hier her. Man sagt ja, dass alle guten Dinge drei sind.
Viel Spaß und präzises Denken.
Have fun and think precisely.
Amusez-vous et réfléchissez bien.
Diviértete y piensa con precisión.
Divirta-se e pense com precisão.
3 of a kind head up POAY on a spectacular May 1st, afternoon. In precisely 1 month, Pan Am, Springfield Terminal, etc. will be no more and absorbed into CSXT.
Dernières fleurs de l'année, résilientes et tenaces. la bourrache, difficile à valoriser, sont à l'évidence des sujets à cadrer avec précision et le plus souvent en contre jour. Ici, les deniers rayons d'un soleil d'automne ravissent le bleu et le rose de la fleur...
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Last flowers of the year, resilient and tenacious. Borage, which is difficult to value, is obviously a subject that needs to be framed precisely and most often in the backlight. Here, the last rays of an autumn sun delight the blue and pink of the flower...
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Ultimi fiori dell'anno, resistenti e tenaci. La borragine, che è difficile da valutare, è ovviamente un soggetto che deve essere inquadrato con precisione e il più delle volte in controluce. Qui, gli ultimi raggi di un sole autunnale deliziano l'azzurro e il rosa del fiore...
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Últimas flores del año, resistentes y tenaces. La borraja, que es difícil de valorar, es obviamente un tema que debe enmarcarse con precisión y la mayoría de las veces a contraluz. Aquí, los últimos rayos de un sol otoñal deleitan el azul y el rosa de la flor...
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Letzte Blüten des Jahres, widerstandsfähig und hartnäckig. Borretsch, der schwer zu bewerten ist, ist natürlich ein Thema, das präzise und meist im Gegenlicht gerahmt werden muss. Hier erfreuen die letzten Strahlen der Herbstsonne das Blau und Rosa der Blume...
Philip
The Temple of Artemis or Artemision , also known less precisely as the Temple of Diana, was a Greek temple dedicated to the goddess Artemis and is one of the Seven Wonders of the Ancient World. It was located in Ephesus and was completely rebuilt three times before its eventual destruction . Only foundations and sculptural fragments of the latest of the temples at the site remain.turkey june 2015
Outside the Lee library at Wolfson College, Cambridge, you can find these two impressive gentlemen. The distinct Asian (or maybe even more precisely Chinese) style of them is no coincidence. The library, opened in 1994, was a donation from the Singaporean businessman Lee Seng Tee (1923-2022 - Lee is the last name), whose daughter had attended the college.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
that the forces which move the stars and atoms are contingent upon the preferences of the human heart :-)
Walter Lippmann
fish tail japanese camellia, j c raulston arboretum, ncsu, raleigh, north carolina
Boschetto artistico... all'improvviso appare un volto umano scolpito su un blocco di "selagite".
[La selagite è una roccia trachitica, conosciuta anche, non a caso, come “Pietra di Montecatini”: è infatti su un grande masso di questa pietra che è arroccato il castello medievale del paese della Val di Cecina. Veniva chiamata “selagite” proprio per la brillantezza dovuta ai numerosi piccoli cristalli di biotite (mica) presenti nella struttura del corpo roccioso].
www.youtube.com/watch?v=8Q1SjF5ByBg
Artistic grove... suddenly a human face appears carved on a block of "selagite".
[Selagite is a trachytic rock, also known, not surprisingly, as "Montecatini Stone": it is in fact on a large boulder of this stone that the medieval castle of the Val di Cecina town is perched. It was called "selagite" precisely because of the brilliance due to the numerous small crystals of biotite (mica) present in the structure of the rocky body].
Eine exakte Bestimmung ist schwierig, da die Scheckfalter sich meist nur durch die Flügelunterseite genau bestimmen lassen.
An exact determination is difficult because the checkered butterflies can usually only be identified precisely by looking at the underside of their wings.
Amaltheus gibbosus is a species of ammonite from the Early Jurassic, more precisely from the Pliensbachian stage, around 190 to 183 million years ago. Due to its rapid evolution and wide geographic distribution, it serves as an excellent index fossil, helping geologists date rock layers with high precision.
Its fossils are found in the marine deposits of Millau, in the Aveyron department of southern France, a region well known for its Jurassic outcrops. These ammonites lived in shallow seas that once covered much of what is now Europe, where they coexisted with other marine fauna such as belemnites, bivalves, and other cephalopods.
The species is recognizable by its compressed, involute shell, with outer whorls largely covering the inner ones. It likely exhibited sexual dimorphism, with larger macroconchs (inferred females) and smaller microconchs (inferred males). The ribs are strong and radial, sometimes ending in rounded tubercles near the ventrolateral area. One of the defining features is the sharp, often crenulated keel that runs along the venter—the outer edge of the shell—without any accompanying grooves. This keel gives the species a streamlined appearance, typical of many fast-moving, nektonic ammonites.
Scientific classification:
Kingdom: Animalia
Phylum: Mollusca
Class: Cephalopoda
Subclass: Ammonoidea
Order: Ammonitida
Superfamily: Amaltheoidea
Family: Amaltheidae
Genus: Amaltheus
Species: Amaltheus gibbosus
Era: Mesozoic
Period: Jurassic (Pliensbachian, Margaritatus Zone)
Origin: Millau, Aveyron, Occitanie, France
Specimen diameter: 35 mm
In Millau, fossils of A. gibbosus are typically found in marl and limestone layers. The preservation is often good enough to show the ribbing, the shape of the whorls, and the ventral keel. Specimens are usually collected from nodules or split bedding planes. While not all are complete, the key morphological traits remain easy to identify.
Macro Mondays, theme: Keychain
The keychain fob is precisely 3 cm in diameter.
Leica lens set to macro mode.
The Monostor Fortress - the largest modern fortress in Central Europe - was built between 1850 and 1871. A UNESCO World Heritage Site, the neoclassical military monument is a fascinating sight with its huge walls of precisely hewn stone, the 3-4 metre thick earthen ramparts covering the defences and its network of underground passages (kazamata) several kilometres long.
Its monumental dimensions are evidenced by the following figures: The fortress covers 25 hectares, the total area including the firing ranges is 70 hectares, the floor area of the buildings is 25 680 m2 and the number of rooms is 640.
After the fortress was built, it served generations of soldiers of the Hungarian Defence Forces. Its tasks included the defence of the central fortress (North - Komárom) and the control of shipping on the Danube. It was never used in combat and served mainly as a training centre and weapons depot. During the First World War it was used as a conscription and training centre. During the Second World War, the 22nd Infantry Regiment had its headquarters at Fort Monostor, and the soldiers of the 1st and 2nd Infantry Regiments were stationed there. After the Second World War.
Between 1945 and 1990, the Red Army's Army Group South set up the largest ammunition depot in Central Europe in the fort. With their withdrawal, the military function of the fortress ended forever.
Today the fort is a popular destination with a military history exhibition, Cold War vehicles, a bread museum, a boat exhibition and numerous events.
The Monostor Fortress - the largest modern fortress in Central Europe - was built between 1850 and 1871. A UNESCO World Heritage Site, the neoclassical military monument is a fascinating sight with its huge walls of precisely hewn stone, the 3-4 metre thick earthen ramparts covering the defences and its network of underground passages (kazamata) several kilometres long.
Its monumental dimensions are evidenced by the following figures: The fortress covers 25 hectares, the total area including the firing ranges is 70 hectares, the floor area of the buildings is 25 680 m2 and the number of rooms is 640.
After the fortress was built, it served generations of soldiers of the Hungarian Defence Forces. Its tasks included the defence of the central fortress (North - Komárom) and the control of shipping on the Danube. It was never used in combat and served mainly as a training centre and weapons depot. During the First World War it was used as a conscription and training centre. During the Second World War, the 22nd Infantry Regiment had its headquarters at Fort Monostor, and the soldiers of the 1st and 2nd Infantry Regiments were stationed there. After the Second World War.
Between 1945 and 1990, the Red Army's Army Group South set up the largest ammunition depot in Central Europe in the fort. With their withdrawal, the military function of the fortress ended forever.
Today the fort is a popular destination with a military history exhibition, Cold War vehicles, a bread museum, a boat exhibition and numerous events.
There is a relationship / between strength of belief / and thickness of walls. // Still figuring out what precisely.
The Sintra series will be extensive, wherefore here and there I'll post photos of a different nature to break up the monotony.
This picture is one of my first experiments on street photography with the 75 mm. The narrower angle is convenient, but it is harder to focus quickly and precisely; DOF at f/8 is nothing much. Framing can be difficult when pretty close to the subject, as was the case of this picture. I was thinking of stepping back a little when the lady showed up at the window. Needless to say, I had to press the shutter right there and then.
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Leica M6 (1994), Apo-Summicron 2.0/75 ASPH, ADOX CHS 100 II, Epson V600, Affinity Photo
So exegetically we may read the “darkness on the face of the deep” as that darkness from which at another moment Elohim differentiates the light: “God separated the light from the darkness” (1: 4). In other words the original dark is also original light, a depth that contains both darkness and light, or more precisely, transcends that distinction: it would be none other than the “luminous dark.” It is like a picture of the immensity of the universe—vast darkness indeed—through which ripple invisible waves of light-energy. Only with certain instruments, or within the galactic neighborhoods of stars, as with our sun, can the light be distinguished. But Genesis is a theopoetics, not an astrophysics, of light born from this dark.
--On the Mystery, DISCERNING DIVINITY IN PROCESS, Catherine Keller
20250610 LEICA M9 Tenerife 21
Sensor oxidation is visible at the top of photographs. Usually when there's a blue or clear sky.
It looks like an elongated dust spot. If I don't touch the photo with Lightroom, it's precisely to show the sensor oxidation.
This message will appear on all photographs.
I have a UV/IR filter on my lens.
LEICA, SAVE THE M9. PLEASE.
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La oxidacion del sensor se ve en la parte superior de las fotografias.Generalmente cuando hay un cielo azul,o claro.
Parece una mancha alargada de polvo.Si no toco la foto con Lightroom es para que se vea,precisamente,la oxidacion del sensor.
Este mensaje aparecera en todas las fotografias.
En el objetivo llevo puesto un filtro UV IR.
LEICA SALVA LA M9.POR FAVOR.
Creo que Leica tendria que darnos una solucion
"Listening and watching of a Great Grey Owl".
I watched this Great Grey Owl as it watched but more precisely listened for voles in the meadow.
Here she is sitting on a tree overlooking the meadow where I am seated.
At the first stroke,
I felt like telling the world
to go straight to hell
at the second stroke,
the world crashed down
straight from my heaven
at the third stroke,
a realisation dawned on me
there is no Heaven nor hell
at the fourth stroke,
only a limbo remained
an outstretched bough
it will be 12:43,
a peace offering,
or a challenge
and 35 seconds precisely,
time is truth, purity,
and of necessity, a sanctuary.
by anglia24
12h44: 10/12/2007
© 2007anglia24
☀
There have been some recent comments on my photos which have gone over the mark, and upset someone very dear to me.
I kindly request that there be no more innuendo or 'slights' please.
This flickr photostream is for my dear friends, and especially for me to express my feelings regarding the world I see and live, an expression and avenue to escape my hourly pains of spinal degeneration, and for the love of nature...so I take a strong dislike to any snide remarks appearing here.
Thank you.
I know there isn't much going on in this photo, but that's precisely why I like it :)
Lac Léman (Geneva Lake), Switzerland.
©2011 Ana Stefanovic, All Rights Reserved
This image is not available for use on websites, blogs or any other media without the explicit written permission of the photographer. If you would like permission please contact me on info/at/anastefanovic.com.
on Facebook
I opened this Flickr account in order to share some pictures I took during a trip around the world. It's precisely during this journey that I (re)discovered photography. And because storing thousands of images takes so much time, I kept on shooting in the meanwhile. That's why my gallery is now quite hybrid and is not really related with travel anymore. However, I want now to go back in time and post a little serie of pictures taken in Cambodia ...
Here is a crew of dancers. You probably seen them if you went there. The idea is that you can pay a little bit to take a picture of you with them. Because I am really not interested in having picture of myself, I because I found them really beautiful, I have to admit that I stole this one (and I am seriously ashamed).
What decided me to post this picture is probably it's boredom atmosphere : these guys are working a lot, but at this particular moment they are just waiting. I like the way the guy on the right hold his head, and the different directions of all the faces ...