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I needed a break from studying so I set out to create a very specific image. The result was something entirely different, but to me that is what's so beautiful about creative expression. Intent is important when creating a photo but being open to new possibilities, to truly living in the moment and reacting fluidly to what is around you...Responding to the forces that surround you while you're creating - that is just as special.
This photo is rooted in two thoughts...The first is from one of my favourite movies, Chronicles of Narnia (I read the book a long time ago, I'm sure it's amazing but the visuals in the movie are incredible <3)...The image has to do with the scene where the little girl meets Mr. Tumnus and learns that winter has lasted for a long time. So that connects to the whimsical aspect of the photo. The second part is that this looks like an ad for something. It has that element of sexuality and smoking. The materialism that is symbolized represents how obsessive we have become over consumer goods, over trivial nonsense. The two girls face the same direction, and one even looks straight at the camera. The earth behind them is warm, green and lush but there is no way of knowing whether or not they are aware of this. They are huddling together for warmth. Ultimately, they are immersed in the lifeless cold of winter but there is always hope for summer and what summer represents :)
BTS shots are on my blog
Stryd y Ffynnon Haearn, Aberystwyth, Ceredigion - Cymru/ Wales ▪️"Mae hanes y tu ôl i bolyn y barbwr, un ychydig yn dywyll. Yn ystod yr Oesoedd Canol, byddai barbwyr yn gwneud llawdriniaeth ac yn tynnu dannedd, yn ogystal â thorri gwallt. Yn wreiddiol, byddai basn ymolchi pres ar ben y polyn, yn cynrychioli'r llestr y câi'r geleuod eu cadw ynddo, ac ar y gwaelod byddai un yn cynrychioli'r llestr a ddaliai'r gwaed."▪️"Barber's poles have a storied, slightly macabre history; during the Middle Ages, barbers performed surgery on customers, as well as tooth extractions. The original pole had a brassen wash basin at the top (representing the vessel in which leeches were kept) and bottom (representing the basin that received the blood)."
Lepe es un municipio español de la provincia de Huelva, Andalucía.
Es el municipio más poblado de la provincia tras la capital.
Fundada por los fenicios en un pequeño valle junto al río Piedras, Lepe ha sido poblada por romanos y árabes, conservando patrimonio histórico de estas épocas. Marineros leperos y vinculados a la villa de Lepe intervienen en el descubrimiento y la conquista de América, entre los que destaca Rodrigo Pérez de Acevedo, el primero en divisar las tierras americanas desde las carabelas del primer viaje de Cristobal Colón.
El Paraje Natural Marismas del Río Piedras y Flecha del Rompido es el principal exponente de patrimonio natural del municipio, dentro del cual se sitúa la playa de Nueva Umbría.
Lepe se sitúa en el centro de la comarca de la Costa de Huelva. Dista unos 35 kilómetros de la capital onubense y unos 20 kilómetros de la frontera portuguesa.
Dispone de un litoral amplio, con diferentes ecosistemas, dunas, playas, marismas, esteros.
The Great WARNING.
The field is the world, and the good seed represents the people of the Kingdom. The weeds are the people who belong to the evil one.The enemy who planted the weeds among the wheat is the devil. The harvest is the end of the world, and the harvesters are the angels.“Just as the weeds are sorted out and burned in the fire, so it will be at the end of the world.The Son of Man will send his angels, and they will remove from his Kingdom everything that causes sin and all who do evil.And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.Then the righteous will shine like the sun in their Father’s Kingdom. Anyone with ears to hear should listen and understand! - Matthew 13:38-43 www.biblegateway.com/passage/?search=Matthew13:38-43&...
They represent the first few years of my career. I chose making tiny size because it's easier to cast and if I made mistake, I would not waste much material. At that time, I was just graduated, didn't have much money and my father was against me. It's hard and tough, but I had nothing to lose.
Now the condition is much better, but I am worrying that maybe just one slip, I might loose everything. Hope not. :p
Minasan, kon'nichiwa! Hello Everyone .
I choose to represent Japan , because i have always been fascinated by its rich culture ,history , gastronomy and fashion , And i can state that japan has nothing to envy to milan , new York or Paris .
I still remember my self, when i was little boy hidding under the bed ,behind the curtains jumping and cutting the wind with invisible daggers , thinking i was a powerful and an invisible ninja .
The ninjas are warriors of the shadow also called Shinobi that means the one who hides . They are trained from early age in survival skills , weopanery and secret ninja martial arts that was called ninjutsu.
they hadde there own code of conduct sieled in a document called the bansenshukai , Hattori Hanzō also known as Hattori Masanari or Hattori Masashige was a famous ninja of the Sengoku era, who served Tokugawa clan as a samurai, credited with saving the life of Tokugawa Ieyasu and then helping him to become the ruler of united Japan.
L’Antiquité représente pour le peintre Hubert Robert un cadre familier. Il illustre ici l’intérieur d’une basilique romaine : ruines grandioses d’une basilique à la voûte ornée de caissons et à la colonnade corinthienne, qui sert d’étable à un troupeau. La lumière pénètre par le trou de la voûte effondrée et au premier plan, une zone d’ombre, colline de décombres au sommet de laquelle se détache une vache, accentue cet effet remarquable de perspective. Affectionnant tout particulièrement le thème de la galerie, il sublime ces vestiges en tirant parti des dégradations du temps et en les amplifiant. Avec sa touche légère et esquissée, il anime ces ruines d’une façon qui lui est très personnelle en intégrant des personnages s’appropriant très naturellement le lieu.
En détail
Un personnage en tunique romaine peut être aperçu au sein du groupe d’individus ayant investi la galerie : une fantaisie fréquente chez le peintre.
Le saviez-vous ?
Hubert Robert illustre ici la possibilité d’éclairer par le haut la grande galerie du Louvre dont on veut en cette fin de XVIIIe siècle faire un musée. L’accident de la voûte, d’où s’échappe un rayon lumineux, préfigure l’éclairage zénithal des musées à venir.
Representing the United States Marine Corps is Lt. Col. Brandon Wilkins flying the #4 Blue Angels F/A-18F (two-seater) Super Hornet 165679 at the Wings Over Meridian Air Show. This airframe joined the Blue Angels in 2020.
La foto representa perfectamente cómo una señora pasea al perro y cruza un bujero en la paré. Hay dos bolardos en el suelo y al fondo tres farolas encendidas y unas palmeras. No me deis las gracias por esta maravillosa descripción.
This Lehigh Valley U23 belongs to Conrail at the time of this photo, but so far it has escaped the clutches of Big Blue's paint forces. And it still wears its original number, too. And if you look closely, you can see two other railroads represented in this scene. The 502 is coupled to a IHB switcher and behind the maroon beauty is an old New York Central auto rack, filled with all kinds of '70's greatness, TFIC...
Villa Ortiz (Estación Coronel Mom) (más conocido como Coronel Mom, o simplemente Mom) es una localidad del Partido de Alberti, Provincia de Buenos Aires, Argentina. Cuenta con 815 habitantes (INDEC, 2010), lo que representa un descenso del 5% frente a los 857 habitantes (INDEC, 2001) del censo anterior.
Coronel Mom es una estación ferroviaria del Ferrocarril Domingo Faustino Sarmiento de la Red Ferroviaria Argentina, en el ramal que une las estaciones de Suipacha y Bayauca. o presta servicios de pasajeros. Sus vías están a cargos de la empresa Trenes Argentinos Cargas,sin embargo las vías se encuentran sin uso y en estado de abandono.
Recibía los servicios provenientes de Once con destino a Lincoln, General Villegas y Realicó. No posee servicios de pasajeros desde 1994.
El tren que transformaba lo cotidiano en mágico
Por Alberto Jesús González
Coronel Mom, provincia de Buenos Aires
Como tantos, mi pueblo surgió a la vera del ferrocarril y por consecuencia directa del paso del mismo. Corría el año 1907 y el ramal, que luego recibió el nombre de Domingo Faustino Sarmiento, comenzaba a extenderse desde Capital Federal hacia el oeste de la provincia de Buenos Aires y al establecerse la estación, que años más tarde se iba a llamar Coronel Mom, un puñado de casas comenzaron a levantarse alrededor de la misma.
Esta puede ser la historia de innumerables poblados de todo el país, que al igual que mi pueblo, Villa Ortiz .en honor a Alberto Ortiz, propietario de las tierras donde se erigió el mismo., se conformaron a partir del paso del primer tren. Y fue tanta la importancia del tren como motor de vida para las pequeñas poblaciones que Villa Ortiz, también como muchos pueblos del interior, es en realidad, mucho más conocido en la zona, la provincia y por que no el país, con el nombre de Coronel Mom, precisamente la denominación de su estación ferroviaria.
Resulta casi imposible de imaginar lo que los primeros trenes, allá por principios del siglo pasado, provocaban en las sensaciones o sentimientos de la gente. Enormes moles de hierro y humo que con sus sonidos hacían temblar la tierra y seguramente a más de algún desprevenido espectador.
Sí, espectador, porque durante tantísimos años el tren, el simple hecho de observar su paso, era una de las citas obligadas de mis abuelos, por no decir una de las pocas diversiones que podía entregarles un pueblo demasiado pequeño para tantas cosas.
Y esta sencilla acción que puede parecer no implicar muchos matices a su alrededor, tiene en cambio una o varias explicaciones.
No se trataba pura y exclusivamente de una diversión, más allá de que sí lo era, sino que el tren arribaba los viernes por la noche, procedente de Buenos Aires, y volvía a pasar los domingos por la tarde retornando hacía la capital de nuestro país. Lo cual significaba que irremediablemente los viernes llegaban familiares o amigos para disfrutar durante todo el fin de semana de la tranquilidad que podía ofrecerles este pueblo.
Todos, esa gran parte de los habitantes de Villa Ortiz, que concurrían cada viernes y cada domingo a la estación de trenes, vestían sus mejores ropas, porque se trataba indudablemente de un gran acontecimiento social.
También, debo narrarles, que los motivos y los fines que movían a cada segmento de la población a concurrir a observar la llegada del ferrocarril no eran los mismos, más allá, insisto, de que era un denominador común para todos el tomarlo como una diversión.
Por lo tanto, para las señoras mayores, que son un poco más proclives a los comentarios, se trataba de ir para enterarse y ver qué familias recibían visitas. Por su parte, los señores mayores iban para acompañar a sus esposas, pero más de una vez veían descender del tren a alguna novia de su juventud o a aquel amigo que tantos años hacía que había abandonado el pueblo, obviamente, una u otra situación provocaba un sentimiento de nostalgia irrefutable en ellos.
Y los jóvenes, los que no pasaban los veinte y algo de años, concurrían porque si llegaban parientes de alguna de las familias de la localidad, seguramente también lo hacía alguna bella chica que tal vez, a la vuelta de la vida y después de algún guiño del destino, podía ser la futura madre de sus hijos. Cuántas parejas se formaron ciertamente a partir del flechazo de esa primera mirada que se dio en el andén de la estación.
Pero la otra cara de la moneda, para muchos, era el tren del domingo porque se trataba de esa maldita máquina que llegaba para llevarse, y quién sabe hasta cuando, a la novia, o al novio, o a algún nieto, o en fin, a un ser querido que iba a extrañarse bastante.
Pero así como el progreso trajo innumerables factores positivos también impuso algunos que fueron lo contrario. Cada vez hubo mejores caminos y rutas, además de vehículos cada vez más sofisticados, por lo tanto, el viajar en tren pasó a ser algo demasiado lento y hasta incómodo, y como consecuencia, poco rentable para las empresas ferroviarias.
Y así llegó ese nefasto día en que pasó por la localidad el último tren de pasajeros. Un día que seguramente nuestros abuelos nunca imaginaron que llegaría; cómo podían hacerlo si el ferrocarril era todo o casi todo para muchos de ellos.
Pero llegó y cuando el último tren dejó la estación y comenzó a marcharse fue como que con él también se marchó una parte grande, importante y en cierto modo legendaria de la historia pasada del pueblo. Tal vez suene demasiado exagerado pero el último tren casi firmó la partida de defunción de este pueblo, es que luego en forma lenta pero inexorable los habitantes fueron siendo cada vez menos.
En mi caso, sólo llegué a vivir los últimos años de este medio de transporte que tan ligado está al desarrollo de innumerables pueblos del interior del país. De todos modos, me atrevo a afirmar que el tren de pasajeros le daba otra vida a mi Villa Ortiz, por eso cada vez que hago referencia al tema es imposible que no me invada la nostalgia y se me escape alguna que otra lágrima, fundamentalmente por mis padres y mis abuelos, ya que fueron ellos los que tras la partida del último tren tuvieron que aceptar con resignación que sus hijos comenzaran a marcharse en búsqueda de un futuro mejor…
Publicado por editor el Jueves 31 de Agosto de 2006
Liverpool 869 represents the ultimate of the 1930s streamline design trend that was popular in the U.K. Built in June 1936, 869 was one of a class of 163 trams built at the Liverpool Corporation works at Edge Lane. The class was equipped with various different equipment depending what was available at the time. In 869s case this was E.M.B Heavyweight (Johannesburg) trucks equipped with four x 40hp G.E.C WT181 motors and Metro-Vick 22 notch low voltage controllers operating an electro-pneumatic master controller located under the stairs. The class was designed to be lightweight and to attain speeds appropriate for Liverpool extensive reserved track network. Although both these criteria were met it also highlighted the poor quality control of their construction, when during the Second World War the Liverpool tram system was worked to near collapse. In desperation the City council decided to replace the failing network by buses in 1945. Forty six of the class were sold to Glasgow but ran there with only limited success. One of these being 869, running with the number 1055. In 1960 the Liverpool University Public Transport Society organised a tour of the Glasgow system on 1055 to raise funds to purchase the car and it was purchased for £50 to be owned by the newly formed Merseyside Tramway Preservation Society. It was moved to a proposed museum site near the Middleton Railway Leeds but due to increasing problems with vandalism it was re-located to Crich in 1961. Restoration was very slow and in 1967 it moved to an area of Green Lane Depot in Liverpool. In 1979 after being displayed at a show at Edge Lane depot it returned to Crich but the bogies were found to have hairline cracking which with also bringing the car up to Crich standards meant the car did not run here until 1992.
Vamos a recrearnos hoy en uno de los rincones coloniales mas representativos de La Habana, si de La Habana que pudo haber sido y no es , pero SERÁ. La Plaza Vieja construida en 1559 con el nombre de PLAZA NUEVA. En el siglo XIX, tras la ampliación de la plaza de Armas y la urbanización de otras zonas, dejó de ser la principal plaza pública de la ciudad, pasando a llamarse Plaza Vieja. Desde la década de 1950 a 1990 fue APARCAMIENTO DE COCHES!!!!!!!!!
En la actualidad, tras su restauración (fondos de la UNESCO) ha recobrada su esplendoroso aspecto original.
Se trata de una plaza porticada con una serie de edificios históricos de cuatro siglos diferentes. El mas importante de ellos, La Casa del Conde Jaruco, construida entre 1733 y 1737. En ella vivió la condesa de Merlín, novelista romántica cubana que tomó la nacionalidad francesa y escribió un libro de viajes sobre Cuba. En la actualidad el edificio de utiliza para exposiciones de arte. En la primera planta luce bellas vidrieras de medio punto.
Hay también dos edificios del siglo XVII y en la esquina de las calles Muralla e Inquisidor se encuentra el hotel Palacio Cueto de estilo Art Nouveau. Data de 1908 y fue hotel.
En el centro de la plaza se halla una fuente de 1796 con el escudo de la ciudad y el del conde de Santa Clara, entonces gobernador.
(Guía Pais-Agiular)
Existen varios restaurantes, cafeterías y cervecerías de corte bastante actual que por unos instantes le hacen a uno olvidar las calles circundantes y personalmente me confirman lo que ya sabia: LA HABANA FUE UNA MARAVILLOSA CIUDAD, alegre, bulliciosa, de gente extrovertida y amable ideal para vivir en mas amplio sentido de la palabra. Personalmente brindo para que en pocos años TODA LA HABANA sea como este oasis de color y belleza con sabor colonial.
¡Amén!.
www.fluidr.com/photos/29469501@N03</
www.flickriver.com/photos/29469501%40N03/popular-interest...
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The lives of Alexander Croll and John Wright represent one of the most enduring and successful partnerships in the pioneering history of the New South Wales North Coast timber and shipbuilding industries.
To a lesser extent, their early venture also aligned with fellow pioneer John Rodger, laying the foundational roots for the timber communities of the Myall Lakes and Great Lakes regions of NSW, Australia.
The Early Bond: From Glasgow to the Colony
The deep lifelong connection between Alexander Croll and John Wright began across the globe in Scotland.
Born just a few years apart in Banffshire (Wright in May 1835 and Croll in August 1835/1837), the two men moved to Glasgow as youths to train in the demanding trade of shipwrights. During their grueling apprenticeships on the Clyde, Croll and Wright shared living quarters, developing a mutual trust and work ethic that would define their future. Though they initially planned to settle in New Zealand, trade disruptions caused by the New Zealand Wars redirected their ambitions and they moved on to Australia, arriving in New South Wales around 1860–1861 aboard the Lord Worsley.
Like many young men of the era, they first tried their luck panning for gold along the Snowy River. When the goldfields failed to yield a fortune, they relied on their trade skills and journeyed to the dense, untouched coastal forests of the Myall Lakes district.
Pioneering the Myall Lakes (1860s–1872)
Arriving in the Bulahdelah region, Croll and Wright started out in the grueling business of pit-sawing. They soon gained employment at Boolambayte Creek working for Duncan MacRae, who had established the area's first timber mill. The two Scotsmen put their shipwright training to immediate use, constructing vessels—such as the Caledonia—to transport MacRae’s timber. During this period of foundational hard work,
Croll settled down, marrying Eliza Jane MacKay in 1867. By 1872, after years of working alongside MacRae, Croll and Wright were ready to strike out on their own. Partnering with a third skilled associate, John Rodger, they established the first official sawmill at Bungwahl on the top of the Myall Lakes. This industrial site was strategically chosen to allow their flat-bottomed punts and newly built timber vessels easy access to navigable water, ensuring they could ship heavy logs and sawn timber out to the booming Sydney market.
Diverging Paths and Legacies
While the Bungwahl partnership was highly successful, the three pioneers had different long-term geographic ambitions, leading them to amicably divide the business over the next few years.
John Wright sold his share of the Bungwahl sawmill and shipwright business to Croll in 1877 for £2000, having earlier, in 1875, moved to the North Shore of Forster, by 1879 known as Tuncurry. On arrival in Tuncurry Wright leased waterfront land to build a massive new sawmill, slipway, and established John Wright & Son Shipyards, which operated for nearly a century. By 1878 John Wright had also taken up several thousand acres of land just east of Krambach where he built another large sawmill known as Avalon.
The third Bungwahl Mill partner, John Rodger, eventually migrated north as well, moving his sawmilling focus toward the Camden Haven River and Laurieton to tap into new forest reserves.
Alexander Croll remained firmly anchored at Bungwahl. He bought out Rodger and Wright's shares and expanded the Bungwahl mill, running it it as a highly prosperous family empire.
Croll spent the rest of his life at his Bungwahl estate, "Huntley." As he aged, he passed the management of the mill to his capable sons, Alexander Jr. and James (who later expanded the family timber legacy into Dungog as J. Croll & Sons). Alexander Croll passed away at home on August 16, 1917, at the age of 82.
Reflecting the immense respect he commanded, his funeral was the largest ever seen in the district at the time. His coffin was carried 19 miles by river launch to Bulahdelah, where 32 of his sawmill employees formed a solemn guard of honour as he was carried to his final resting place—marking the end of a grand colonial journey that began in a shared Glasgow boarding house room.
Image Source - Great Lakes Museum
Information, Restoration and colourisation of image by Chat GPT Ai.
Protest on Vredenburgplein in Utrecht, where 17,000 pair of shoes were diplayed, representing the children killed in the Gaza conflict and the names of the victims were called.
Torcecuello euroasiático
(Jynx torquilla)
El más atípico representante de la familia de los pícidos en Europa es un ave de pequeño tamaño y críptico plumaje que poco tiene que ver con los verdaderos pájaros carpinteros. En efecto, el extraño torcecuello es incapaz de taladrar la madera, carece de algunas de las adaptaciones de los piciformes típicos y se comporta más como un paseriforme cuando se posa en las ramas o corretea por el suelo; sin embargo, conserva los hábitos
trogloditas y una larga lengua con la que asalta los hormigueros.
Descripción y Clasificación
Orden Piciformes; familia Picidae
Longitud 16-17 cm. Envergadura 25-27 cm.
Identificación
Este pícido de pequeño tamaño posee un aspecto característico y notables singularidades morfológicas que lo diferencian de los restantes componentes de la familia, dentro de la cual constituye una subfamilia independiente. En contraposición a los contrastados coloridos de otros pájaros carpinteros, el torcecuello luce una librea muy críptica, de color pardo grisáceo y profusamente manchada de punteados y barrados, que recuerda inmediatamente a la de los chotacabras o las rapaces
nocturnas. La especie no presenta apenas dimorfismo sexual y su aspecto general resulta bastante diferente del de otros pícidos, pues recuerda en ocasiones al de un paseriforme, ya que suele deambular a saltos por el suelo, prefiere posarse en ramas horizontales (en lugar de hacerlo por los troncos) y carece de algunas de las características propias del grupo, como las rígidas rectrices (sustituidas en su caso por largas plumas blandas) y el fornido pico para perforar la madera, algo que el torcecuello jamás intenta .
Canto
Produce un sonido nasal y lastimero —ki, ki, ki, ki—, que puede parecerse al de otros pícidos e incluso al de ciertas rapaces.
Jake represents the Proletariat, desperately clutching at worldly possessions and societal expectations (the gift box) while simultaneously dangling over the abyss of environmental and economic catastrophe (the floor), suspended all along by the weight of history and bourgeois establishment (the cast iron staircase), ironically a situation of our own creation.
(yes I am joking here mostly)
Trying out the new 6DOO male skin from v i o l e t t a. as well as the new 6DOO head :).
You can get the new skin at this months event Memento Mori !!!
Head : *6DOO* Human mesh head EKASI-01 Ver.1.02
Skin : violetta. -6doo male skin&brows applier 01monolid(vampire)
Eyes : AMITOMO.Eye Collection 2 - 25
Top : NEWCLOVER))MA-1 LONG JACKET GREEN (NEW FIT)
Pants : REPRESENT - Jerry.L Club Trousers "S, Gray"
Socks : ..::ILLI::.. SLink Physique Adapter Socks to SLink Male (L&R)
Shoes : [ VERSOV ] LOLITOV_( SLINK M )_BLACK&GUM
"Ce symbole, représenté par trois croissants entrelacés, est au cœur de l’identité visuelle de la ville, ornant fièrement de nombreux édifices et documents officiels.
...
L’histoire du logo de Bordeaux remonte au milieu du 17e siècle, une époque où ces trois croissants entrelacés font leur première apparition. Ces éléments caractéristiques étaient souvent présents sur le dos et les plats des reliures des livres de prix décernés par le collège de Guyenne, une institution éducative prestigieuse de la région.
...
Aujourd’hui, le chiffre de Bordeaux a évolué pour devenir le symbole officiel de la ville."
www.bougerabordeaux.com/sinformer/le-logo-de-bordeaux-un-...
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"Le logo actuel de la ville de Bordeaux, dont les premiers dessins furent connus dès le XVIIème siècle reprend à son tour, pour le multiplier par trois, le motif du quartier de lune.
Il s’agit de trois croissants entrelacés qu’on appelle aussi le chiffre de Bordeaux. Ils ont pour origine le croissant de lune, emblème du port dans les armoiries. On ne les trouve pas avant le milieu du 17e siècle. Ils figurent, entre autres, sur le dos et les plats des reliures des livres de prix décernés par le collège de Guyenne et ornent, au XVIIIème siècle, le fronton de la fontaine Saint-Projet. Ce « chiffre » est aujourd’hui le symbole utilisé comme logo de la ville.
Au XVIème siècle déjà, les trois lunes entrelacées constituaient le monogramme de Diane de Poitiers, reprenant l’attribut antique de la Diane chasseresse."
bordeaux-gazette.com/le-blason-de-bordeaux-port-des-lumie...
in Bordeaux - Aquitaine - France
This elderly grainary represents all that is left of "Wyarno"; to the railroad it was just "Arno" and a BN standard station sign used say that in big black letters, because I photographed the building through its twin posts about 30 years ago on a foggy evening. The state highway map no longer shows a "Wyarno", and the railroad eliminated the station, so this lonely grain elevator just stands at the east end of a long siding called "Dutch"; the west end of the siding is the beginning of the branch to Decker Mine, a few miles north in Montana. I'm just amazed it's still there as an eastbound Herzog ballast train passes it. It's about eight miles east of Sheridan.
Cultural and traditional performances representing cultures and countries from around Asia and the Pacific in celebration and honor of Asian Pacific American Heritage Month in Balboa Park, San Diego (5/20/2023).
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Mirador Guise and Ayose, represent Ayose King of Jandía and Guise King of Maxorata.They are 4.5m tall.
Fuerteventura, known by its inhabitants as Erbania, upon the arrival of the European conquerors in 1402, led by the Normans Jean de Bethencourt and Gadifer de La Salle, was divided into two kingdoms separated by the isthmus of La Pared: Maxorata, to the north, and Jandía to the south on the peninsula of the same name.Everyone photographs them from the front with the wall of a mountain in the background, I preferred to look in the direction that the statues were looking. , Fuerteventura, Las Palmas, Canary Islands.
Mirador Guise y Ayose, representan a Ayose Rey de Jandía y Guise Rey de Maxorata.Miden 4,5 m de altura.
Fuerteventura, denominada por sus habitantes como Erbania, a la llegada de los conquistadores europeos en 1402, encabezados por los normandos Jean de Bethencourt y Gadifer de La Salle, estaba dividida en dos reinos separados por el istmo de La Pared: Maxorata, al norte, y Jandía al sur en la península del mismo nombre. Todo el mundo las fotografia de frente con la pared de una montaña de fondo, yo preferi mirar en la direccion que miraban las estatuas., Fuerteventura, Las Palmas, Canarias.
The Keukenhof Tulip Park of Holland, “my” Keukenhof, represents for me in Spring, what “my” Château De La Hulpe represents in Autumn : a GLORIOUS and massive Nature Beauty!! Why “massive”: because the Spring in my garden for example, appears in steps –first the tiny white campanulas, then the adorable Crocuses, then the golden Narcissi, then the bright red Tulips, then Cherry Trees, etc!! Whereas in Keukenhof, my heart stops beating the moment I enter: the WHOLE of the Glory of Springtime is springing all around me!!!! Simultaneously!!! All spring Nature is IN there!! From tiny plants like Anemones, to Cherry Trees, Rhododendrons, Lilacs!! There are even all sort of Begonias, Hydrangeas and Lilies beautifully growing in the three huge glasshouses… And human words are not enough descriptive for the utmost Beauty created in there by THE Artist and His human talented …..collaborators!!
*** My Keukenhof photos that you will be seeing from now on are from previous years .. You will see the new ones by the end of April.
The Cathedral, Mount Buffalo
feat. guest appearance from 'Mr Dropinsky' who appeared at Grampians National Park.
Together, this image represents an amazing morning I had at Mt Buffalo as well as a light spectacle I saw a week earlier at the Pinnacle. I feel you ought to know that and you can judge whether or not this image is for you but I want to get it out there that I think much of the arguing going on about composites is just for arguments sake. Lets take a few examples.
- The 'fine art' police insisting on 500px categoring of images like this being in the 'fine art' instead of landscape category. Really? Last I recall, this type of image is a 'fine art landscape'. I'm sure the fine art category users won't be category griping about putting this sort of image into landscapes which perhaps says something about the mindset of such landscape photographers.
- "I did a perspective blend to make the image more true to my experience". BS. The truth is, perspective blending just brings out the best visual elements of a wide angle foreground (which is not real) and a longer lens perspective of the background which is more what we see true to the eye. Why can't we just have the freedom of admitting this instead of trying to justify XYZ process being more 'real'.
- " I manipulated the sky because ......" You might ask why I did it to this picture? It's simple, I already feel like I have a nice image from the Pinnacle with this sky and a nice foreground from this image as a selfie excluding the sky. I wondered what the two would look like together and here it is. I think it looks nice which is why I've put it online but I'm not even going to justify whether or not I think this is 'real' landscape photography or 'illustrative'. For me its illustrative but that's just my opinion.
El carnero representa a Amón, «El oculto», símbolo del poder creador y «Padre de todos los vientos» en la mitología egipcia, originalmente una deidad tebana, cuyo culto se popularizó cuando la ciudad de Tebas pasó a ser una de las más influyentes de Egipto, tras la expulsión de los hicsos a manos de los príncipes tebanos que darían origen a la Dinastía XVII.
La figura pequeña representa a Taharqo, Nefertumjura Taharqo, rey de la dinastía XXV de Egipto, o Kushita, cuyo reinado se data de ca. 690 a. C. a 664 a. C.;Manetón lo denominó Tarcos, comentando que reinó 18 años (Julio Africano), Eusebio de Cesarea lo llama Taracos (según Jorge Sincelo) o Saraco (versión armenia) asignándole veinte años de reinado, y además era hermano de Shabitko, el rey precedente, e hijo de Piye, rey Nubio de Napata que conquistó Egipto.
(Internet)
Do you realise that the symbol used to represent pi….you know, that horrible 3.141….thing you had to learn about at school in maths for calculating the circumference or area of a circle….., originated in North Wales?
The first calculation of pi was made by Archimedes of Syracuse (287–212 BC), one of the greatest mathematicians of the ancient world, but it was a much less famous man called William Jones who introduced that symbol ‘π’ which until then was just a Greek letter.
William Jones was born sometime around 1675 on the island Anglesey in the parish of Llanfihangel Tre’r Beirdd, about four miles west of the town which is now Benllech. He had a humble up-bringing and was raised on a small farmstead by his parents Siôn Siôr (John George Jones) and Elizabeth Rowland. However his talent for mathematics quickly became apparent when he attended a charity school at Llanfechell. It was to be his only formal education. His aptitude for the subject ensured that he would not follow in the family footsteps. A local squire and landlord of the distinguished Bulkeley family, heard of his skill and took him under their patronage. They arranged for him to work in a merchant’s counting house in London.
It was only the first of many journeys. Between 1695 and 1702 he served in the Royal Navy, sailing to the West Indies during which time he taught mathematics on board a man-of-war, en-route learning about navigation. He was present at the battle of Vigo in October 1702 when the English successfully captured the Spanish treasure fleet as it was returning to the port in north-west Spain under French escort. Ignoring the obvious riches of silver to be had, he went in search of other booty according to an 1807 memoir by Baron Teignmouth, ‘... literary treasures were the sole plunder that he coveted.’
On his return he published A New Compendium of the Whole Art of Navigation which he dedicated to a benefactor John Harris, a writer, scientist and Anglican priest who had taken him under his wing. Back in the capital, his voyages over, he became a mathematics teacher in coffee houses and as a private tutor to the son of the future Earl of Macclesfield. He also became tutor to Philip Yorke, later 1st Earl of Hardwicke (1690-1764), who became Lord Chancellor and provided an invaluable source of introductions for his tutor.
In those circles, Isaac Newton had already mentioned to the Admiralty the benefit of sending mathematicians to sea. So inevitably it was only a matter of time before Jones came to the attention of Newton after reading “Jones’s Synopsis”, in which the younger man explained Newton’s methods for calculus as well as other mathematical innovations. It was in this book that Jones first used the Greek symbol ‘π’ to denote the pi. More significantly he used it as a constant number - 3.141...
Before Jones, approximations such as 22/7 and 355/113 had also been used to express the ratio. Explaining its use, he wrote: ‘... the exact proportion between the diameter and the circumference can never be expressed in numbers...’. Hence, a symbol was required to represent an ideal that can be approached but never reached. For this Jones recognised that only a pure platonic symbol would suffice.
In 1708 Jones was able to acquire an extensive library and archive, which contained several of Newton’s letters and papers written in the 1670s. The following year he applied for the mastership of Christ’s Hospital Mathematical School, despite references from Newton and Edmund Halley (the astronomer who calculated the orbit of the comet, now named after him) but he was turned down. Jones went back into private teaching but thanks to the papers he had acquired he was able to help his old mentor Newton resolving a dispute with German mathematician Gottfried Leibniz, over which of the men first invented calculus.
In 1712 Jones joined the committee set up by the Royal Society to determine which of them invented calculus. He was now firmly in the mathematical establishment.
He married twice, firstly the widow of his counting-house employer, whose property he inherited on her death.He remarried in 1731, to Mary, the 22-year-old daughter (30 years his junior) of cabinet-maker George Nix, with whom he had three children.
And therein lies the story of ‘π’ and it’s origins in North Wales. My photo is actually of part of some derelict structure of the Penmaenmawr quarry, the quarry that has removed the top one third of this granite mountain. But I thought it looked like ‘π’ standing high above the North Wales Expressway.
These images represent the number of churches I visited when in the Isle of Wight. I would have liked to have spent longer here but you can only do what you can do under the circumstances. Had a brilliant time though.
This represents a technical comparison between two developers: Karl Matthias' custom designed 2B-1 Divided developer, and PMK Pyro.
This image is from the 120 format Adox CHS 100 II negative developed in PMK Pyro for 9 minutes at standard dilution. The half of the roll developed in 2B-1 had about a stop more density in general than the PMK half of the roll, which was no surprise, as PMK is known for sucking up some of the exposure, and 2B-1 is stated as delivering a speed boost between 1/2 and 1 stop.
Even though the PMK negative had significantly less density overall (and less shadow information) it scanned very well and editing produced an excellent result. Overall, I prefer the PMK negative for its handling of tonality and its treatment of grain. If you look closely at the brightest sections of the Quince, you can see a conspicuous difference in the grain structure in this image VS the 2B-1 image: the latter has much more coarse grain visible. But these details are noticeable only upon close inspection - otherwise the results of both developers is fairly similar.
It just goes to show that 95% of the characteristics of a negative are inherent in the film type, and there's not a lot the photographer can do to significantly alter those traits through processing.
This represents me because it reflects the way I live—bold, intentional, and unapologetically authentic. I’ve never been one to follow the crowd. I believe in owning my space, making an impact, and allowing my presence to speak before I do. My style is a direct reflection of my mindset: confident, refined, and self-defined.
It’s shaped by my experiences, my values, and my drive to lead rather than follow. I move with purpose, and everything about how I present myself is intentional. There’s no need for approval—what I express is for me first.
My style speaks to who I am without needing explanation. It tells a story of strength, ambition, creativity, and resilience. It doesn’t change to fit the room—I let the room adjust to me.
This represents me because it is me—focused, fearless, and undeniably authentic. It’s not just a look. It’s the life I live and the energy I carry.
Here is my completed image of the Eagle Nebula (M16) imaged with Sulphur, Hydrogen, and Oxygen narrowband filters. This false-color widefield image of the nebula represents the strong oxygen signal as cyan, hydrogen as yellow/orange, and the stronger sulphur signal as red. Naturally, this nebula is nearly all red in color, as hydrogen-alpha dominates the field. With selective filters and processing I have stretched the intensity of the Oiii and Sii to better represent where they lie in the nebula.
Equipment:
OTA: William Optics GT81 w/0.8x reducer (382mm fl at f/4.7)
Mount: Orion Sirius EQ-G (HEQ-5)
Guidescope: Orion 50mm guidescope
Guiding camera: Orion StarShoot Autoguider
Imaging camera: ZWO ASI1600MM-Cool
Accessories:
DeepSkyDad Autofocuser
QHYCCD PoleMaster
Software:
SGP
PHD2
CdC
PixInsight
Acquisition:
Location: Flower Mound, TX for Ha(Bortle 7), Atoka, OK and Ft. Griffin State Historic Park, TX for Oiii and Sii(Bortle 3)
Dates: 5/12/18, 5/26/18, 5/27/18, 6/29/18, 6/30/18, 8/2/18, 8/3/18, 8/6/18
Gain: 200 Offset: 50
Camera temp: -10C
Sii: 36x600" Astrodon 3nm
Ha: 160x300" Astrodon 5nm
Oiii: 37x600" Astrodon 3nm
Total integration time: 25hr 30min
64x darks per calibration (master from library)
30x flats per calibration
200x bias per calibration (master from library)
Preprocessing:
Batch PreProcessing script to generate calibrated images
StarAlignment
LocalNormalization
ImageIntegration
DrizzleIntegration
DynamicCrop each master
DBE each master
Luminance Processing:
Duplicated the master Ha to use as the luminance
Deconvolution
TGV & MMT noise reduction (via Jon Rista's method)
HistogramTransformation bring to non-linear
Duplicated the image to create a starless version, using a starmask and several iterations of MMT and MT. Then pushed the faint nebulosity in the starless version using PixelMath expression: "1-(1-$T)*(1-$T)"
Combined the starless version with the image using PixelMath expression "F=0.4; (1-(1-$T)*(1-s)*F)+($T*~F)" followed by the same function but with F=0.2, (s=starless photo).
HDRMultiscaleTransform to reveal core
MultiscaleLinearTransform for sharpening
LocalHistogramEqualization
MMT and MT for star size reduction
MMT for noise reduction of the darker areas
Preparing separate Sii, Ha, and Oiii linear masters for tonemapping (applied to each master individually):
TGV & MMT noise reduction (via Jon Rista's method)
Removed stars via a StarMask and a few iterations of MMT and MT
Further removed background artifacts with an unmasked MMT
HistogramTransformation to bring to non-linear
HDRMultiscaleTransform to reveal core
Combined prepared Sii, Ha, and Oiii masters with ChannelCombination:
R: Sii
G: Ha
B: Oiii
Tonemap Processing:
Invert>SCNR green>Invert to remove magenta
Several a/b channel CurvesTransformations using ColorMasks to alter the colors to an aesthetically pleasing palette
CurvesTransformation for saturation
DBE to remove color bias in the corners
Combined Tonemap with Luminance using LRGBCombination
HistogramTransformation to stretch image slightly
UnsharpMask with a StarMask to harden up the soft stars a tad
CurvesTransformation for slight saturation
ACDNR for final noise reduction
Resampled to 40% for web posting
PANAVIA Tornado painted to represent GR.1, ZA447/EA ‘MiG Eater’ of RAF No.15 Squadron, Operation Granby, positioned in front of the setting sun at White Waltham.
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La Dama de Elche es la escultura más representativa del arte ibérico, una de las más significativas de todo el Mediterráneo. Datada hacia el siglo IV antes de nuestra era, representa una mujer cuyos atributos han dado lugar a toda una serie de conjeturas aún no concluidas
No existe escrito alguno, detallando ese tipo de vestimenta , que es extraordinaria y fuera del uso común la decoración sobre la cabeza de esa escultura
Según una hipótesis, La Dama fue una figura de cuerpo entero sentada y con una policromía bien definida de rojos y azules. En los últimos análisis se descubrió un pequeño fragmento de pan de oro en uno de los pliegues de la espalda. Esto induce a suponer que las joyas de la escultura estaban recubiertas de pan de oro.
Podría haberse tratado inicialmente de una imagen de culto en posición sedente. Posteriormente, se rompió en dos partes para reutilizar la zona del tronco y transformar la parte dorsal en una urna funeraria.
"Museo Arqueológico Nacional"
If you look closely at stained glass, you can see all sorts of themes: religion, flowers, art, music and even fruit. When considering the theme of fruit, in ecclesiastical stained glass, a bunch of grapes may signify the sacrament of Holy Communion. Grapes and vines can also represent the church itself. Pomegranates have diverse cultural-religious significance, as a symbol of life and fertility owing to their many seeds but also as a symbol of power (imperial orb), blood and death. Pomegranates already symbolised fertility, beauty and eternal life, in Greek and Persian mythology. The apple of course is the forbidden fruit in the Book of Genesis that Adam and Eve ate from the forbidden tree in the Garden of Eden. With Art Nouveau being the predominant architectural and design influence between 1880 and the start of the Great war in 1914, there was a great interest in portraying both stylised flowers and fruit in stained glass.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fruit” was chosen by Gary, Gazman_AU.
I thought a collage of some of the examples of fruit themed windows I have photographed in Churches and private houses over the years might be suitable.
Top row far left, second and third from left: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Top row right: Detail of the Suffer the Little Children window of Holy Trinity Church of England, Balaclava, attributed to I. A. Gibbs and Howard, London.
Middle row left: Detail of a dressing room window of “The Gables”, Malvern, painter and manufacturer unknown.
Middle row second from left: Detail of a shop window, corner Brunswick and Bell Streets, Collingwood, painter and manufacturer unknown.
Middle row third from left: Detail of a window from the former Sassafras Methodist Church, Sassafras, manufactured by Brooks Robinson and Company.
Middle row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Middle row right: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from left: Detail of the Virgin Mary window of St Ambrose’s Catholic Church, Brunswick, manufactured by Brooks Robinson and Company.
Bottom row third from left: Detail of a dining room window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Built to the specifications of architect George Reilly Cox, Saint John\'s Church of England in Burgundy Street Heidelberg, is a fine example of simple Early English Gothic architecture. The building was completed by April 1851. Comprising of a gabled nave, without aisles, a narthex below the west tower and a sanctuary and vestry at the east end, Saint John\'s Church of England is simple, unpretentious and elegant in its design. The nave and chancel are constructed of handmade bricks laid on a bluestone rubble plinth. The church features lancet windows in Early English Gothic style. It has a square tower surmounted by four pinnacles and crenulations. The roof is slated and contains small gable vents, and the roof drains to galvanised steel quad section eaves gutters. The gable parapets are fitted with galvanised sheet steel cappings. The formal opening of Saint John\'s Church of England took place on the 26th of October 1861. The church was dedicated by Bishop Perry the first Bishop of Melbourne on the 30th of September 1861 and named the Church of Saint John the Evangelist. The roof was completely replaced around 1856 with slate after the original shingles had deteriorated. The interior was plastered and the exterior brickwork was covered with cement. Another renovation took place in 1965 at the cost of $56,000.00. The vestry, choir room, chapel and new entrance porch were added at the original back of the church. Interestingly, the congregation today no longer use the 1965 entrance and have reverted to the original entrance. The choir room now serves as a Sunday school for the children of the congregation, whilst the newer chapel is not generally used at all.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John\'s, Heidelberg, St. Ignatius\', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
The first Church of England built on the triangular site in Balaclava bordered by Brighton Road and Dickens Street was opened by Bishop Perry on January 29, 1871. It was a timber building accommodating about three hundred people. It stood where the Parish Hall now stands. Its designer was the architect Francis Maloney White (1819-1888) who lived nearby in William Street. In 1882 the architects Reed and Barnes, soon to become Reed, Henderson and Smart, were commissioned to design a new church. The first service took place on December 6, 1883. Due to the Parish\'s efforts to reduce the large debt that had been incurred in the construction of the church and the vicarage, the building of the spire was delayed. Regrettably this was never to be built. However, it gives Holy Trinity the feeling of an English country parish church.
The firm of I. A. Gibbs and Howard was established in England in the 1870s. Isaac Alexander Gibbs (1849 - 1899) was the youngest son of Isaac Alexander Gibbs (senior) and brother of the stained glass artists Alexander and Charles Alexander Gibbs. His partnership with William Wallace Howard (born 1856) was established before 1879 in London. The firm continued after the death of Gibbs under Howard until about 1915.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, “The Gables” is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. “The Gables” remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted “The Gables” into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie “Squizzy” Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house\'s billiards room). “The Gables” became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, “The Gables” ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o\'clock at night. Throughout its history, “The Gables” has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of “The Gables” have been retained for the future generations.
The former Sassafras Methodist Church, perched on the upper side of the hill, overlooking the Sassafras township had its foundation stone laid on the 18th of October 1902. A plaque records: Sassafra Church - the original of - this block was laid - by - Mrs D Stones - on October 18th 1902 - John Storrie. A Gothic Carpenter church, it is made of wood and is of simple design with simple stained glass windows. The church ceased in the 1970s and was eventually sold. For many years it was “Brother John’s”, a restaurant and wedding venue. Today it is “Dine Divine” a café that specialises in light luncheons and Devonshire cream teas, the latter being quite delicious.
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences. In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station. Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since. “Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
In 1869 the foundation stone was laid for Saint Ambrose\'s Church at 287 Sydney Road, Brunswick. The land for the church was donated by Mr. Michael Dawson, a resident of the neighbourhood. In 1873 the church was completed at a cost of £6,000.00. Parishioners Sebastian Danielli and his wife Harriet Bagatti, who had arrived in Brunswick in 1859 after being married in Milan the previous year, suggested the name Saint Ambrose\'s as the name for the church because St Ambrose was a much loved bishop in Milan in the 4th Century. All their children were born in Brunswick and baptised at Saint Ambrose’s. In 1888 Brunswick was proclaimed a town and it had a population of 14,792. In 1890, Saint Ambrose\'s became a parish in its own right, being made independent from the Coburg parish. With the need for a larger church, the present church was extended in 1899 when the transepts, with the sanctuary and the two chapels, the porch and the baptistry were added. The memorial stone was laid near the door of the northern transepts on 19 February, 1899. The parish church building is of a late Gothic style and is one of the finer churches of Melbourne, built in bluestone, with a timber supported ceiling, a 19th century organ and high quality stained glass windows.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne\'s St Paul\'s Cathedral\'s stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne\'s Spring Street, in St John\'s Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
It is said that seeing a lotus in your dream, represents growth, love, purity, beauty and expansion of the soul.
Lotus comes from the Greek word "lotos" and the Sanskrit name is padma, it is an ancient and universal symbol.
"It is the flower sacred to nature and her Gods, and represents the abstract and the Concrete Universes, standing as the emblem of the productive powers of both spiritual and physical nature.
It was held sacred from the remotest antiquity by the Aryan Hindus, the Egyptians, and the Buddhists after them; revered in China and Japan, and adopted as a Christian emblem by the Greek and Latin Churches, who made of it a messenger as the Christians do now, who replace it with the water lily.
It had, and still has, its mystic meaning which is identical with every nation on the earth" (SD 1:379 - Theosophy Dictionary on Lotus).
A few days ago I saw this pond on the left of the road, somewhere, in the Indian state of Bihar as we were driving from Varanasi to Bodh Gaya.
It was early in the morning at sunrise and it was still very foggy, there were many lotusses waiting for the sun and their reflection on the muddy waters was providing a dreamy kind of atmosphere.
I thought then that showing this image upside down would emphasize the effect...
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This is a very first image from a short series of images with magnificent autumn reflections in calm water.
This image represents and an alternative point of view on the World around us, on human perception, on amazing things around us that we can see only if we change a perspective...
"The architect represents neither a Dionysian nor an Apollinian state: here it is the great act of will, the will that moves mountains, the rapture of the great will which aspires to art. The mightiest men have always inspired architects; the architect has always been under the spell of power. In his buildings, pride, the victory over gravity, and the will to power strive to become visible; architecture is a species of the rhetoric of power in forms, now persuading, even flattering, now simply commanding. The highest feeling of power and sureness finds expression in that which possesses grand style."
- Friedrich Nietzsche
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This shot was taken in Fengdu Ghost City that is a large complex of shrines, temples and monasteries dedicated to the afterlife located on the Ming mountain, in Fengdu County, Chongqing municipality, China.
The city consists of buildings, structures, dioramas, and statues that are related to Diyu, the concept of the underworld and hell (or Naraka) in Chinese mythology and Buddhism. It is modeled to resemble Youdu, the capital of Diyu.
Read more - en.wikipedia.org/wiki/Fengdu_Ghost_City