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Major projects are generally not easy and require a lot of work and dedication but when we achieve the goal is so great that all that effort worthwhile.
Thank you for stopping by, have a great week ahead!
Sin saber hablar una palabra de francés y con un ingles básico decidí hace 14 años quedarme a vivir aquí en Canada y recomenzar desde 0.
Ir a la escuela de nuevo, hablar durante mucho tiempo sin que nadie me entendiera una palabra, hacer cuanto trabajo se me presentara. La idea era insertarme. Hubo muchas satisfacciones pero también muchas frustraciones y al final como dicen uno recolecta lo que siembra.
Los proyectos importantes generalmente no son faciles y demandan mucho trabajo y dedicación pero valen la pena para vernos crecer como persona y por la alegría que sentimos al lograr la meta, yo no se si la he logrado completamente pero admito que muchas veces me dan alegria las cosas que he conseguido.
Que pasen una hermosa semana!
QUOTE: You aspire to great things? Begin with little ones. - Augustine Saint
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Took some tables out of storage. Now the fun part begins.
Focus stack, 33 image. Shot with two off-camera strobes (Leica SF 60/Leica SF C1 trigger). Flash A camera right a modified with MagMod MagGrid. Flash B unmodified on boom over subject.
Photo Taken in Chelmsford on Tuesday 12th July 2022.
This Photo was Taken on my Canon 4000D.
Photo is Copyrighted by me ©️JKMDodger1998.Photography. If you do want to use my images anywhere else please make sure I get credited. Thanks!
****PBR enabled, requires PBR viewer.******
Clovercritters are A line of smaller, interactive companions. They can be worn, rezzed, renamed, made to wander around, interact with interactable items when wandering (Beds, food bowls etc), and emote (while wandering or on interactable items).
Each critter is exclusive, this means you can only get one kind, they will not be sold elsewhere, which is a unique color, or variation.
Come down to Clover and collect as many as you want!
New variations will be released regularly, as well as interactive
items!
When wandering this creature will wander, in a flat specified radius, not avoiding obstacles, It will go up to avatar, interact with interactive items, emote, and walk around.
When worn, this creature can be attached anywhere you want, moved around, and you can click it to set a different animation.
At the mainstore now!
Some games require so much effort, so much attentive practice, that most people would consider them work, rather than games.
You play these games or you don't play them. What you can't do is play at playing them.
Railway Support Services (RSS) 08511 at Cambridge on the back of a low loader ready to leave Cambridge (destination Eastleigh) - The shunter is no longer required to shunt GA Class 317's in/out on Coldham Lane TMD for repair / refurbishment.
East Cottonwood Canyon near Florence, Arizona, is a rugged, off-the-grid desert gem tucked into the southern fringes of the Superstition Mountains.
This remote area—accessed via East Cottonwood Canyon Road off Highway 79 (just south of Apache Junction)—blends classic Sonoran Desert scenery with rolling low hills, rocky washes, and expansive views. It's primarily known for dispersed camping on Arizona State Trust Land (permit required—grab one online or locally for day use or overnight), where you can set up camp amid saguaros, creosote, and ocotillo with minimal neighbors and big-sky solitude. The road winds eastward, climbing gradually into the foothills with panoramic vistas of the surrounding desert, distant Superstitions, and even Picketpost Mountain on clear days.
Beyond camping, the area serves as a gateway to the famous Florence OHV network—popular for off-roading, rock crawling, and exploring old mines and washes. Hiking and exploring on foot reveal quiet desert trails, potential wildflowers in spring, and that signature Arizona quiet broken only by the occasional wind or distant OHV hum. It's not a heavily signed "destination" spot—more a raw, adventurous slice of public land perfect for those seeking escape without crowds.
Access is straightforward from the Phoenix area: head east on US-60 to AZ-79 south, then turn east onto East Cottonwood Canyon Road—high-clearance vehicle recommended for rougher sections, and watch for cattle guards and signage. Year-round appeal, but spring/fall are ideal for milder temps; summer heat and winter mud can be factors. No facilities, so pack in/pack out everything, bring plenty of water, and follow Leave No Trace.
Pro tip: Get your State Trust Land permit ahead of time (recreation permit covers most uses), go mid-week for max solitude, and pair it with nearby Florence OHV trails or a visit to the Superstitions for a full desert adventure. Pure Arizona backcountry vibes—close enough for a quick getaway, wild enough to feel far away!
Early colour lights the sky on my local beach at Sandsend [looking towards Whitby]. My wife had told me that dawn might be rather nice. I jokingly tell friends that beachwear consists of a heavy coat, waterproof over-trousers and neoprene Wellington boots - with temperatures around freezing, I'm sure you'll understand.
Virtual worlds are vast and often have a rare beauty which can be hidden. The initiatives of committed artists like 🎶 ʟᴏʀɪ ʙᴀɪʟᴇʏ 🎶, providing the community with a display board where to share our findings and guide others to admire the beauty that captivated us, are extremely relevant. Contributing to Lori's ✈ Travel Board in SL (SLurl required) is a delight, and being able to promote the group as its banner, a great honour! Thank you very much, my dear Lori, for the privilege ❤
All it requires is for you to realize that you are responsible for all that you are and all that you are not, all that may happen to you and all that may not happen to you.
#nepal #nepal8thwonder #wow #wownepal #NepalIsBeautiful #explore #explorenepal #explorehimalayas #landscape #landscape_captures #mountains #adventure #trek #trekkinginnepal #VisitNepal #travelnepal #awesomenepal #himalayas #himalayasnepal #annapurna #annapurnaregion #annapurnarange #annapurnas #tourism
Sorry but that song is totally Neo's theme tune. lololol
Anywho, sorry if you're sick of him or my horribly similar pics but he got new jewellery and I have no light but here, my precious sweetheart. My purest ray of sunshine.
Blade might be my most spoilt boy, my beloved, but Neo is my light, the tiny bit of sugar my soul sometimes requires to keep me sane in the midst of all the darkness.
I hate that I can't get clear pics but I absolutely love love love taking natural light pics finally, even if I don't have much light and they always turn out like this.
My most sincere gratitude to Angel's Art Pose ❧ for recovering a picture from my stream to use it as the cover of Landscapes SL... ❧ (SLurl required). I wish much success to this group, which will hopefully become another helpful guide and showcase for all of us who enjoy taking and watching pictures of landscapes. Thanks a lot! ❤
In this part the route again requires some scrambling. It's well marked, but nowhere artificially protected.
The only shot with the LED visible...
With the regular routing via Broxted closed for roadworks, recent days have seen Stephensons of Essex diverting their Route 6 service (Saffron Walden - Stansted Airport) via Elsenham to continue their onward journey.
On a sunny but rather less warm morning than the previous day, Optare Solo M780SL EU07FVM (322) heads along Henham Road in Elsenham with a Route 6 service for Saffron Walden via Thaxted.
The bus previously ran as a Route 5 service from Bishops Stortford to Stansted Airport, changing to a Route 6 designation at the airport for the run to Saffron Walden. The split of route is required by law, however for ticketing purposes the routes are combined and generally no change of bus is required at Stansted Airport, with the buses running through 01/08/20
The Yosemite Valley Chapel, which is the oldest structure in Yosemite Valley, was designed by Charles Geddes, an accomplished church architect from San Francisco. Geddes’ son-in-law, Samuel Thomson—with whom he collaborated on other church projects—is believed to have been the project's contractor.
In the spring of 1878, the California State Commissioners of the Yosemite Grant received an application “from the Rev. J.K. McLean and others, representing an association known as the Sunday School Union, for permission to erect a chapel in the Yosemite Valley, which should be used for "nondenominational purposes.” The application was granted, and a “handsome, tasteful building” was erected the following year near where the present Four Mile trailhead is located today. With a few minor exceptions, the Yosemite Chapel has been the park’s sole church facility since its construction 130 years ago. Purportedly, Yosemite Chapel services began June 7, 1879. It continues to serve the Park today as an interdenominational facility.
Designed in a "New England style" to seat 250 people, the chapel originally consisted of only one room, 26-by-50 feet long, with inside stud walls and rafters left exposed. Eventually an addition was added to the back of the church. Yosemite Valley Chapel is one of the oldest structures standing in Yosemite National Park and possibly the oldest church located in any of America’s national parks.
The small wood-frame structure enjoys the magnificent backdrop of El Capitan, the immense stone cliff that is Yosemite’s best known feature. The charming church is painted red, and framed in yellow beams. Crowned with a high-peaked steeple and surrounded by evergreens, it looks as though it might have been lifted straight out the Bavarian Alps and set down here.
By 1901, the surrounding “Lower Village” had nearly disappeared, so the chapel was relocated to its present location in the Old Village.
When the Ahwahnee Hotel was dedicated in August 1926, plans were unveiled for a much larger church to be built a short distance from the hotel. The plans were, however, eventually downgraded to an outdoor facility, the Church Bowl, that supplemented the pastoral needs of Valley residents and visitors for several years. Two servicemen’s chapels were temporarily improvised in the U.S. Navy Hospital at the Ahwahnee Hotel during World War II, one of them in the hotel bar. For several months during 1943 and 1944 when the Yosemite Chapel was between pastors, the Navy chapels provided the only religious services in the Valley.
In 1965 some interior restoration was completed, and the foundation was raised 3 feet to help protect the structure from periodic flooding. In spite of these efforts, the chapel sustained damage during the 1997 flood and required further restoration.
It became the first structure in Yosemite National Park placed on the National Register of Historic Places. Located in Yosemite Valley, it became listed on the National Register of Historic Places in 1973 based on its “simple architecture” that was representative of “a particularly fine example of the early chapels constructed in the Sierra Nevada Mountains.”
View more about the chapel, including activities, on the Yosemite Chapel's website, www.nps.gov/yose/learn/historyculture/chapel.htm, where much of this info was sourced.
No part of this picture may be reproduced or transmitted in any form or by any means (on websites, blogs) without prior permission. Use without permission is illegal
Easy like Sunday morning title taken from the lyrics of the Commodores song with Lionel Richie as lead and composer, stating the "easy like Sunday morning" as evocative of "small Southern towns that die at 11:30 pm", such as his own Tuskegee, Alabama. The title of the song is actual "Easy" release on Motown. Play it.
The Camera is my new to me Samsung Galaxy which is basically a Point and Shoot with a built Android operating system allowing instant publishing from the site if required. Very similar to a mobile phone, but you can not make phone calls!
The shot was by the kitchen window on the sink top, with gloss black tiles.
Enjoy your Sunday.
At the bus stop as an ambulance goes by in the other direction.
This weeks 52 Frames assignment is "Slow Shutter". Totally a piece of cake to do, but why make it easy. I had an idea, had to get creative to make it work, and it mostly did. Busy I know, but it had to be I guess. At least without renting a county bus at 3 in the morning 😃 And totally don't view it large!
13/52
Nikon D750, Nikkor 24-85 f2.8.4 @60mm, 15" @ f20, ISO 100
The Assumption of the Blessed Virgin, Ufford, Suffolk
They told her how, upon St. Agnes' Eve,
Young virgins might have visions of delight,
And soft adorings from their loves receive
Upon the honey'd middle of the night,
If ceremonies due they did aright;
As, supperless to bed they must retire,
And couch supine their beauties, lily white;
Nor look behind, nor sideways, but require
Of Heaven with upward eyes for all that they desire.
John Keats, Eve of St Agnes, 1820
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Final Project:
You will be required to work on a project that includes photographing (a minimum of) five different individuals in the style of your choice. Once you have selected the style, keep it consistent throughout the series.
You will also need:
1. an establishing shot (an image that tells us something about your idea. For example if you were to do a series of chefs the establishing shot could be a close-up of a measuring spoons.)
2. a self-portrait, with a brief artist statement
Side Note: A lot of thing didn't come through like I had wanted. Had flakey models, then scored on a really expressive friend of a friend, and I got these new to me models that showed up and kicked ass, then I got severely sick and ended up in urgent care Monday, etc. But hopefully I was able to get domestic abuse portrayed like I wanted to. I decided not to try for sexual abuse because no matter how I tried it, it could be construed as porn, and that isn't something I wish to ever touch upon.
Artist's Statement:
Emmy's work is influenced by elements in the world that most people consider to be imperfect, broken, or weak. She builds upon imperfection because it is the only true indicator of character and beauty. She captures imperfection as the summit of her art. She is inspired by things that surround her every day, and uses them as a creative base. As the proud divorced, single mother of five closely spaced children she has no shortage of material from which to draw.
With her work, it is difficult to ignore the obvious experience and background Emmy has in graphic design. In addition to photography and graphic design, she is an entrepreneur, business ideas person, CEO of a small assessment corporation, movie scriptwriter, mother, and friend to all, even those pesky telemarketers if they happen to catch her on the telephone at home.
The most important thing to Emmy is the opportunity to create art. To be an artist, even an unknown one, is more important to her than going forth and finding notoriety. She feels the only way for her to create is to continue growing as an artist whether by introducing new techniques, new mediums, or a combination of both. Her primary focus is on creating art that reaches across boundaries. She creates art that speaks figuratively and demands its own place within its world. She tries to create art that will link people to her, and with her.
Fast Facts on Domestic Violence
Battering on women is the most under reported crime in America.
Domestic violence is the leading cause of injury to women between the ages of 15 and 44 in the United States; more than car accidents, muggings, and rapes combined. "Violence Against Women, A Majority Staff Report," Committee on the Judiciary, United States Senate, 102nd Congress, October 1992, p.3.
Three to four million women in the United States are beaten in their homes each year by their husbands, ex-husbands, or male lovers. "Women and Violence," Hearings before the U.S. Senate Judiciary Committee, August 29 and December 11, 1990, Senate Hearing 101-939, pt. 1, p. 12.
One woman is beaten by her husband or partner every 15 seconds in the United States. Uniform Crime Reports, Federal Bureau of Investigation, 1991.
About 1 out of 4 women are likely to be abused by a partner in her lifetime. Sara Glazer, "Violence, Against Women" CO Researcher, Congressional Quarterly, Inc., Volume 3, Number 8, February, 1993, p. 171.
Approximately 95% of the victims of domestic violence are women. Statistics, National Clearinghouse for the Defense of Battered Women, Ruth Peachey, M.D. 1988.
Police report that between 40% and 60% of the calls they receive, especially on the night shift, are domestic violence disputes. Carrillo, Roxann "Violence Against Women: An Obstacle to Development," Human Development Report, 1990.
Battering occurs among people of all races, ages, socio-economic classes, religious affiliations, occupations, and educational backgrounds.
Fifty percent of all homeless women and children in this country are fleeing domestic violence. Senator Joseph Biden, U.S. Senate Committee on the Judiciary, Violence Against Women: Victims of the System, 1991.
A battering incident is rarely an isolated event.
Battering tends to increase and become more violent over time.
Many batterers learned violent behavior growing up in an abusive family.
25% - 45% of all women who are battered are battered during pregnancy.
Domestic violence does not end immediately with separation. Over 70% of the women injured in domestic violence cases are injured after separation.
Domestic violence is not only physical and sexual violence but also psychological. Psychological violence means intense and repetitive degradation, creating isolation, and controlling the actions or behaviors of the spouse through intimidation or manipulation to the detriment of the individual. "Five Year State Master Plan for the Prevention of and Service for Domestic Violence." Utah State Department of Human Services, January 1994.
Budapesti Közlekedési Vállalat (BKV, Budapest Transit Company) FVV CSM-2 tram 3720 is seen near Szabadság híd (Liberty Bridge) while operating on the N18 line. The "one way tram," which featured doors on only one side, was making it's debut appearance after restoration on 6/11/2022. It's peculiar routing through the city was due to the fact that it required turning loops at either end of it's journey, many of which have been eliminated in revisions of the city's extensive tram network.
Rio Cedro, Cordoba, Colombia.
Named for its impressively long and wide tail, the Great-tailed Grackle is a conspicuous member of any avifauna where it is present. A habitat generalist, the Great-tailed Grackle seems to require only large open areas where it can forage on the ground, and scattered trees for nesting; it commonly is encountered in pastures, residential areas, fields and grasslands.
Formerly restricted to Central America, the coast of northwestern South America, and the south central United States, the Great-tailed Grackle is gradually expanding its range northward into central North America, aided by the irrigation of dry areas and the planting of trees in formerly treeless landscapes.
neotropical.birds.cornell.edu/portal/species/overview?p_p...
More than the required amount of "flare."
Taken using a Flyer 6x6 pinhole camera. The film is Kodak Plus-X 125, which expired in 2009. Developed in D-76 1:1.
It looks much worse than it was, but still required a head for heights. This 24 mile marathon must easily fit within my all time best ten mountain hikes.
This particular day we set off early to complete the Dawson, Pitamaken loop, which has to be one of the most stupendous hikes I have ever undertaken. Our route would take us through forest for a few miles, alongside and way above a few isolated mountain lakes and then along a traverse which hugged the side of Flinsch Peak where this image was taken. Once we reached the bealach around the far side I dumped my rucksack and scooted off up to the summit of this wonderfully remote nine thousand foot peak. My issue here was that no one else wanted to extend the climb so whilst they disgruntledly waited for me to return they chose to partially fill my ruck sack with rocks. It was only six miles later when I realised what they had done. Had my hiking pals done right adding to my load, well they would say so given the fact that we missed the last boat of the day back to the campsite and had to walk. In fact matters became worse when we realised the track around the short side of Two Medicine Lake was closed due to bear activety, so instead we had to take the additional five mile route the long way back. I wasn't popular, but then I was the only one who had climbed anything that day.
After years of Covid required isolation, it was good to again meet Linda in-person.
This made me wonder why she chose her first name. Instead of asking her, I simply consulted the Urban Dictionary, Wow - I have to agree- this was an obvious choice for her.
Linda is......
"Absolutely gorgeous & stunning her beauty will never be matched. Beautiful inside and out. She is intelligent, strong, kind & witty. She has the most amazing hair & her smile will light up a room at thousand watts. She's fun to be around. Her best quality is that she wants to make you happy. She'll have you laughing until you cry. The nature of her soul which runs deep means that your secret is always safe with her - she'll never tell another soul. Easy to get on with you'll instantly have a deep connection. She's your soul mate for life. The light of anyone's life you'll be blessed to know her. Linda is honest, open, truthful, the most beautiful, gregarious person you'll be truly blessed to know. Never let Linda go or lose her from your life. Keep her close, protect her beautiful nature, kind heart. Wrap her up safe in your arms. Love her & she will more than reward you. She'll enchant you in every way possible. It will break your heart to see her sad that all you will want to do is make her happy. She has many loyal devoted friends. Life is for living. She is like a lioness who will protect those that she loves. Never let her down and never let her go. Linda is truly one in a million that you will never ever encounter again in your life."
Feeling fortunate again......
Nora
I posted this odd photo to my Facebook page and asked folks to come up with good caption. Of the responses, these were my favorites:
"How's your food? Mine's a little chewie…"
"My meat's a little on the dark side."
"Steak, steak, mistake."
Do you have a fun caption? Let me know in comments!
© All rights reserved — any use, reproduction, or curation requires prior written permission via Flickr mail.
Charnwood Water - Loughborough – A Small sanctuary of light and Life / Charnwood Water, located on Tuckers Road in Loughborough, Leicestershire, is a 27-acre man-made lake and public park. Once a clay quarry, it has transformed into a place full of natural beauty.
Over the years, I’ve had the pleasure of spending countless hours here with my Nikon Z8, often paired with my long-time companion, the Nikon AF-S ED 80–200mm f/2.8D lens, capturing moments that nature so generously offers.
Wildlife in the park has grown accustomed to visitors. Robins, squirrels, and sometimes even Mandarin Ducks come surprisingly close, offering intimate photographic opportunities.
Yesterday, after months of absence, I returned hoping to see the resident Mandarin Duck pairs again. To my delight, I encountered two pairs. Although I witnessed territorial disputes between the males, seeing these vibrant and elegant birds once more within Charnwood Water was truly uplifting.
For now, I’m sharing a selection of 10 images from different moments and perspectives. As the sun appeared, it was impossible to resist capturing the pure white feathers of a swan during its grooming ritual. A robin appeared in three different poses, as if posing deliberately, while a common wood pigeon and a common blackbird were equally generous in front of the lens. The grey squirrel, however, kept its distance this time.
Wishing you a pleasant evening.
I've captured some unforgettable moments with my camera, and I hope you feel the same joy viewing these images as I did while shooting them.
© All rights belong to R. Ertuğ. Please refrain from using these images without my express written permission.
If you are interested in purchasing or licensing them, feel free to contact me via Flickr mail.
Lens & support:
Nikon AF-S ED 80–200mm f/2.8D — hand-held or monopod, SPORT VR enabled.
Aperture set to f5.6 or f/8.
All images were converted from RAW to JPEG.
During long walks, I use either a Nikon cross-body strap or a monopod.
Monopod setup:
Gitzo GM2542 Series 2 4S Carbon Monopod
Really Right Stuff MH-01 Monopod Head (Standard Lever)
Really Right Stuff LCF-11 Replacement Foot .
Your comments and constructive criticism are always appreciated.
Thanks for stopping by and taking the time to explore! 😊
Lars Hackel ©2021
Any duplication, processing, distribution or any form of utilisation shall require the prior written consent of Lars Hackel in question.
When you ask railfans what they know about Marquette they know three things, 1. We used to have that "cool" painted 3001 in a PM inspired paint scheme, 2. we have a swing bridge, and 3. the Muskegon River bridge in Newaygo. Well lets skip the first two and go to number 3, the Muskegon River bridge in Newaygo sits at the bottom of two grades that are both over 1% and last for over 3 miles each, it is the definition of up hill both ways. During the PM steam days it was actually a helper district and most freights would require a shove up the hills.
For the MQT the most difficult part of the river valley is for southbound trains working their way to Grand Rapids as 85-90% of all loaded traffic goes south with the rest of the loads being local work or loaded lime that goes north, the helpers died with the steam engines and today the railroad tries to provide enough horsepower to make the southbound hill without doubling but sometimes you just can't avoid it. For the most part all the southbound trips are made in the day which is nice and makes for a nice day of chasing but on this day, traffic got delayed and the normal daytime move became a very very late night scene.
With a heads up that the train would be coming south, I timed my trip home from GR with the southbound departure of the train out of Baldwin. I got to Newaygo about 30 minutes before the train and armed with 6 flashes I quickly set up and rearranged until it looked perfect. The wait wasn't too long and soon I could hear engineer Bill blowing for Dan the Dam man just north of town, with dynamics howling as he eased the train down the hill. With the train 1/2 way on the bridge and an itchy trigger finger I had to tell myself to wait, wait and wait some more until the train was right where I wanted it, Click, pop, and spent. The power was quickly out of view and Bill would soon come out of dynamics and start to dig in for the climb up the hill. It took me a few minutes to look at the results and I am very happy with them. I will have to retry this wish a solid Orange set but for a first time try I'll take it. With this successful shot It gave me a good Idea in what the possibilities now are with my flash equipment and has given me the bug to go out and shoot more.
Having brought its train , the 6D03 1952 Tinsley S.S. - Immingham Nordic off the Thybergh Branch 66101 lets out a burst of clag as it passes through Mexborough .
15 9 20
Female Assembly Moth - Hodges#5150 (Samea ecclesialis) - The Space Coast of Florida
Dah Wife thought it looked like the little guy was on the surface of the moon. Moths do indeed like the moon, but I seriously doubt any have ever been there.
FYI - This little guy (a little over a half inch wing tip-to-tip) was so small that the tiny micro bubbles on the painted surface look like tiny craters on the moon. I also like how tiny lepidopterains make their scales look sooo big that they almost look like shingles!
Animalia Arthropoda Insecta Lepidoptera Crambidae Samea ecclesialis "Samea ecclesialis" Samea castellalis luccusalis disertalis
Today required a 350th consecutive daily photo and I was feeling at a loss for what to shoot. So I sat on a bench in a patch of wintry sunlight and looked around, letting curiosity have a chance to guide me. Kind of a fun exercise.
Project 365-350
shot notes: used cloudy white balance in daylight, to compliment the warm hue of winter colours.
© All rights to these photos and descriptions are reserved. Any use of this work requires my prior written permission.
A conspicuous show of tribal power by Mursi boys with Kalashnikovs. The Kalashnikov symbolizes wealth, status, and power. Above all, the Kalashnikov provides protection during cattle drives and fire-power in armed conflicts with neighbouring tribes.
The value of a Kalashnikov can range from five to thirty-five cows and often figures into the bride-wealth or payment made by the husband’s family to the bride's family.
This semi-nomadic pastoral settlement is situated high on the bank of the Mago River, a tributary that joins the essential Omo River in the remote southwestern corner of Ethiopia. Shot under the noonday sun near the end of a long hot dry season regularly exceeding 40°C in the shade.
~~~
The proliferation of automatic weapons
The rapid increase of automatic weapons and small arms in the lower Omo Valley has fuelled severe cycles of inter-ethnic violence, exacerbated by traditional cattle raids, opportunistic bush sniping, and territorial skirmishes often escalating into broader warfare.
Spears and other traditional weapons in the region were replaced with automatic assault rifles in the 1980s as they became more accessible during the decades-long civil war in neighbouring South Sudan.
A surplus of automatic weapons circulating in the larger Horn of Africa was also accessible through other channels, including a flow of small arms and ammunition from longstanding wars across the borders in Somalia and northern Uganda. SKS and AK-47 assault rifles were easily available, relatively cheap, and easy to use.
Large numbers of automatic weapons were also imported from the USSR to Communist allies around the world during the global Cold War, including Ethiopia. SKS semi-automatic Russian-made rifles were a precursor to the AK-47 and were widely available after the fall of the Derg, the Communist military junta that ruled Ethiopia under Mengistu Haile Mariam from 1974 to 1987.
The consequent disbanding of the Ethiopian army and police force produced a flood of automatic weapons on the market. They became accessible, in part, through established tribal links with arms dealers in the Ethiopian highlands further to the east of the Omo Basin.
The Mursi and Mursiland
Most Mursi live in small settlements dispersed across Mursiland, a remote territory of about thirty by eighty kilometres between the Omo and Mago Rivers in southwestern Ethiopia, a day or two overland to the borders with South Sudan and northern Kenya.
The terrain varies from a volcanic plain dominated by a range of hills and a major watershed to a riverine forest, wooded grasslands and thorny bushland thickets. The climate is harsh and unstable with low rainfall and daily temperatures regularly exceeding 40°C in the shade during the dry season.
The Mursi are semi-nomadic farmers and herders who depend on shifting hoe-cultivation (mostly drought-resistant varieties of sorghum) and cattle herding for their livelihood. They number less than ten thousand today. expl#33
Copyright © 2017 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Sometimes the balance required to sit on the little perch things while nomming on bird seeds is just too much. That's when he decides to just eat while hanging from his squirrely little feet, and do inverted sit-ups when he needs a refill. Oh, to have abs like that...
The ingredients required for making enough Caffenol-C for the development of ten 120 films
The developer mixture described below seems to work with both black and white films (gives, obviously, black and white negs) and for colour films films that normally require a C-41 process (which results in a copper-toned negative. Note that Caffenol-C does not work for old colour films that require a C-22 process...
© Dirk HR Spennemann 2009, All Rights Reserved
========================================
CAFFENOL-C
Standard receipe, taken from various sources on the net.
INGREDIENTS:
Instant Coffee (not decaf)
Washing Soda (Sodium carbonate, Na2CO3)
Ascorbic Acid Powder (Vitamin C)
Dishwashing liquid
FORMULA
12oz water
3 1/2 teaspoons washing soda (Sodium carbonate, Na2CO3)
1/2 teaspoon ascorbic acid
PREMIXED INGREDIENTS
Premix solutions can be set up. But do not premix the whole developer as it (reputedly) has a short shelf-life. For ease, create premix solutions of required strength for each of three developer ingredients so that in the end all that needs to be done is to mix equal amounts of each of the three premixes
Strength for premixes:
Instant Coffee: 10 teaspoons / 12 oz
Washing Soda: 7 teaspoons / 12 oz
Ascorbic acid:1 teaspoons / 12 oz
when ready to develop, mix required quantity in three even parts.
Small Patterson Tank
120mm roll film requires 550 ml (20 oz)--ie 3 x 7 oz for the development of a roll of 120 film (which gives 21 oz, but makes life easier).
SET UP for 120 roll:
Premix 21 oz developer (see above)
Premix 20 oz fixer
Premix 20 oz final wash (with one drop of dishwashing liquid)
DEVELOPING
Developing 16 mins (initially worked with 12 min, whch proved to short, then moved to 16 minutes)
Continuous agitation first minute
thereafter agitate 3 x / minute
Rising
3 rinse baths @ 6 x agitation each (first bath can contain some vinegar to act as stop bath)
Fixing
5 mins @ 3 agitation /minute
Final Rinse
Fill, agitate 3x
Refill, agitate 6x
Refill, agitate 12x
Refill with soapy water, agitate slowly 24x
Dry