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Two sister Leyland National MkIIs side by side at Wolverhampton's Park Lane Bus Garage, both working for the same outfit, but looking very different. I’ve recorded on the slide frame that the picture was taken as a comparison shot, but I don’t even recall it.
Sunday 8th May1994
Copyright © John G. Lidstone, all rights reserved.
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This is the same flower that I exploited yesterday in a horizontal format. Today I decided to go with a vertical format to give it a different look
Lighting stuff: This was a 3 light setup with 24 inch soft boxes on either side of the flower with the back edge of the softboxes lined up with the flower, and one hand held flash behind the flower at camera left. The three Yongnuo strobes were triggered with a Yongnuo RF=603N.
Other pictures that I've taken of Birds of Paradise flowers can be seen in my cleverly titled Birds of Paradise album.
www.flickr.com/photos/9422878@N08/albums/72157631967781801
I've photographed a lot of plants and flowers, because they're all around us, work cheap, and never complain. I have an album of these images with over 1000 pictures, and for each one, I have described how I lit them, in case you're interested in that kind of thing.
Although it may look like there was some light left, this was dark. The exposure was 25 seconds at
F-11. I'd love to say it was hand held, but luckily for me there was a window sill to place Ye Old Camera.
Looks good in large..........................
“The breezes blow in perfect harmony. They are neither hot nor cold. They are at the same time calm and fresh, sweet and soft. They are neither fast nor slow. When they blow on the nets made of many kinds of jewels, the trees emit the innumerable sounds of the subtle and sublime Dharma and spread myriad sweet and fine perfumes. Those who hear these sounds spontaneously cease to raise the dust of tribulation and impurity. When the breezes touch their bodies they all attain a bliss comparable to that accompanying a monk’s attainment of the samadhi of extinction.
“Moreover, when they blow, these breezes scatter flowers all over, filling this buddha-field. These flowers fall in patterns according to their colors, without ever being mixed up. They have delicate hues and a wonderful fragrance. When one steps on these petals the feet sink four inches. When one lifts the foot, the petals return to their original shape and position. When these flowers stop falling, the ground suddenly opens up, and they disappear as if by magic. They remain pure and do not decay, because, at a given time, the breezes blow again and scatter the flowers. And the same process occurs six times a day.
“Moreover, many jewel lotuses fill this world system. Each jewel blossom has a hundred thousand million peals. The radiant light emanating from their petals is of countless different colors. Blue colored flowers give out a blue light. White colored flowers give out a white light. Others have deeper colors and light, and some are of yellow, red, and purple color and light. But the splendor if each of these lights surpasses the radiance of the sun and the moon. From every flower issue thirty-six hundred thousand million rays of light. From each one of these rays issue thirty-six hundred thousand million buddhas…”
from the Sukhāvatīvyūhaḥ Sūtra
____________
“The earth has been there for a long time. She is mother to all of us. She knows everything. The Buddha asked the earth to be his witness by touching her with his hand when he had some doubt and fear before his awakening. The earth appeared to him as a beautiful mother. In her arms she carried flowers and fruit, birds and butterflies, and many different animals, and offered them to the Buddha. The Buddha’s doubts and fears instantly disappeared. Whenever you feel unhappy, come to the earth and ask for her help. Touch her deeply, the way the Buddha did. Suddenly, you too will see the earth with all her flowers and fruit, trees and birds, animals and all the living beings that she has produced. All these things she offers to you. You have more opportunities to be happy than you ever thought. The earth shows her love to you and her patience. The earth is very patient. She sees you suffer, she helps you, and she protects you. When we die, she takes us back into her arms.”
-Thich Nhat Hanh
_________
"Our planet is our house, and we must keep it in order and take care of it if we are genuinely concerned about happiness for ourselves, our children, our friends and other sentient beings who share this great house with us."
- His Holiness the 14th Dalai Lama
__________
“...turn to Conceptual Photography through Zen camera of the mind. Or take up gardening––which is surely the most perfect practice of Zen outside of non-gardening.”
-photographer Edward Putzar
__________
།ས་གཞི་སྤོས་ཀྱིས་བྱུགས་ཤིང་མེ་ཏོག་བཀྲམ།
།རི་རབ་གླིང་བཞི་ཉི་ཟླས་བརྒྱན་པ་འདི།
།སངས་རྒྱས་ཞིང་དུ་དམིགས་ཏེ་དབུལ་བར་བགྱི།
།འགྲོ་ཀུན་རྣམ་དག་ཞིང་ལ་སྤྱོད་པར་ཤོག།།
།ཨི་དཾ་གུ་རུ་རཏྣ་མཎྜལ་ཀཾ་ནི་རྱཱ་ཏ་ཡཱ་མི།
________
Every physical atom, in its incessant movements produces a sound which is a song, so that if we had the power of spiritual hearing (genuine clairaudience), we would be able to hear this unimaginably grand symphony of sounds. In such a state we would hear the grass growing and the opening of a flower would itself be a marvelous natural orchestral performance. When you are lost or caught up in an emotional storm or contracted in self-centeredness or plagued by obsessive thoughts, notice what happens when you step outside or go for a walk and pay attention to the sky, the air, the light, the movement of wind, the feel of grass under your feet. Tread softly for we tread on something subtle, ancient, and slow.
Reawakening our connection with nature spirits helps us to live more harmoniously and consciously. We become kinder to the planet because we remember that we’re part of the whole.
____________
“In another moment Alice was through the glass, and had jumped lightly down into the Looking-glass room….
This time she came upon a large flower-bed, with a border of daisies, and a willow-tree growing in the middle.
`O Tiger-lily,’ said Alice, addressing herself to one that was waving gracefully about in the wind, `I wish you could talk!’
`We can talk,’ said the Tiger-lily: `when there’s anybody worth talking to.”
Alice was so astonished that she could not speak for a minute: it quite seemed to take her breath away. At length, as the Tiger-lily only went on waving about, she spoke again, in a timid voice — almost in a whisper. `And can all the flowers talk?’
`As well as all can,’ said the Tiger-lily. `And a great deal louder.’
`It isn’t manners for us to begin, you know,’ said the Rose, `and I really was wondering when you’d speak! Said I to myself, “Her face has got some sense in it, thought it’s not a clever one!” Still, you’re the right colour, and that goes a long way.’
`I don’t care about the colour,’ the Tiger-lily remarked. `If only her petals curled up a little more, she’d be all right.’”
____________
William Blake wrote of seeing a world in a grain of sand, holding “Infinity in the palm of your hand.” It speaks to me of infinite life both on Earth, and in earth, the ceaseless abundance within a speck of soil, the infinity of life, from seed to bud to flower to seed, wheeling on through aeons. It suggests the unbreakable cycle, the unending and unending nature of life, creating infinity from within itself.
_____________
“I want to speak about bodies changed into new forms. You, gods, since you are the ones who alter these, and all other things, inspire my attempt, and spin out a continuous thread of words, from the world's first origins to my own time.”- Ovid, Metamorphoses Book I
_________
“The mysteries of the Great and the Little World are distinguished only by the form in which they manifest themselves; for they are only one thing, one being. “
- Paracelsus
__________
“If someone has an empty brain—and because of this is vexed by insanity, and is delirious—take the whole grains of wheat and cook them in water. Place these cooked grains around his whole head, tying a cloth over them. His brain may be reinvigorated by their vital fluid, and he may recover his health. Do this until he returns to his right mind.”
- Hildegard of Bingen, Physica
______________
“Millions of spiritual creatures walk the Earth unseen, both when we wake, and when we sleep.” - John Milton, Paradise Lost
____________
“Everything has beauty, but not everyone sees it.” - Confucius
_____________
見るところ花にあらずと云ふことなし、
思ふところ月にあらずと云ふことなし。
“Miru tokoro hana ni arazu to iu koto nashi,
omou tokoro tsuki ni arazu to iu koto nashi”
“There is nothing you can see that is not a flower;
There is nothing you can think that is not the moon.”
- Matsui Basho -
____________
“To see in color is a delight for the eye but to see in black and white is a delight for the soul” – Andri Cauldwell
—————
“I’ve been forty years discovering that the queen of all colors is black.” – Henri Mattise
___________
Seeing is perception with the original, unconditioned eye. It is a state of consciousness in which separation of photographer/subject, audience/image dissolves; in which a reality beyond words and concepts opens up, whose “point” or “meaning” is the direct experience itself.
– John Daido Loori
__________
I am Not,
but the Universe is my Self.
- Shih T'ou, 700 - 790 CE
__________
Art evokes the mystery without which the world would not exist.
- Renee Magritte
____________
"Buddha was born as his mother leaned against a tree for support. He attained enlightenment seated beneath a tree and passed away as trees stood witness overhead. If Buddha were to return to our world, he would certainly be connected to the campaign to protect the environment."
His Holiness the Dalai Lama
__________
“If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.”
― William Blake
——
“Long ago, Truth, Beauty, and Goodness arose out of the deepest human instinct and became the three greatest ideals that inspired human striving. In modern times these ideals have almost become empty words, but we have the possibility of taking these ideals and giving them, once more, real meaning and substance.”
—Rudolf Steiner
_________
The visible world is no longer a reality and the unseen world no longer a dream.
― William Butler Yeats
Same snake as the other day. When I lift up refugia I normally get one or two shots before the snake slithers off. I managed about eight this time and most are in focus which is a miracle. Only two snakes seen on this occasion, the end is Nigh.
seen on sherman avenue, with a view of the columbia river and washington state.
walking the streets of my town with the camera.
Same as www.flickr.com/photos/sigurdruschkowski/9698834445/ but now with adjustments made by Ronny O. He has removed some stuff, lightened up the flower´s centr, and added some more light on the flower. All made on the JPG in the link. Great work, RO! and tahnks for your work!
Yes... It's a flower shot. I know... Not my usual style. A bunch of these are growing right outside the door of my motorhome and I thought they were kind of pretty, so I tried doing a macro shot of them. I wasn't going to post it, but I kinda liked the way it came out. They are tiny little things. Each flower is only about an inch across.
Salisbury and the Courthouse Museum (1859).
Sir Montague( or Montagu) Chapman, Third Baronet of Westmeath near Dublin Ireland, used a loop hole in the Special Survey regulations of 1839 and selected his 4,000 acres for £4,000 in different areas. He took 800 acres at Koonunga near Kapunda; 500 acres at Kapunda (a friend of his Bagot also got land there); 500 acres near Waterloo and Marrabel; and later in 1842 he selected a further 2,200 acres between the Little Para River and Dry Creek at what is now Mawson Lakes, Salisbury and Cross Keys. At Killua Castle in Ireland he had 9,000 acres and hundreds of tenant farmers. He wanted to do the same in SA. In 1840 he sent out Captain Charles Bagot from Ireland with 224 Irish immigrants to settle his, and Bagot’s lands, at Kapunda with Irish labourers and tenants. Then in 1842 he sailed out to SA himself with 120 Irish tenant farmers whom he installed on his lands at Cross Keys. Sir Montague Chapman returned to Ireland the next year. Then in 1847 he sent out a further 214 Irish immigrants to be tenant farmers on his Cross Key to Salisbury lands. They came out on the ships named Trafalgar and Aboukir. Sir Montague Chapman lived in Ireland not SA but returned to his SA estates in 1852 and drowned at sea in 1853 off Portland when returning to SA from Melbourne. His brother inherited the SA lands and estates. Many of his immigrant tenants soon became independent landowners themselves.
Daniel Brady, another Irishman was a self-made Irish immigrant to the area. He purchased 100 acres, now the Parafield Airport in 1845. He then got the license to the Cross Keys hotel. Much later Brady laid out the town of Virginia in 1858. But there were other Catholic influences in Salisbury too. William Leigh of Staffordshire (and of Leigh Street Adelaide) was a great land investor and speculator in SA and donated lands early to the Anglican Church ( in Leigh St.) then he converted to Catholicism and donated lands to the SA Catholic Church for the first church and bishop’s palace on West Terrace etc. At Salisbury he donated 500 acres to the local Catholic Church along the Little Para where the reservoir is now situated. The local church rented that farm out as income until it was sold in 1896. Thus, because of two major Catholic British aristocrats Salisbury thrived as a centre of Catholicism and had one of the largest Catholic Churches in SA in the mid-19th century. The church itself was set up when the state Government was offering glebe lands for churches to get established. The Catholics of Salisbury received 20 acres of land under this system through Bishop Murphy in 1850. The foundations of St Augustine’s Church were laid in 1851 with the church being used before its final official opening in 1857. This grand stone church replaced an earlier pug and pine church which had opened in 1847 on the site. The tower was added in 1926.
But the main story of Salisbury is centred on St Helena and its links to John Harvey the acknowledged “father” of Salisbury. His father, confirmed by recent DNA tests, was a native of St Helena of West African heritage and was probably a sailor who had an illegitimate child with a Scottish woman in Wick. Harvey’s mother was probably a herring worker or a street worker. There are no official records of Harvey’s birth which occurred between 1820 and 1823. Harvey’s appearance was African and on his death in 1899 the Barrier Miner of Broken Hill on 26 June referred to Harvey as a half caste. But who was John Harvey? Is his main claim to fame that he brought out from South Africa the first soursob bulbs? He was a man of ideas wanting to make money. He came out to SA alone when he was 16 years old arriving in 1839 on the ship named Superb with Allan McFarlane who took out the Mount Barker Special Survey in 1839. Harvey was probably employed as a labourer by Allen McFarlane before they left Scotland. By 1843 Harvey had moved to Gawler where he drove mails between Adelaide and Gawler. This gave him the idea of grazing cattle on the unoccupied plains between the two settlements. He started squatting. He let overlanders from NSW depasture their flocks on these lands, for a fee, although he had no legal right to do so. He accepted cattle for fees and soon had stock of his own. To this he added some horses which he bred for sale (or export to India) and once he had fattened the cattle he sold them for meat for the Adelaide market or through his butcher shop in growing Gawler. He became a major meat supplier for Adelaide and Gawler. He also experimented with cereal growing on the Salisbury plains and claims to have been the first to do so. Within a few years he had amassed a sizeable amount of money from almost nothing and he purchased his first land at Gawler, where he built his first stone house and at Salisbury when the Hundred of Yatala was declared in 1846. He was temporarily forced off the land he was squatting upon until he purchased 172 acres in 1847. He subdivided a small part of it to create the town of Salisbury with the main street named after himself and the street parallel to it named Wiltshire where his wife Ann Pitman (cousin of Sir Isaac Pitman of shorthand fame) was born. His town plans were submitted in 1848 as he hoped to make money from this action. Harvey continued living in Salisbury and went into building houses for people, breeding race horses and encouraging agriculture. He was elected to parliament in 1857 for one term and served on the Yatala District Council. His land deals included selling the area of Gawler that became Bassett Town by the old Gawler railway station. He was a mainstay of the Royal Horticultural Society and the Adelaide Racing Club. He was a local Justice of the Peace. John Harvey died in Salisbury in 1899, aged 78 years but his descendants stayed on in the town to be orange growers. John and his wife Ann are buried in St John’s Anglican cemetery. He left three sons and daughter.
By 1845 less hills land was available for settlement and some saw the potential of the fertile Little Para river valley close to Adelaide and on the main copper mine routes from Adelaide to Kapunda and Burra. Among the first public buildings was the Anglican church/school room dated as 1846 but probably built in 1849. John Harvey is known to have sold two lots to Anglican Bishop Short for a nominal amount for an Anglican Church in 1850. It is possible that the Anglicans were allowed to build before 1850 but that is before they officially owned the land. A number of Primitive Methodists were also drawn to Salisbury and they held their first services on the banks of the Little Para River in 1849. In 1851 they opened their Primitive Methodist Church called Hephzibah which was replaced with a solid stone church in 1858. The Primitive Methodists purchased their land from John Harvey. The Wesleyan Methodists had a church at the Old Spot (1857) but they too constructed a Wesleyan church in Salisbury West in 1858 after the arrival of the railway to the town. It has been a residence since 1904. No cathedral emerged as in England but the town had its churches, hotels, a flour mill and industry. From its early years it had a Courthouse and Police station with lock up cells behind it. The Salisbury courthouse, now the city museum was built in 1859.The architect was Edward Hamilton the government architect for many government buildings. It cost £730 to erect and it is a very elegant well-proportioned structure. Salisbury soon had a private school too. Charles James Blatche Taplin, my great great grandfather had a licensed school in Salisbury from 1855 until his death in 1867. His wife Eliza Taplin had a separate school for girls which she continued after his death. After the Education Act of 1875 the government built the old Salisbury School in 1876. Charles Taplin was also the treasurer of the St Johns Anglican Church for many years and was present at the laying of its foundation stone with architect Daniel Garlick in 1858. The town remained a local service centre until World War Two when the government purchased land at Penfield for an ammunitions works and secure storage area and a further 58 acres of land, mainly from descendants of John Harvey, along Park Terrace in Salisbury for emergency war housing which became known as the “cabin homes”.
I used a wider angle to show more of the Bridge in Phillipsburg, NJ. The same point on the bridge is lined up with the turret on the house on the hill. There is a US Gas station now where the Pennsy station was. The tracks are still there and they use them to move coal to the power plant up the Delaware River and for steam excursion trains. You can see more detail if you click "All Sizes" above and view it large.
The bridge is the "Free Bridge" or Northampton Street Bridge over the Delaware River and was built in 1895.
My photo is in color because I prefer color for 98% of my photos.
Article on Walker Evans from Wikipedia, the free encyclopedia:
Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration documenting the effects of the Great Depression.
Much of Evans' work from the FSA period uses the large-format,
8x10-inch camera. He said that his goal as a photographer was to make
pictures that are "literate, authoritative, transcendent" [1]
Many of his works are in the permanent collections of museums, and have
been the subject of retrospectives at such institutions as The Metropolitan Museum of Art.[2]
Born in St. Louis, Missouri, Walker Evans came from a well off family. He graduated from Phillips Academy, in Andover, Mass. He studied French literature for a year at Williams College, spending much of his time in the school's library, before dropping out. After spending a year in Paris, he returned to the United States to join the edgy literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends.
Evans took up photography in 1928[1]. In 1933, he photographed in Cuba on assignment for the publisher of Carleton Beals' then-forthcoming book, The Crime of Cuba, photographing the revolt against the dictator Gerardo Machado. In Cuba, Evans briefly knew Ernest Hemingway.
In 1935, Evans spent two months at first on a fixed-term photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania. From October on, he continued to do photographic work for the RA and later the Farm Security Administration (FSA), primarily in the Southern states.
In the summer of 1936, while still working for the FSA, he and writer James Agee were sent by Fortune magazine on assignment to Hale County, Alabama,
for a story the magazine subsequently opted not to run. In 1941, Evans'
photographs and Agee's text detailing the duo's stay with three white
tenant families in southern Alabama during the Great Depression were
published as the groundbreaking book Let Us Now Praise Famous Men.
Its detailed account of three farming families paints a deeply moving
portrait of rural poverty. Noting a similarity to the Beals' book, the
critic Janet Malcolm, in her 1980 book Diana & Nikon: Essays on the Aesthetic of Photography,
has pointed out the contradiction between a kind of anguished
dissonance in Agee's prose and the quiet, magisterial beauty of Evans'
photographs of sharecroppers.
The three families headed by Bud Fields, Floyd Burroughs and Frank Tingle, lived in the Hale County town of Akron, Alabama,
and the owners of the land on which the families worked told them that
Evans and Agee were "Soviet agents," although Allie Mae Burroughs,
Floyd's wife, recalled during later interviews her discounting that
information. Evan's photographs of the families made them icons of
Depression-Era misery and poverty. In September 2005, Fortune revisited Hale County and the descendants of the three families for its 75th anniversary issue[3].
Charles Burroughs, who was four years old when Evans and Agee visited
the family, was "still angry" at them for not even sending the family a
copy of the book; the son of Floyd Burroughs was also reportedly angry
because the family was "cast in a light that they couldn't do any
better, that they were doomed, ignorant"[3].
Evans continued to work for the FSA until 1938. That year, an exhibition, Walker Evans: American Photographs, was held at The Museum of Modern Art,
New York. This was the first exhibition in this museum devoted to the
work of a single photographer. The catalogue included an accompanying
essay by Lincoln Kirstein, whom Evans had befriended in his early days in New York.
In 1938, Evans also took his first photographs in the New York
subway with a camera hidden in his coat. These would be collected in
book form in 1966 under the title Many are Called. In 1938 and 1939, Evans worked with and mentored Helen Levitt.
Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom making prints from his own negatives.
He only very loosely supervised the making of prints of most of his
photographs, sometimes only attaching handwritten notes to negatives
with instructions on some aspect of the printing procedure.
Evans was a passionate reader and writer, and in 1945 became a staff writer at Time magazine. Shortly afterward he became an editor at Fortune magazine through 1965. That year, he became a professor of photography on the faculty for Graphic Design at the Yale University School of Art (formerly the Yale School of Art and Architecture).
In 1971, the Museum of Modern Art staged a further exhibition of his work entitled simply Walker Evans.
Evans died at his home in Old Lyme, Connecticut, in 1975.[4]
In 1994, The Estate of Walker Evans handed over its holdings to New York City's The Metropolitan Museum of Art.[5]
The Metropolitan Museum of Art is the sole copyright holder for all
works of art in all media by Walker Evans. The only exception is a
group of approximately 1,000 negatives in collection of the Library of Congress which were produced for the Resettlement Administration (RA) / Farm Security Administration (FSA). Evan's RA / FSA works are in the public domain.[6]
In 2000, Evans was inducted into the St. Louis Walk of Fame.[7]
Wooden planks, white railing - same theme as before, but different setting here. I like the tranquility expressed in this lakeside scene.
"Negli abbracci forsennati o dolcissimi non era il tuo corpo che cercavo bensì la tua anima, i tuoi pensieri, i tuoi sentimenti, i tuoi sogni, le tue poesie.
Odd that Takara would release two pale, long haired blondes with bangs back to back. It looks like they even have the same front facing eye chip colors.