A Serene Walk in Glendalough: Nature and History Unite

Find here a serene visit to Glendalough, highlighting the ancient beauty of its landscape, monastic history, and the deep sense of peace felt among the gravestones.

We arrived in Glendalough on a bright spring morning, a gentle breeze carrying the scent of grass and distant water. Even before stepping out of the car, I sensed something ancient in the air, as though the centuries themselves lay waiting among the stones. The peaks of the Wicklow Mountains rose around me, their slopes draped in verdant forests that whispered of forgotten tales. In the distance, shimmering like a secret, the Upper Lake beckoned under the watchful hush of rugged hillsides. I took a deep breath and started my wander.

One of the lakes for which the valley is named, above the headstones in the mid-distance

Walking through the monastic settlement, I felt enveloped by a hush both reverential and oddly comforting. The path led me to a cluster of gravestones leaning gently askew, each marked by Celtic crosses standing guard over the memory of those buried below. One cross, carved from sturdy stone, immediately drew my attention with its intricate knotwork etched deep into the surface. The front of it bore swirling designs reminiscent of interwoven vines—symbols of eternity, continuity, and faith. I found myself imagining centuries of pilgrims, each pausing here, hands gently resting on the weathered carvings, offering up their prayers and hopes.

Memorial from a mother to her 6 year old son and husband

A bit farther on, I came upon a small grouping of headstones bowed in silent unity. Ferns and moss carpeted the ground in bright greens, creating a natural tapestry that wove together life and memory. The slightly overgrown grass softened the entire landscape, allowing each stone to stand quietly yet firmly in the earth. From behind these markers, I caught my first glimpse of the shimmering lake, framed perfectly by the slopes of the valley. The water’s surface reflected the sky’s azure brilliance and accentuated the gentle hush that fell upon the graveyard like a comforting quilt.

As I paused to take a few photographs, I felt a hint of magic floating through the air—an indefinable sense that beyond what my eyes perceived, an age-old spirit thrived. The Celtic symbols on the headstones seemed alive, their swirling knots hinting at the cycle of life and death, the oneness of the world, and the bridging of earthly existence with the mystic realm. I found myself recalling old Irish legends: stories of saints who could converse with animals, of spirits dwelling in hidden glades, of holy wells that healed weary travelers. It felt as though those tales were all around me, wrapped in the tapestry of this timeless valley.

Looking out toward the remains of the stone church—its walls crumbled yet proud—my imagination conjured the chanting of monks, their voices echoing off the surrounding hills. The same forest that sheltered me now would have encircled them all those centuries ago, shifting from season to season. It was easy to picture them gathering by the lake’s edge, cups of cold, clear water cupped in their hands, or moving reverently among the graves of those who had come before them. Here, time seemed an illusion. The line between past and present faded as I stood among these enduring stones.

Winding paths of grass guided me to another section of the cemetery, where weathered inscriptions told the stories of families, lineages, and deep connections to the land. Some headstones were so old that the lettering had nearly eroded, but others still proudly bore legible names and dates. Names like Power, Byrne, and Keane were etched in memory, followed by poignant words of affection and devotion. The place felt both solemn and comforting at once—a harmonious interplay of remembrance, reverence, and the gentle pulse of nature.

Valley walls are dramatic and steep

A sudden breeze rippled through the trees, setting the leaves to dance and carrying the lilt of birdsong across the valley. I turned to admire the view once more, and there, between towering yew trees, the lake glowed like a polished mirror. Soft clouds glided overhead in a pale blue sky. The entire scene seemed woven from a single, unbroken strand—mountain, forest, gravestone, lake, and sky merging in a spellbinding harmony. It was the kind of moment that invited awe, a moment in which to lose oneself and yet feel more fully found.

I left the cemetery with a deeper sense of peace than I had known in some time. The photographs I took may capture the beauty of Glendalough’s ancient crosses and serene landscape, but it’s the intangible hush of centuries and the gentle brush of magic that remain with me. With every step back toward the car, I felt the warmth of timelessness, and as the day’s golden light enveloped the stone monuments behind me, I carried away a tiny spark of the valley’s enchantment—a reminder that some places are truly touched by the divine.Look closely at the carved scroll at the foot of the cross.

For more background of this site, see my posting “The Cloigheach of Glendalough.”

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Lady Feeding Gulls, Cocoa Beach Dawn

unflappable lady hand feeds seagulls

When Pam read my post “Black Skimmers Feeding” she asked, “Where is the photo of resting Skimmers?”

To answer her question, I looked through Cocoa Beach photographs and discovered I did NOT capture the Skimmers resting.  Instead, here are a related species, the Royal Tern (scientific name: Thalasseus maximus), whose behavior is similar in that it exclusively feeds from the water. There was a wind that morning and these individuals face into it.  These birds are, from a human point of view, well behaved, unlike the opportunistic gull.

Royal Terns at rest

I searched around the web for identification of this gull without success.

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It dines on a dead fish washed up by the surf.  In my previous posting I used the word “grifting” to describe gull behavior, again this is from the human point of view.  Gulls are notorious for stealing food from unwary beach goers, brazening walking over to unguarded chips (any kind), for instance, grabbing them and flying off.  If the chip stash is large, this sets off a nasty feeding frenzy when tens of gulls swoop in and grab.

Here is a series of photographs, demonstrating this behavior.

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The dawn flowed over Cocoa Beach as a lady attracted a crowd of hungry gulls, reminiscent of scenes from Hitchcock’s “The Birds.”

Lady and Gulls

She is obviously an experienced gull feeder, unflappable with a steady hand

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She had come to the shore at dawn for a photo shoot.  Her male companion (husband?) was there with a camera.

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Pam and I were there for the dawn, me with the Sony camera.

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At first, I stood there amazed at the spectacle.  She was in such control of the situation, not a victim, more like a lion tamer.

Then, Pam said, “You have to get this.”  And I did.

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Sunrise Texture Series 7

Final Series, Sunrise Completion

Betelgeuse, AKA “Alpha Orionis”, was the first star disk, other than our Sun, measured. One hundred years ago the apparent size of Betelgeuse was then as now 0.003% of the sun. I bring this up because this “red” star at the end of its life cycle, is in the news, being now 40% of its brightness last year.

Betelgeuse is so far away this dimming is 700 year old news, the time it takes for light span the distance. News of our sun is more recent, sunlight informs us of the Sun’s surface from 8.33 minutes ago. Sunlight bursts from clouds to the camera in an instant of a second. In comparison my reactions to capture it are glacial. Sixteen seconds passed since the images of Series 6, time for three exposures at a slowed pace now the sun breaks free from the clouds.

Twelve minutes, fifty four seconds elapsed from the first images of this series. Seventy nine exposures taken with 16 selected moments, these last without the sand mirror.

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A Willet feeds in the new day. This is a species sandpipers, a cousin of the Sanderling of yesterday’s post.

All sixteen Sunrise Texture moments are presented below.. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 6

Sunburst

Two minutes pass from Series 5, and not because I have stopped snapping. My routine is to insert a (automated) sequential number into each filename. Using this it is possible to calculate the number of exposures in a series. Since Series 5, 16 were snapped before the first I could use in Series 6. Ten exposures between the first and last of Series 6, during which a minute, twenty eight seconds elapsed..

The sun disk is above the horizon, bursting from clouds.

Ten minutes, eighteen seconds elapsed from the first images of this series. Seventy one exposures taken with 14 selected moments of shining sand mirror, a strong curving return flow.

The small bird feeding, of the first image, is a Sanderling, one of the smallest species of Sandpipers.

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In this second image, the mirror is erased as sand absorbs surf. I needed to show the developing sun burst.

A slide show of these images. This set compares short exposure with open aperture (f 4.5) to a much longer exposure driven by a narrow aperture (f 22) and the lowest film sensitivity of the camera (ISO 50). Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 5

a paradox

A scant five seconds pass from Series 4, with the sun above the horizon I strive to catch the moment.

The sun disk is above the horizon, shining behind the clouds.

Seven minutes, 34 seconds elapsed from the first images of this series.

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I selected moments of shining sand mirror, a strong curving return flow with a continuing mark of a southeast wind of seventeen miles per hour, with bursts above twenty. Wind, waves, even the rounded particles of sand all created from the energy of the celestial body I am waiting to appear.

A slide show of these images. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 4

a paradox

Thirty three seconds pass from Series 3, the high clouds shine less bright, the sun disk now blocked by those clouds on the horizon, the rising sun brings darkness yet a first hint of sunburst.

Seemingly, the first image foam-wave swath will erase the mirror.

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Fifty seconds later, instead of erasure the new water brings clarity.

Six minutes, 39 seconds elapsed from the first images of this series.

A slide show of these images. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 3

Gathering Light

You will notice the sky changing, compared to the first set published here , Almost 6 minutes have passed, 4 minutes from the last image from Sunrise Texture Series 2. From behind the horizon, the first rays of sunlight catch the sky undersides. Unseen. the sun disk broaches the horizon.

Working fast, I used the dial to change from aperture-priority to shutter-priority with settings saved from the last use. In this way the duration is only twelve seconds between shots. The sun disk is near to/passed the horizon hidden behind those distant clouds.

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Breaking of a small wave.

A slide show of these images. Suggestion, for this series in a larger format, open a separate browser tab for each post. At series end you will then have eight (including the very first post a few weeks ago) landscapes to compare.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 2

Time measured by the waves

Twelve minutes, fifty four seconds separate the first and list images of this series of 16 images, starting with the first set published here fourteen days ago.

Almost a minute, fifty two seconds, separates the images of this post, enough time for a wave to sweep over a boss of sand, forming a mirror, and to start a return flow to the sea.

Happy turning of February to March.

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A sand boss held water briefly each cycle to form a mirror.

A slide show of these images.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Texture Series 1

A constant is change.

Heraclitus, sometime between his beginning and end, 535 – 475 B.C., wrote “No man steps into the same river twice.” The flow of these images is more changeable, ebbing and flowing with each wave.

My habit is to time early morning walks by sunrise, stepping onto the beach well before dawn to enjoy the encounter. First days of January 2020 were notably clear and warm. Then over several days the wind rose, on the 9th were these clouds,

High tide passed a few minutes before, for whatever reason there were hollows filled with the stronger waves, the water pooling to flow back as is seen here. The pattern of sand hollows across the beach was lost across the hours and tides, not to return during our time at the beach.

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A sand boss held water briefly each cycle to form a mirror.

A sand boss held water briefly each cycle to form a mirror. In the small ripples in the return stream rising against the waves of the return flow can be seen the strong, steady southeast wind of that day.

A slide show of these images. Use is to compare the effect of longer vs shorter exposure time and f-stop.

Want to see more? Visit this series on Getty IStock.

Copyright 2020 All Rights Reserved Michael Stephen Wills

Sunrise Series to come

….anatomy of coming light.

Sunrise for Florida, January, is roughly a quarter past 7 am. Most mornings this year I was on the beach for a morning, pre-dawn, walk camera in hand. This day, the 9th, the clouds were promising, no to heavy on the horizon and scattered, cumulus clouds otherwise. For the promise I brought the full frame Canon EOS-1Ds Mark III, Canon lens 24 mm f/1.4L II USM fitted with a graduated .6 ND filter sitting on top of a Manfrotto BeFree Carbon fiber tripod.

A graduated neutral density filter has a portion shaded with gray to produce a “2 stop” difference in exposure between the darkest shade and clear glass with, between, a gradual feathered reduction in shade. In this way, the dark foreground and bright sky are balanced.

A carbon fiber tripod folds into a compact shape. At about 2.5 pounds it fits into a suitcase with the least weight possible for a reasonably stable platform. Using it, I am able to take a sequence of frames of the identical scene, changing camera settings as I go along.

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Sunlight, low in the western sky, was perfect for mirror-like reflections in the retreating surf.

In a few weeks, after the “Slievenaglogh View” series now underway, I will present a week of these images moving from pre-dawn to sunrise.

A slide show of these images. Use is to compare the effect of longer vs shorter exposure time and f-stop.

Copyright 2020 All Rights Reserved Michael Stephen Wills