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as an excuse to why I’m always late :-)
― Jarod Kintz
HBW!!
sarah p duke gardens, duke university, durham, north carolina
As you drive southwest on Highway #2 from Winnipeg you come to the small town and farming community of St. Claude, Manitoba. This is the special way you are greeted by the good folks of the community............women power rules!!!
larger size....View On Black
As it turns out, all the hints worked and a nice new prime lens arrived on my birthday. I'm a happy bunny and so is Arthur. But then he is always happy, and I'm glad he seems to tolerate all the close-up attention. So here's an almost obligatory summer shot of Arthur enjoying life in the tall grasses of Hampstead Heath
“Baton Rouge woke up Tuesday to the unthinkable: snow falling for the first time in seven years and temperatures in the 20s.
At least 6 inches was reported throughout most parts of East Baton Rouge, Prairieville and Denham Springs, according to the National Weather Service. Areas of Geismar and southwestern Baton Rouge had as much as 8 inches by early Tuesday evening when the snow finally tapered, the weather service said.
It's likely to be the second-biggest snowfall in Baton Rouge history, eclipsing the 6-inch snowfall in January 1940. The all-time record is 12.5 inches, which crushed the city in February 1895.”
from:
Couvillion, Ellyn & Bruce, Matt. (January 21, 2025). Baton Rouge buried under historic snowfall. The Advocate (Baton Rouge).
Porto.
________
notas para o diário
deus tem que ser substituído rapidamente por poe-
mas, sílabas sibilantes, lâmpadas acesas, corpos palpáveis,
vivos e limpos.
a dor de todas as ruas vazias.
sinto-me capaz de caminhar na língua aguçada deste
silêncio. e na sua simplicidade, na sua clareza, no seu abis-
mo.
sinto-me capaz de acabar com esse vácuo, e de aca-
bar comigo mesmo.
a dor de todas as ruas vazias.
mas gosto da noite e do riso de cinzas. gosto do
deserto, e do acaso da vida. gosto dos enganos, da sorte e
dos encontros inesperados.
pernoito quase sempre no lado sagrado do meu cora-
ção, ou onde o medo tem a precaridade doutro corpo.
a dor de todas as ruas vazias.
pois bem, mário - o paraíso sabe-se que chega a lis-
boa na fragata do alfeite. basta pôr uma lua nervosa no
cimo do mastro, e mandar arrear o velame.
é isto que é preciso dizer: daqui ninguém sai sem
cadastro.
a dor de todas as ruas vazias.
sujo os olhos com sangue. chove torrencialmente. o
filme acabou. não nos conheceremos nunca.
a dor de todas as ruas vazias.
os poemas adormeceram no desassossego da idade.
fulguram na perturbação de um tempo cada dia mais
curto. e, por vezes, ouço-os no transe da noite. assolam-me
as imagens, rasgam-me as metáforas insidiosas, porcas. ..e
nada escrevo.
o regresso à escrita terminou. a vida toda fodida - e
a alma esburacada por uma agonia tamanho deste mar.
a dor de todas as ruas vazias.
Al-Berto
Horto de Incêndio
Assírio & Alvim
3ª edição - Dezembro 2000
Like to see the pictures as Large as your screen? Than why not click on the Slideshow : www.flickr.com/photos/reurinkjan/sets/72157622436074363/s...
Nomads has to move ,so the catle has new and fresh gras. Taking everything they own and put it on the backs of yaks and horses.
For the Tibetan nomads, life is indeed a struggle in the harsh environment of the high plateau: A place where the ground and winds are in perpetual motion. It is a place where temperatures range from a low of -40 degrees Fahrenheit to around 60 degrees Fahrenheit in the summer. The yak is the key to survival on the Tibetan plateau. A visit to a nomad's tent illustrates this point. The tent itself is made from yak hair. Upon entering, the center of the tent is warmed by the fire of yak dung. The tent is illuminated by yak butter candles, and their blankets are made from yak hair. The principle diet includes tsampa and yak butter, dried yak cheese and sometimes yak meat. A poor family may have 20 yaks or fewer; wealthy families up to 500.
Settling nomads
Government policy aims to settle more and more nomads. It says that this is aimed at improving the economic viability of animal husbandry and lessening the effects of natural disasters on the livelihood of Tibetan herdsmen.
This allows the government to manage the nomadic population as it gives them fixed addresses.
Culture shock
For most nomads, the transition to a more urban lifestyle is difficult.
They are often settled in featureless blocks of housing by the side of roads or in newly created urban areas, and face the problem of creating an entirely new and sustainable livelihood.
Approximately 40% of the ethnic Tibetan population is nomadic or semi-nomadic.
As the first substorm after sunset on January 20th unfolded this guy drove up, got out and looked up, and was totally amazed. He exclaimed, "I have never seen anything like this". There may have been a few other choice words as well
This series was taken between 6:31pm - 6:41pm. It was thrilling to witness this naked eye visible display and to capture it on camera.
Plainfield Pond - Plainfield, MA
January 20, 2026
As seen from the south rim of the canyon
Black Canyon of the Gunnison National Park is an American national park located in western Colorado's Montrose County and managed by the National Park Service. There are two primary entrances to the park: the south rim entrance is located 15 miles east of Montrose, while the north rim entrance is 11 miles south of Crawford and is closed in the winter. The park contains 12 miles of the 48-mile-long Black Canyon of the Gunnison River. The national park itself contains the deepest and most dramatic section of the canyon, but the canyon continues upstream into Curecanti National Recreation Area and downstream into Gunnison Gorge National Conservation Area. The canyon's name owes itself to the fact that parts of the gorge only receive 33 minutes of sunlight a day, according to Images of America: The Black Canyon of the Gunnison. In the book, author Duane Vandenbusche states, "Several canyons of the American West are longer and some are deeper, but none combines the depth, sheerness, narrowness, darkness, and dread of the Black Canyon."
Information from: en.wikipedia.org/wiki/Black_Canyon_of_the_Gunnison_Nation...
Kit includes the native OBJ or FBX file to download.
It allows you to create your own Texture Hud that customers can use to texture our existing meshes. Customers will need to purchase the mesh from us.
You can make as many textures as you like and sell them on your own custom Hud. You do not need Affiliate access for these kits!
SLurl:
maps.secondlife.com/secondlife/Zoobyville/156/145/24
St Andrew and St Patrick, Elveden, Suffolk
As you approach Elveden, there is Suffolk’s biggest war memorial, to those killed from the three parishes that meet at this point. It is over 30 metres high, and you used to be able to climb up the inside. Someone in the village told me that more people have been killed on the road in Elveden since the end of the War than there are names on the war memorial. I could well believe it. Until about five years ago, the busy traffic of the A11 Norwich to London road hurtled through the village past the church, slowed only to a ridiculously high 50 MPH. If something hits you at that speed, then no way on God's Earth are you going to survive. Now there's a bypass, thank goodness.
Many people will know St Andrew and St Patrick as another familiar landmark on the road, but as you are swept along in the stream of traffic you are unlikely to appreciate quite how extraordinary a building it is. For a start, it has two towers. And a cloister. And two naves, effectively. It has undergone three major building programmes in the space of thirty years, any one of which would have sufficed to transform it utterly.
If you had seen this church before the 1860s, you would have thought it nothing remarkable. A simple aisle-less, clerestory-less building, typical of, and indistinguishable from, hundreds of other East Anglian flint churches. A journey to nearby Barnham will show you what I mean.
The story of the transformation of Elveden church begins in the early 19th century, on the other side of the world. The leader of the Sikhs, Ranjit Singh, controlled a united Punjab that stretched from the Khyber Pass to the borders of Tibet. His capital was at Lahore, but more importantly it included the Sikh holy city of Amritsar. The wealth of this vast Kingdom made him a major power-player in early 19th century politics, and he was a particular thorn in the flesh of the British Imperial war machine. At this time, the Punjab had a great artistic and cultural flowering that was hardly matched anywhere in the world.
It was not to last. The British forced Ranjit Singh to the negotiating table over the disputed border with Afghanistan, and a year later, in 1839, he was dead. A power vacuum ensued, and his six year old son Duleep Singh became a pawn between rival factions. It was exactly the opportunity that the British had been waiting for, and in February 1846 they poured across the borders in their thousands. Within a month, almost half the child-Prince's Kingdom was in foreign hands. The British installed a governor, and started to harvest the fruits of their new territory's wealth.
Over the next three years, the British gradually extended their rule, putting down uprisings and turning local warlords. Given that the Sikh political structures were in disarray, this was achieved at considerable loss to the invaders - thousands of British soldiers were killed. They are hardly remembered today. British losses at the Crimea ten years later were much slighter, but perhaps the invention of photography in the meantime had given people at home a clearer picture of what was happening, and so the Crimea still remains in the British folk memory.
For much of the period of the war, Prince Duleep Singh had remained in the seclusion of his fabulous palace in Lahore. However, once the Punjab was secure, he was sent into remote internal exile.
The missionaries poured in. Bearing in mind the value that Sikh culture places upon education, perhaps it is no surprise that their influence came to bear on the young Prince, and he became a Christian. The extent to which this was forced upon him is lost to us today.
A year later, the Prince sailed for England with his mother. He was admitted to the royal court by Queen Victoria, spending time both at Windsor and, particularly, in Scotland, where he grew up. In the 1860s, the Prince and his mother were significant members of London society, but she died suddenly in 1863. He returned with her ashes to the Punjab, and there he married. His wife, Bamba Muller, was part German, part Ethiopian. As part of the British pacification of India programme, the young couple were granted the lease on a vast, derelict stately home in the depths of the Suffolk countryside. This was Elveden Hall. He would never see India again.
With some considerable energy, Duleep Singh set about transforming the fortunes of the moribund estate. Being particularly fond of hunting (as a six year old, he'd had two tutors - one for learning the court language, Persian, and the other for hunting to hawk) he developed the estate for game. The house was rebuilt in 1870.
The year before, the Prince had begun to glorify the church so that it was more in keeping with the splendour of his court. This church, dedicated to St Andrew, was what now forms the north aisle of the present church. There are many little details, but the restoration includes two major features; firstly, the remarkable roof, with its extraordinary sprung sprung wallposts set on arches suspended in the window embrasures, and, secondly, the font, which Mortlock tells us is in the Sicilian-Norman style. Supported by eight elegant columns, it is very beautiful, and the angel in particular is one of Suffolk's loveliest. You can see him in an image on the left.
Duleep Singh seems to have settled comfortably into the role of an English country gentleman. And then, something extraordinary happened. The Prince, steeped in the proud tradition of his homeland, decided to return to the Punjab to fulfill his destiny as the leader of the Sikh people. He got as far as Aden before the British arrested him, and sent him home. He then set about trying to recruit Russian support for a Sikh uprising, travelling secretly across Europe in the guise of an Irishman, Patrick Casey. In between these times of cloak and dagger espionage, he would return to Elveden to shoot grouse with the Prince of Wales, the future King Edward VII. It is a remarkable story.
Ultimately, his attempts to save his people from colonial oppression were doomed to failure. He died in Paris in 1893, the British seemingly unshakeable in their control of India. He was buried at Elveden churchyard in a simple grave.
The chancel of the 1869 church is now screened off as a chapel, accessible from the chancel of the new church, but set in it is the 1894 memorial window to Maharaja Prince Duleep Singh, the Adoration of the Magi by Kempe & Co.
And so, the Lion of the North had come to a humble end. His five children, several named after British royal princes, had left Elveden behind; they all died childless, one of them as recently as 1957. The estate reverted to the Crown, being bought by the brewing family, the Guinnesses.
Edward Cecil Guinness, first Earl Iveagh, commemorated bountifully in James Joyce's 1916 Ulysses, took the estate firmly in hand. The English agricultural depression had begun in the 1880s, and it would not be ended until the Second World War drew the greater part of English agriculture back under cultivation. It had hit the Estate hard. But Elveden was transformed, and so was the church.
Iveagh appointed William Caroe to build an entirely new church beside the old. It would be of such a scale that the old church of St Andrew would form the south aisle of the new church. The size may have reflected Iveagh's visions of grandeur, but it was also a practical arrangement, to accommodate the greatly enlarged staff of the estate. Attendance at church was compulsory; non-conformists were also expected to go, and the Guinnesses did not employ Catholics.
Between 1904 and 1906, the new structure went up. Mortlock recalls that Pevsner thought it 'Art Nouveau Gothic', which sums it up well. Lancet windows in the north side of the old church were moved across to the south side, and a wide open nave built beside it. Curiously, although this is much higher than the old and incorporates a Suffolk-style roof, Caroe resisted the temptation of a clerestory. The new church was rebenched throughout, and the woodwork is of a very high quality. The dates of the restoration can be found on bench ends up in the new chancel, and exploring all the symbolism will detain you for hours. Emblems of the nations of the British Isles also feature in the floor tiles.
The new church was dedicated to St Patrick, patron Saint of the Guinnesses' homeland. At this time, of course, Ireland was still a part of the United Kingdom, and despite the tensions and troubles of the previous century the Union was probably stronger at the opening of the 20th century than it had ever been. This was to change very rapidly. From the first shots fired at the General Post Office in April 1916, to complete independence in 1922, was just six years. Dublin, a firmly protestant city, in which the Iveaghs commemorated their dead at the Anglican cathedral of St Patrick, became the capital city of a staunchly Catholic nation. The Anglicans, the so-called Protestant Ascendancy, left in their thousands during the 1920s, depopulating the great houses, and leaving hundreds of Anglican parish churches completely bereft of congregations. Apart from a concentration in the wealthy suburbs of south Dublin, there are hardly any Anglicans left in the Republic today. But St Patrick's cathedral maintains its lonely witness to long years of British rule; the Iveagh transept includes the vast war memorial to WWI dead, and all the colours of the Irish regiments - it is said that 99% of the Union flags in the Republic are in the Guinness chapel of St Patrick's cathedral. Dublin, of course, is famous as the biggest city in Europe without a Catholic cathedral. It still has two Anglican ones.
Against this background then, we arrived at Elveden. The church is uncomfortably close to the busy road, but the sparkle of flint in the recent rain made it a thing of great beauty. The main entrance is now at the west end of the new church. The surviving 14th century tower now forms the west end of the south aisle, and we will come back to the other tower beyond it in a moment.
You step into a wide open space under a high, heavy roof laden with angels. There is a wide aisle off to the south; this is the former nave, and still has something of that quality. The whole space is suffused with gorgeously coloured light from excellent 19th and 20th century windows. These include one by Frank Brangwyn, at the west end of the new nave. Andrew and Patrick look down from a heavenly host on a mother and father entertaining their children and a host of woodland animals by reading them stories. It is quite the loveliest thing in the building.
Other windows, mostly in the south aisle, are also lovely. Hugh Easton's commemorative window for the former USAAF base at Elveden is magnificent. Either side are windows to Iveaghs - a gorgeous George killing a dragon, also by Hugh Easton, and a curious 1971 assemblage depicting images from the lives of Edward Guinness's heir and his wife, which also works rather well. The effect of all three windows together is particularly fine when seen from the new nave.
Turning ahead of you to the new chancel, there is the mighty alabaster reredos. It cost £1,200 in 1906, about a quarter of a million in today’s money. It reflects the woodwork, in depicting patron Saints and East Anglian monarchs, around a surprisingly simple Supper at Emmaus. This reredos, and the Brangwyn window, reminded me of the work at the Guinness’s other spiritual home, St Patrick’s Cathedral in Dublin, which also includes a window by Frank Brangwyn commisioned by them. Everything is of the highest quality. Rarely has the cliché ‘no expense spared’ been as accurate as it is here.
Up at the front, a little brass plate reminds us that Edward VII slept through a sermon here in 1908. How different it must have seemed to him from the carefree days with his old friend the Maharajah! Still, it must have been a great occasion, full of Edwardian pomp, and the glitz that only the fabulously rich can provide. Today, the church is still splendid, but the Guinesses are no longer fabulously rich, and attendance at church is no longer compulsory for estate workers; there are far fewer of them anyway. The Church of England is in decline everywhere; and, let us be honest, particularly so in this part of Suffolk, where it seems to have retreated to a state of siege. Today, the congregation of this mighty citadel is as low as half a dozen. The revolutionary disappearance of Anglican congregations in the Iveagh's homeland is now being repeated in a slow, inexorable English way.
You wander outside, and there are more curiosities. Set in the wall are two linked hands, presumably a relic from a broken 18th century memorial. They must have been set here when the wall was moved back in the 1950s. In the south chancel wall, the bottom of an egg-cup protrudes from among the flints. This is the trademark of the architect WD Caroe. To the east of the new chancel, Duleep Singh’s gravestone is a very simple one. It is quite different in character to the church behind it. A plaque on the east end of the church remembers the centenary of his death.
Continuing around the church, you come to the surprise of a long cloister, connecting the remodelled chancel door of the old church to the new bell tower. It was built in 1922 as a memorial to the wife of the first Earl Iveagh. Caroe was the architect again, and he installed eight bells, dedicated to Mary, Gabriel, Edmund, Andrew, Patrick, Christ, God the Father, and the King. The excellent guidebook recalls that his intention was for the bells to be cast to maintain the hum and tap tones of the renowned ancient Suffolk bells of Lavenham... thus the true bell music of the old type is maintained.
This church is magnificent, obviously enough. It has everything going for it, and is a national treasure. And yet, it has hardly any congregation. So, what is to be done?
If we continue to think of rural historic churches as nothing more than outstations of the Church of England, it is hard to see how some of them will survive. This church in particular has no future in its present form as a village parish church. New roles must be found, new ways to involve local people and encourage their use. One would have thought that this would be easier here than elsewhere.
The other provoking thought was that this building summed up almost two centuries of British imperial adventure, and that we lived in a world that still suffered from the consequences. It is worth remembering where the wealth that rebuilt St Andrew and St Patrick came from.
As so often in British imperial history, interference in other peoples’ problems and the imposition of short-term solutions has left massive scars and long-cast shadows. For the Punjab, as in Ireland, there are no simple solutions. Sheer proximity has, after several centuries of cruel and exploitative involvement, finally encouraged the British government to pursue a solution in Ireland that is not entirely based on self-interest. I fear that the Punjab is too far away for the British to care very much now about what they did there then.
[Unidentified girl in mourning dress holding framed photograph of her father as a cavalryman with sword and Hardee hat]
[between 1861 and 1870]
1 photograph : sixth-plate tintype, hand-colored ; 9.5 x 8.4 cm (case)
Notes:
Title devised by Library staff.
Case: Berg, no. 2-61.
Photo shows a girl holding a framed image of her father. Judging from her necklace, mourning ribbons, and dress, it is likely that her father was killed in the war. (Source: Matthew R. Gross and Elizabeth T. Lewin, 2010)
Gift; Tom Liljenquist; 2010; (DLC/PP-2010:105).
Purchased from: Rick Brown, Civil War Show, Chantilly, Virginia, 2007
Published in: Military images, vol. XII, no. 3 (November-December 1990), front cover.
Subjects:
United States.--Army--People--1860-1870.
Soldiers--Union--1860-1870.
Military uniforms--Union--1860-1870.
Girls--1860-1870.
Families--1860-1870.
Mourning clothing & dress--1860-1870.
Photographs--1860-1870.
Portrait photographs--1860-1870.
United States--History--Civil War, 1861-1865--Military personnel--Union.
Format: Portrait photographs--1860-1870.
Tintypes--Hand-colored--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Ambrotype/Tintype filing series (Library of Congress) (DLC) 2010650518
Liljenquist Family collection (Library of Congress) (DLC) 2010650519
More information about this collection is available at hdl.loc.gov/loc.pnp/pp.lilj
Persistent URL: hdl.loc.gov/loc.pnp/ppmsca.26863
Call Number: AMB/TIN no. 2012
As Mudanças chegaram em definitivo
Agora não ha escapatória a nova pagina chegou para ficar, antes havia a possibilidade de continuar na antiga pagina, agora aparentemente o sistema foi totalmente migrado.
O modelo atual é interessante e como toda mudança ha os prós e os contras e a dificuldade de adaptação.
Ainda não tive tempo e saco para analizar essas mudanças, a primeira vista algumas eu gostei outras não...
Interessante que mesmo com a nova pagina já em teste o flickr havia colocado novidades na pagina antiga, novidades como a facilidade de responder na mesma pagina usando o avatar da pessoa, Essas novidades não acompanharam as mudanças e agora temos que voltar na velha forma para fazer isto.
Outra coisa que estou sentido dificuldade é para o envio de fotos nos grupos, onde antes aparecia o simbolo e o nome, agora só aparece o nome...
Agora as fotos estão abertas em todos os tamanhos, antes havia como bloquear essa função, sei que muitas pessoas não gostam e concordo que deviam continuar com a função de habilitar ou não esta visualização.
Bem toda mudança é complicada no inicio, requer tempo de adaptação, a propria pagina anterior quando comecou a ser utilizada tambem gerou diversos protestos e grupos espalhados pelo flickr contra as mudanças, mas com o tempo as pessoas se adaptaram.
Amigos estou com um problema serio, meu outlook deu um erro e perdi toda minha caixa de entrada dos emails, ontem com um amigo tentamos restaurar os arquivos que ainda estão no computador, mas não conseguimos.
Se voce souber mexer no outlook e puder me dar uma ajuda agradeceria muito...
Foto: Ponta da Ribeira - Paquetá - Rio de Janeiro - Brasil
Estavamos andando quando avistei o Barco Pão da Vida que fotografei na visita anterior e que esta com a foto aberta na segunda sequencia
An abandoned Baldwin AS-616 in Tigard, Oregon. This was the Oregon and Northwestern number 2, and was scrapped in 2011.
For a video:
www.youtube.com/watch?v=SpjvNYlxNBk
For a black and white photo:
www.flickr.com/photos/33031095@N03/27878316623/
If you enjoy my photos, feel free to favorite, share, and thanks for viewing!
Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The gold 45 revolver lingerie is designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
www.facebook.com/goldennumberratio/
'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)
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Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
Would you like to see the whole set? Comment below and let me know!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Golden Ratio Fine Art Lingerie Bikini Swimsuit Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis!
...smoke covers the horizon from the wild fires on the Port Hills of Christchurch, mingling with passing clouds. The air is brisk reminding me that autumn is not far away.
Waikuku Beach, North Canterbury, NZ
As with other Passenger Transport Executives upon their formation, SELNEC committed to orders of new buses made by their municipal forebears. Although no standard bus types had been yet decided upon by the PTE, these new buses assisted greatly in their modernisation plans.
6809 was one of fifteen (6802 - 6816) East Lancs bodied Leyland Atlanteans received by the PTE between December 1971 and March 1972. These buses were allocated to Bolton. A handful of these long-wheelbase buses went on to see further service after withdrawal, but 6809 was saved for posterity by the Bolton Bus Group. This vehicle is a lucky survivor from the period and remains with us to this day, restored to the near new state it is seen in here.
The image shows 6809 on Grecian Crescent, Bolton working the Great Lever Circular service on the 27th September 1972.
The scene is much altered, but part of the school still stands from behind where the people are standing. Today, the old school is used as a mosque, but the old chapel to the left of the picture is no more. In the distance can be seen a glimpse of the Robin Hood Mills, these also remain extant. However, the rest of the buildings in this view are long gone including the corner shop.
The open-sodium street lighting is worthy of note, Bolton using a lot of this kind of lighting in the post war period. These are Revo C9225 lanterns for use with 140w low-pressure sodium lamps and would have been installed in the late 1940s or early 1950s.
Photo - 27th September 1972.
Scanned from the original 35mm slide held in my archive.
As well as being a veteran, this man is also an actor and has been a Wizard in a Harry Potter film! taken at the Remembrance Day Parade in Bedford town centre on 11th November 2009.
The beautiful Syndicate Trust Building in Downtown St. Louis, Missouri is hailed by many as the greatest example of Chicago School architecture in all of St. Louis. Designed by Eames & Young with Harry Roach in 1907, this grand tower is covered with lavish terra cotta ornament from its store-fronted ground floor to its handsome cornice. It once housed the upscale department store of Scruggs-Vandervoot-Barney and now finds new life rising 17 stories high as downtown St. Louis' most luxurious condominiums.
Following is a timeline of the "issues" the Syndicate went through before becoming the luxurious condominiums that it is today:
‧ The Syndicate's long-running troubles began in 1993, when developer Mark Finney purchased the complex at auction for $600,000. A sequence of events since then shows how precipitously close the Syndicate tower has come to demolition:
‧ 1994: After purchasing the building, Finney cleared out most of its tenants and gutted the lower six floor for conversion into a parking garage. Subsequent investigation revealed what Finney claims is inadequate structural support for a garage, a matter that resulted in a court case with his architect.
With the building's structure in question, Finney abandoned the garage plan, favoring demolition after he was unable to sell the building. The building has sat empty since then. Demolition has thus far blocked by the city, based on the building's landmark status.
‧ 1997: a court judge orders the city to pay Finney's then-asking price of $4.2 million; the city is unable to come up with the money. After a piece of masonry falls off the building, a fence is erected around the property, blocking sidewalks and streets.
‧ 1999: The city agrees to buy the building through emminent domain. A commission settles on a value of $6.2 million -- less than the $9 million Finney wanted, but more than the $2 million the city had offered previously. The city declines the deal.
‧ July 24, 2000: Finney's asking price for the building is six million dollars (ten times what he paid for it when it was a functional and occupied building); the city seeks to obtain the deteriorating property through condemnation.
September 14, 2000: St. Louis Circuit Judge Robert H. Dierker Jr. declares the building a hazard and gives the owner 30 days to file a demolition permit. Pyramid Construction Co. works to buy the building for development.
November 2000: Finney grants Pyramid an extension on the deadline to purchase the building.
‧ February, 2001: Finney threatens to begin demolition of the complex March 1st if Pyramid doesn't purchase the building by then.
‧ March 1, 2001: Pyramid's John Steffen is unable to secure the necessary capitol to purchase the building.
‧ March 2, 2001: Judge Dierker announces that he will approve demolition as soon as the owner files proof of a demolition contract.
‧ March 29, 2001: a mediator is appointed to negotiate a settlement between Finney and the city.
‧ June 2001: City development officials agree to pay Finney's asking price of $6.5 million for the complex.
‧ November 2001: Webster University plans to move into the Old Post Office. As part of the developments, the Century portion of the complex is slated to be torn down & replaced with a parking garage, part of a proposal by DESCO Group & consultant Steven Stogel.
‧ 2002-2004: Citizens and Landmarks of St. Louis mobilize to fight the demolition of the Century. Both buildings are listed on the National Register of Historic Places. Inexplicably, the National Historic Trust becomes a supporter of the Century's demolition, claiming that it is the only way to "save" the Old Post Office across the street (despite the fact that the Old Post Office, while vacant, was never in any danger of demolition.) Both buildings continue to sit idle and vacant.
‧ October 2004: Despite a pending court injunction, demolition begins on the Century Building.
‧ November 5, 2004: The City of St. Louis issues a Request for Proposals to renovate the Syndicate-Trust.
‧ February 2005: Century Building demo is essentially complete.
‧ April 5, 2005: Sherman Associates and Loftworks, LLC are awarded the contract to redevelop the Syndicate Trust. The building will hold 91 condominiums, 84 apartments, and street-level retail.
‧ November 2005: Work on the garage slated for the former Century Building site remains stalled (due to lack of funding?).
‧ 2006: Work commences on the Syndicate Trust renovation.
‧ July 2007: October move-in dates projected but the building finally officially reopens in 2008.
builtstlouis.net/syndicate1.html
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
As we all our with the turmoil at this historical time in the history of our Nation.
My 14 year old Granddaughter Payscince on a road trip to Williams, AZ, At Croizer Canyon, AZ.
As a nod to the past, I thought I'd get a photo of a 1A going past County Hall, as I believe at one time in the 90s, the peak time services diverted into the grounds here and also via the 11 route through the Meadows!!
642 is seen passing County Hall with a 1A to Nottingham via Trent Bridge.