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No longer needed, this bladeless windmill and rustic barn stand in desolation in this field in rural Knox County,IL.
- Pentax Spotmatic II @ 1/60
- Super-Takumar 55mm f/1.8 @ f/4
- Fujifilm Fujicolor Pro 400H (Expired in July 2007) @ 100 ASA
- Developed in standard film tank with Unicolor C-41 Press Kit
This lonely person is among those thousands who left their home country to seek the better future but struggles their life times. When i saw this person and the look into his face (before he turned his face the other way) made me took this image.
I originally thought that the official title for this was ‘The Beacon Of Hope’ but apparently the correct name is the ‘Thanksgiving Statue’ and it cost £300,000. [I could be wrong]
The locals have many different names for this - ‘The Thing With The Ring’, ’Nuala With The Hula’,’Belle On The Ball’ to name but a few.
The Thanksgiving Statue is a metal sculpture by Andy Scott. It is 19.5 metres high ant it was constructed at Thanksgiving Square in 2007.
It is currently the second largest public art sculpture in Belfast, after Rise on Broadway Roundabout.
The sculpture is the result of six years of planning, development and eventual fabrication. Made of stainless steel and cast bronze, she spirals upwards and holds aloft "the ring of thanksgiving". The globe at her feet indicates the universal philosophy of peace, harmony and thanksgiving, and has marked on its surface the cities where the people and industries of Belfast migrated and exported to.
The sculpture was fabricated by P.F. Copeland of Newtownabbey, who worked from original scale maquettes by Scott, with the bronze globe cast by Beltane Studios in Peebles.
Cast photo of most of the employees of WDW at the time the park opened in October of 1971. In the foreground, is the 1st WDW Ambassador, Debbie Dane, who worked along with me in the same department (Guest Services) at the Comtemporary Resort. The rest of us are up on the ramp, just to the left of the entrance into the castle. I am there.....somewhere!
The Iron Bridge in the village of Ironbridge near Telford, Shropshire
Some background information:
Opened in 1781, the Iron Bridge, which crosses the River Severn in Shropshire, was the first arch bridge in the world to be made of cast iron. This material was previously too expensive to use for large structures. However, a new blast furnace nearby lowered the cost and encouraged local engineers and architects to solve a long-standing problem of a crossing over the river.
The bridge, the adjacent settlement of Ironbridge and the Ironbridge Gorge form the UNESCO "Ironbridge Gorge" World Heritage Site. The bridge is also a Grade I listed building.
In the early eighteenth century, the only way to cross the Severn Gorge was by ferry. Nevertheless, the industries that were growing in the area of Coalbrookdale and Broseley needed a more reliable crossing.
In 1773, the English architect Thomas Farnolls Pritchard wrote to a local ironmaster, John Wilkinson of Broseley, to suggest building a bridge out of cast iron. By 1775, Pritchard had finalised the plans, but he died in December 1777, only a month after work had begun. Abraham Darby III, who was the grandson of the first foundry owner and an ironmaster working at Coalbrookdale in the gorge, was commissioned to cast and build the bridge. The iron for the new bridge was cast at his foundry.
Shares were issued to raise the 3,200 £ required, and Darby agreed to fund any excess. Although it had been predicted that 300 tons of iron would be needed (costing 7 £ a ton), in the end 379 tons were used, costing Darby and his company nearly 3,000 £. There would be many other costs to bear (masonry abutments, assembly, etc.), so that the project was far more expensive than first envisaged. Darby bore most of the cost overrun, and was in debt for the rest of his life.
Being the first of its sort, the construction had no precedent. The method chosen to create the structure was therefore based on carpentry. Each member of the frame was cast separately, and fastenings followed those used in woodworking, such as the mortise and tenon and blind dovetail joints, adapted as necessary to the different properties of cast iron. Bolts were used to fasten the half-ribs together at the crown of the arch. Very large parts were needed to create a structure to span 100 feet rising to 60 feet above the river. The largest parts were the half-ribs, each about 70 feet long and weighing 5.25 tons. The bridge comprises more than 800 castings of twelve basic types.
In the summer of 1779 the Iron Bridge was raised, and on New Year's Day 1781 it was opened.
But just a few years after the construction of the bridge, cracks appeared in the masonry abutments, partly caused by ground movement. Some of the present-day cracks in the cast iron may date from this time, although others are probably casting cracks from defects such as blow holes. Some cracks were pinned with wrought iron straps, but others still visible in the bridge today have been left untouched. Other architects learned from that and subsequent bridges, such as those built by Thomas Telford, used much less cast iron, even though they were suffering similar problems of abutment movement.
Nowadays the Iron Bridge is a great icon of the beginning Industrial Revolution. Together with the ten Ironbridge Gorge Museums nearby it’s frequented by about 550,000 visitors each year. Hence the tourist industry has become a major source of income in today’s Ironbridge and Coalbrookdale.
“It’s time to take sides. No one wants to be in the middle of the battle.” –Hallam Dankworth
This is season 3 cast of The Life and Tales of Elliot Crane. Check it out here: www.ipernity.com/doc/moccasiinicreations/album
Back row from the left: Dr. Badcoke, Dr. Carl Achilles, Hallam Dankworth, Delbert Blythe, Oskar Lumi, Mirah Faulkner, Davy Dean 'Dee Dee' Faulkner, Honor Chase, Epona Barrie and Caliste Thibault.
Middle row from the left: Lavinia 'Vinnie' Rosendahl, Lisbet Thorvalsson, Axl Strand, Abigail Thorvalsson, Victoria Milov, Sue Milov, Alexander De Hurst, Ophelia Hamm, India Crane and Violet Crane.
Front row from the left: Shilah Poe, Sybil De Hurst, Elliot Crane, Benton 'Ben' Deering and Anissa Loviatar.
And here comes the question... Would it make sense if I started uploading the story on Flickr again? I think I would still post most of my stuff exclusively on ipernity, but I might be persuaded to post Elliot's adventures here again if the readers want so. I have moved onto a slightly bigger picture size (800 x 600 pixels) starting from episode 3 of season 3, and I think the bigger size might look better even here, where there's a huge gap between the picture and its text. I have also noticed the weird phenomenon that my Flickr views have expanded since I became "inactive". So I'm considering this thing.
Another image I made at our visit to south point. I had just finished my roll of portra with that last frame of the kids cliff jumping, so I loaded a roll of slide film (I had the choice of either provia or velvia 100 and opted for the velvia...for those who don't know, velvia is marketed as Fuji's most saturated slide film while provia sits under it as being not as saturated and astia being the least of the bunch. Astia is great for portraits and Velvia was preferred by many landscape photographers and Ken Rockwell constantly vouches for it whenever he talks about shooting landscapes on film haha) while I walked along the jagged lava rocks in my flip flops :P Not the most ideal conditions, but my mum helped block some of the harsh winds and sun while I changed the spool and carefully wound the film to the start arrows.
I quite enjoy loading the hassy with a fresh roll. It's not nearly as much as a hassle the Leica is (which I'm actually having issues with now and can't seem to advance the film to start taking a shot) and can be done relatively quickly, the only tricky part is feeding the leader through a small hole in the spool at a not so great angle. I think I'd like to upload a tutorial/video of how to load the leica and hassy one of these days too...
My mum and I wandered down the rocky trail to the southernmost point while my dad set up a chair by our rented Altima and opted to take it all in and eat some chips. I walked all the way to the edge of the coast where the lava rock met the pacific ocean where I could go no further south and watched a fisherman cast into the surf. I don't know what kind of fish you would catch off the coast with such rough waters. Probably something colourful :) I had initially wanted to get a portrait of him in action, but by the time I made my way over and set up for the shot, he went to take a break, but left his rod standing on the rocks so I decided to go for it and get some waves crashing in the background as well.
"The fire and surround and marble hearth is first class really pleased with our buy..couldnt have made a better choice if we tried.. beautiful,cheers Mick"
Satyr and Hermaphrodite (copy from Dresden) 420 x 297 pencil and graphite on paper.
The Dresden type satyr-hermaphrodite group is known through more than 30 Roman replicas in various media. The meaning of the group has traditionally been derived from its discovery in domestic contexts, but replicas from the theaters at Daphne and Side raise different questions regarding viewer reception. The horizontal composition and small scale of the groups suggest they may have decorated the "pulpitum" (stage) of those theaters. At the Daphne theater, where two replicas were found, the groups were likely displayed as pendants, offering complimentary views of the same sculptural composition. In terms of subject matter, the Dresden type satyr-hermaphrodite group yields several nuanced interpretations associated with the theater, including connotations of "paideia" (Roman reverance for the Greek past), Dionysiac aspects, the reversal of norms, the objectification of the body, the sexual tryst, and the "agon".
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