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SORRY, BUT TIME IS WIZZING BY, AND SIMPLY HAVE NONE TO GIVE AT THE MOMENT, SO PLEASE UNDERSTAND,
I WILL BE BACK SOON AS I CAN, MANY THINGS ARE HAPPENING, AND I CAN NOT DO MY FRIENDS JUSTICE BY POSTING AND NOT RETURNING YOUR WONDERFUL COMMENTS, SO AS SOON AS MY LIFE, SETTLES A BIT, I WILL BE BACK WITH A VENGENCE AND WE SHALL HAVE SOME FUN.
LOVE TO ALL AND ALL SOME LOVE
BILLIE
To animate view the first comment, below, or view original size (1000 x 1000).
Details and History
The Salina, KS public library conserves several hundred stereo images, many of which were generated for local consumption. Much of the collection has been photographed and uploaded to the internet archive under a creative commons 1.0 license. This Lovejoy & Foster (88 State St., Chicago, Ill.) image, titled "Youthful Dignity", likely dates to the 1870s.
Quick Links to related animated stereo images:
Browse the 19th century or by decade: 1850s, 1860s, 1870s, 1880s, 1890s.
Browse the 20th century or by decade: 1900s, 1910s, 1920s, 1930s, 1940s.
Copyright Advisory
This item is indicated as being in the public domain on its internet archive page:
www.archive.org/details/StereoscopicViewsInTheSalinaPubli... .
Options in the upper left corner of that page access bibliographic notes (select "rich text format") or images (select "all files: HTTP")
Technical trivia
Image manipulations and animated gif generation with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
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All best wish happy and take care 2022
Aber Lin
April/10/2022
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comments off.
parents were leaving the next day and i wanted to spend my time with them and plus i missed golden hour again because of ballet. I wanted to curl up in a ball in a warm hole and dirk hot coco and yummy things of that sort, was getting sick.
Color 1st comment | large on black | Link to prints available on my profile page
Trying to chose between the black & white and the color on this one nearly killed me (see first comment for the color image). You really can't imagine how much time I spent flipping back and forth and agonizing and changing my mind. At last I made the decision to post the black & white because I noticed I had a pattern going with my last few shots: color, b/w, color, b/w, color ... well, it was b/w's turn I guess.
I really do love both versions, and both types of presentation in general. For my recent work, the b/w I feel can present a stronger overall composition and image - without the "distraction" of color. However, the color often seems more beautiful, and more reminiscent of the scene itself.
When I was a painter (and still, as a designer) I am very colorful and think of my strength in the use of color to be among my greatest talents as an artist. So, it's not so easy for me to leave the beauty of color behind. But, the strength and impact of b/w, well ... ahhhh! I just go back and forth a million times.
I know that whichever I choose there will be many who will prefer the other (but also many who will be quite happy with the choice). I value critique and the opinions of others, but ultimately it is my own opinion that I need to find each time. Usually I can find it. With this photo, I could not.
The fugitive slave law, commented a politician, was "the only measure of the Compromise [of 1850] calculated to secure the rights of the South."
To secure these rights, the law seemed to ride roughshod over the prerogatives of northern states.
Yankee senators had tried in vain to attach amendments to the bill guaranteeing alleged fugitives the rights to testify, to habeas corpus, and to a jury trial. Southerners indignantly rejected the idea that these American birthrights applied to slaves.
The fugitive slave law of 1850 put the burden of proof on captured blacks but gave them no legal power to prove their freedom.
Instead, a claimant could bring an alleged fugitive before a federal commissioner (a new office created by the law) to prove ownership by an affidavit from a slave-state court or by the testimony of white witnesses. If the commissioner decided against the claimant he would receive a fee of five dollars; if in favor, ten dollars. This provision, supposedly justified by the paper work needed to remand a fugitive to the South, became notorious among abolitionists as a bribe to commissioners.
The 1850 law also required U.S. marshals and deputies to help slaveowners capture their property and fined them $1000 if they refused.
It empowered marshals to deputize citizens on the spot to aid in seizing a fugitive, and imposed stiff criminal penalities on anyone who harbored a fugitive or obstructed his capture. The expenses of capturing and returning a slave were to be borned by the federal treasury.
from Battle Cry of Freedom, James McPherson
The Fugitive Slave Law or Fugitive Slave Act was passed by the United States Congress on September 18, 1850, as part of the Compromise of 1850 between Southern slave holding interests and Northern Free-Soilers. This was one of the most controversial acts of the 1850 compromise and heightened Northern fears of a 'slave power conspiracy'. It declared that all runaway slaves be brought back to their masters.
In response to the weakening of the original fugitive slave act, the Fugitive Slave Law of 1850 made any Federal marshal or other official who did not arrest an alleged runaway slave liable to a fine of $1,000. Law-enforcement officials everywhere now had a duty to arrest anyone suspected of being a runaway slave on no more evidence than a claimant's sworn testimony of ownership. The suspected slave could not ask for a jury trial or testify on his or her own behalf. In addition, any person aiding a runaway slave by providing food or shelter was subject to six months' imprisonment and a $1,000 fine. Officers who captured a fugitive slave were entitled to a bonus or promotion for their work. Slave owners only needed to supply an affidavit to a Federal marshal to capture an escaped slave. Since any suspected slave was not eligible for a trial this led to many free blacks being conscripted into slavery as they had no rights in court and could not defend themselves against accusations.
The Fugitive Slave Law brought the issue home to anti-slavery citizens in the North as it made them and their institutions responsible for enforcing slavery. Moderate abolitionists were now faced with the immediate choice of defying what they believed to be an unjust law or breaking with their own consciences and beliefs. One response was the writing of Uncle Tom's Cabin by Harriet Beecher Stowe (1852).
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but will be returning faves "Share + Look"
All best wish happy and take care 2022
Aber Lin
April/24/2022
😍😍😷😷💉💉💉😷😷😍😍
Greenpeace activists hold a banner in front of the Virginia State Captiol in Richmond, Va., Feb. 27, 2016, reading “Gov. McAuliffe: Say No To Offshore Drilling.” Greenpeace is supporting citizens of the Commonwealth and other Atlantic Coastal communities who have officially opposed offshore oil development in the Atlantic Ocean. (Photo by Julia Rendleman/Greenpeace)
Photo: © all rights reserved by Ervanofoto (Günther)
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Info: Nederlands & Deutsch
- RWE Power 510
Loc 510 trekt een volle, zwaar beladen kolentrein weg over de Hambachbahn.
Deze spoorbaan heeft een lengte van 21 km en is een deel van het bedrijfeigenspoorwegnet van de RWE. Dit spoorwegnet zou een totale legte van zo'n 300 km hebben.
Alle kolentreinen die ik hier zag rijden hadden elk 14 wagons dia allen beladen waren met 90 ton steenkool.
Speciaal aan deze locomotieven is dat de stuurcabine buiten de trein uitsteekt.
Intussen heb ik gevonden waarom dat is. Deze treinen hebben namelijk drie stuurstanden. Een in het midden, voorwaarts gericht. En nog twee, een aan elke kant van de loc, die achterwaarts gericht zijn. Hier, op de Hambachbahn, rijden de treinen steeds voorwaarts omdat er hier keerlussen zijn. Op andere plaatsen van het RWE spoorwegnet zijn die er niet. Dan duwt de trein de wagons. De bestuurder blijkt dan in zijn loc te blijven zitten. Met die zijdelingse stuurposten krijgt hij aldus een beter zicht op zijn spoor. Als de trein geduwd word, weerklinkt er aan de eerste wagon een geluidssignaal ter waarschuwing.
Heel opmerkelijk was hoe stil deze zware gevaartes wel reden.
Bekijk hier het volledige album Tagebau Hambach
- RWE Power 510
Lok 510 zieht ein schwer beladen Kohlenzug über die 21 km lange Hambachbahn. Diese bahn ist ein teil der betriebseigene Eisenbahn der RWE, mit eine gesamte totallange von ca. 300 km.
Alle Züge die ich hier gesehen habe hatten allen 14 Wagons, jeder beladen mit 90 ton Braunkohle.
Bei jeder der Loks war der Führerstand breiter als der zug. Aufmerksam war wie leise al diese schwere Züge gefahren sind.
Sehen sie sich daβ ganze Album Tagebau Hambach hier an.
Extra links:
www.youtube.com/watch?v=lyvk3Tvo0rM&feature=related
de.wikipedia.org/wiki/Hambachbahn
www.rwe.com/web/cms/de/234376/verkehrsprojekte-hambach/
de.wikipedia.org/wiki/Tagebau_Hambach
www.rwe.com/web/cms/de/60012/rwe-power-ag/standorte/hambach/
DSC_0799_5757.NEF
Photo captured by Annette du Plessis
A visitor’s comment (Struan Robertson – Operation Hunger) about Red Location during the 1980’s:
“Set out on barren beach-gravel, just west of the main railway line, were rows of small gable-ended houses, made of corrugated iron.”
“Originally one of three camps (the other two being White and Blue Locations), it had been build at the turn of the Century as transit accommodation for British troops beings shipped to the Boer War”
“The wind and rain of 88 years had long since stripped the metal, not only of the paint but also of galvinising”
“The salt air had got to work and now the houses were the rust-red colour of the hematite their iron sheets had been fashioned from”
“Gales had pulled off roof panels and salt had corroded holes in roofs and walls”
“Yet people were living there. We entered one house where the wind whistled through gaps and found eight people wrapped in blankets on four beds, two to a bed and all sick”
“The wooden ceiling above them was rotten with damp and through gaps I could see sky where the iron roof had rusted away”
“As we went back to town along the freeway, with the grey silhouette of central Port Elizabeth ahead over the green sea, I found myself seething with anger”
“Places like Red Location are, in the truest sense, obscene; ‘repulsive, loathsome, repugnant’ as the Concise Oxford gives it” end Quote
Red Location became a “hotspot of struggle” against the former Apartheid Regime
A number of significant struggle events took place in Red Location. One outstanding event was the 1952 Defiance Campaign against the Pass Laws.
The national Defiance campaign was launched during 1952 and the first arrests were done in Red Location.
On 26 June at 05h00, after praying the whole night at the New Brighton Civic Centre, under the leadership of Raymond Mhlaba, the first group of activists entered the “Europeans only” section of the New Brighton Station. They were arrested by 06h30.
Nompi Njongwe, the wife of Dr Njongwe led the first group of 21 women defiants. Dedeka Heliso, who later married Raymond Mhlaba in Robben Island prison, was part of this group.
The implementation of the M-Plan (Mandela Plan = street and area committees) as well as the first cell of Mkonto weSizwe originated from Red Location
Many well known people such as Raymond Mhlaba, Dora Nginza, Ernest Malgas, Wilton Mkwayi, Florence Matomela, George Pemba, etc. were either born or lived in the area
These cottages have been earmarked for preservation under the Red Location Cultural Precinct.
For more information on Red Location Museum contact Nosikumbuzo Hoza
L +27(0)414088400
F +27(0)414088401
E nhoza@mandelametro.gov.za
URL (under construction) www.freewebs.com/redlocationmuseum
Read interesting articles written by famous veteran and writer Jimmy Matyu
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
It was so good to be back in Lincoln for a weekend after missing it last year. We love Lincoln, it's such a beautiful city.
Saturday started out pretty grey but dry enough to get out and enjoy the day. I spent a lovely afternoon in the Arboretum - what a beautiful place!
Various pictures from around the arboretum.
*** No graphics in comments. Visit terms in profile. All photos are © copyright Douglas Remington - Ethereal Light™ Photography, LLC. All rights reserved. Use of my photos require a commercial license. All photos and information contained in this posting or publication may not be copied, downloaded, used in blogs, distributed, broadcast, used on the internet for private or commercial use, or used in anyway whatsoever without proof of authorized consent of Douglas Remington/Ethereal Light™. Image tracking technology used. Violators shall be fined and or prosecuted in federal court.***
Five euro banknote defaced by 'Stefanos', Greece, 2014
Drawing commenting on the Greek debt crisis
Part of I object: Ian Hislop's search for dissent
(September 2018 – January 2019)
A wide variety of objects are on display in the exhibition – from graffiti on a Babylonian brick to a banknote with hidden rude words, from satirical Turkish shadow puppets to a recently acquired ‘pussy’ hat worn on a women’s march. See what tales these objects tell – sometimes deadly serious, often humorous, always with conviction. Unlock the messages and symbols these people used, and get closer to understanding them...
This history in 100(ish) objects shows that people have always challenged and undermined orthodox views in order to enable change. They even did so despite the establishment usually taking a pretty dim view – for most of history you could expect a gruesome punishment, up to and including death, for this kind of subversive behaviour. This suggests that maybe we are programmed to dissent – it’s just part of who we are. Ultimately, the exhibition will show that questioning authority, registering protest and generally objecting are an integral part of what makes us human.
[British Museum]
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All best wish happy and take care 2023
Aber Lin
Dec/29/2023
😍😍😷😷💉💉💉💉😷😷😍😍
I was looking through several members' streams and found on Boo_Boo_Kitty's that she has started watermarking her photos because of the current furore on usage of copyrighted photos posted to Flickr.
Below was my comment.
Re your note, I saw this too. I am annoyed by this too but wouldn't go so far as to watermark my photos. I think it spoils the photo.
The questions for me was 'Am I ever going to try and sell any of my photos?' and 'Would I enjoy seeing my photos used or published?' For me it was no and yes in that order so I chose Some rights reserved with Attribution. You must give the original author credit.
I have, for example, a book on Asia on my bookshelf with my photo of the Great Wall, a travel guide for South Africa with my elephant photo on the front cover and my car club magazine with my photo of my car on the front cover (OK I submitted the last one!)
If you put All rights reserved anyone who does use your photo is not going to tell you and you will only be annoyed if you find out. If you allow usage with accreditation you will find many (of course not all) people still asking if they may use your photo and offering a copy of the publication or the link to their web site.
I have seen several of my photos published and even created a set for published photos.
Putting all possible restrictions on uploaded photos can't stop someone doing a screen grab and using that as mobile phone wallpaper, in a blog and so on. Even your faint watermark would be barely visible on a mobile phone.
If I had a photo I wanted to sell or have restricted usgae I wouldn't put it on Flickr.
Hope I don't seem like I am on my soapbox, it's just my point of view.
What do others think?
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
We were in Leeds again for a Smyths gig on Saturday so we went to Leeds First Friday too.
A quiet night around Leeds. We started at Pieminister then on to The Bridge, followed by Queens Court then back to the Bridge for Vicki to do karaoke. Then on to the Pack Horse.
We didn't take any pictures after The Pack Horse so I can't say for certain where we went after that!
This was in the Ripley's Believe It Or Not Museum in Gatlinburg, TN.
Created by PA artist Bill Secunda, this life size Kodiak grizzly bear is made from over 90,000 common hardware store nails - with a combined total wieht of more than 3,000 pounds! Bill is both a professional welder and a lover of nature who has displayed his sculptures in art festivals around the entire country. In adition to this girzzy bear, he has made numerous other nail art creatures, including full size elk, bison, gorillas, horses and moose.
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