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One of the photos I am editing for a friend on Picnickers. I hope she likes them. I did a lot of cloning with this pic. I removed a lot of bird poo from the tracks and cropped the shot. Then I started removing lines on her face. Under her eyes, by her nose and on her chin. I also evened out her complexion and softened her look. I then enhanced her tan and brightened her hair, eyes, ring, nails and the background. Then I decided to go a little more dramatic and go for a dramatic sepia with some desaturation and a vignette. I then brightened it a little. I hope it turned out alright. original can be found here in (Mama)teur's photostream:
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
ನೀಲಾಬ್ಜದಾಡಿಮೀವೀಣಾಶಾಲೀಗುಂಜಾಕ್ಷಸೂತ್ರಕಮ್ |
ದದದುಚ್ಛಿಷ್ಟನಾಮಾಯಂ ಗಣೇಶಃ ಪಾತು ಮೇಚಕಃ || ೮ ||
May the dark complexioned Ucchishta Ganapati, having a dark blue lotus, pomegranate fruit, veena, corn earns, rosary in His hands, protect me
You can listen to the entire slide by downloading the MP3 audio file here
Garza real (Ardea cinérea)
•Familia: Ardeidos – Ardeidae
•Aspecto: Garza grande, de complexión robusta, predominantemente de color gris, con un pico recto, fuerte, en forma de daga. Las garzas pueden diferenciarse de las grullas durante el vuelo, y a menudo también cuando están de pie, por la forma en que encorvan su cuello.
•Tamaño: Largo 84-102 cm, envergadura alar 155-175 cm, peso 930-1.150 g.
•Nido: Una gran pila desarreglada de ramas, generalmente construido muy alto en un abeto o pino. Las aves pueden usar el mismo nido durante muchos años.
•Reproducción: Pone 6 huevos en mayo, incubados de forma alternada por los padres, en 4 a 6 períodos, durante 25 a 28 días. Las aves jóvenes aprenden a volar aproximadamente a los 50 días. Muchas garzas reales anidan en colonias.
•Distribución: Ave migratoria de verano que se reproduce poco en Finlandia (solo hay alrededor de 100 parejas). En los últimos años, los avistamientos de invierno se han vuelto más comunes.
•Migración: Pasa el invierno en el oeste y sur de Europa. La migración de otoño puede tener lugar entre mediados de agosto y principios de noviembre, y las aves regresan de marzo a mayo.
•Alimentación: Acecha inmóvil a lo largo de costas, lista para emboscar, en espera de que peces y animales acuáticos pequeños estén a su alcance.
•Sonidos: Un chillido fuerte, molesto, similar al llamado de la pagaza piquirroja.
La garza real tiene partes superiores de color gris claro, y partes inferiores de color blanco grisáceo. Su cabeza es mayormente blanca, excepto por una raya negra que se extiende desde encima de sus ojos hasta la parte posterior de su cuello, donde algunas de sus plumas se alargan para formar una cresta. Los adultos con plumaje de apareamiento pueden tener un color rosáceo a los lados del cuello, y algunas filas de rayas oscuras en el cuello y el pecho. La garza real tiene el pico de color amarillo o naranja amarillento, patas de color marrón opaco e iris amarillo.
Las aves inmaduras generalmente se parecen a las adultas, pero su capuchón y su cuello son más grises (y el cuello no tiene color rosáceo). Su pico es más pardusco y el iris es blanco.
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
Somormujo lavanco
(Podiceps cristatus)
Inconfundible por su largo cuello, es el mayor integrante de la familia de los zampullines y somormujos en España. Presenta un estereotipado cortejo nupcial, época en la que su plumaje adquiere un llamativo diseño facial, con penachos y expansiones de plumas muy característicos. Habitante habitual de una gran variedad de humedales, incluidos embalses y otros enclaves artificiales, esta ave acuática puede ser observada en nuestro país tanto en el periodo de cría como durante la invernada.
Descripción y Clasificación
Orden Podicipediformes; familia Podicipedidae
Longitud 46-51 cm. Envergadura 85-90 cm.
Identificación
El mayor de los somormujos y zampullines que pueden verse en España, con el tamaño de un ánade grande. Se trata de un ave elegante, de cuello estilizado, pico largo y apuntado, y cuerpo alargado. En verano luce un plumaje vistoso, con la parte superior de la cabeza negra, en la que destacan dos grupos de plumas a modo de penachos (dibujo 1). De las mejillas salen plumas llamativas, alargadas, de tonos rojizos y negros. La zona que rodea los ojos es blanca, al igual que el cuello, el pecho y el vientre, lo que contrasta con el dorso oscuro y los flancos rojizos. En plumaje invernal llama mucho menos la atención (dibujo 2), con un tono general oscuro en el dorso y los laterales, aunque presenta el cuello, la cabeza (excepto el píleo oscuro) y las partes inferiores de color blanco. Con cualquier plumaje, el largo cuello constituye un buen rasgo diagnóstico. En vuelo se observa su esbelta complexión, con su largo cuello estirado, y su batir rápido de alas hace ver las zonas alares blancas a modo de destellos.
No existen diferencias entre sexos. Los juveniles resultan similares a los adultos en invierno, aunque poseen en la cara un dibujo de líneas negras
que los distingue.
Canto
El somormujo lavanco emite sonidos de varias sílabas, ásperos y variados, alternados en secuencia: grhee-ghagha.
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
The tiny and ugly spots on your nose and chin are the results of the excessive sebum production. Those who struggle with acne and blackheads should start flirting with the idea of changing their skin cleansing routine. By including a few life-saving rituals you’ll have the chance to...
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
Notice the difference in color from my usual pastey white complexion to the sunburned neck and face.
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
Busardo ratonero
(Buteo buteo)
Probablemente, la clave del éxito de una de las rapaces más abundantes de Europa sea la absoluta falta de especialización en cualquiera de las facetas de su biología. En efecto, el busardo ratonero es un ave acomodaticia, que puede reproducirse satisfactoriamente en infinidad de hábitats y de climas, que preda sobre un espectro amplísimo de la fauna local y que manifiesta una notable tolerancia hacia el hombre y las modificaciones que este
impone en el medio.
Descripción y Clasificación
Orden Falconiformes; familia Accipitridae
Longitud 46-58 cm. Envergadura 110-132 cm.
Identificación
Es una rapaz de mediano tamaño, complexión robusta y coloración muy variable, que posee un aspecto bastante rechoncho cuando se la observa posada. En vuelo exhibe unas alas relativamente cortas y muy anchas y una cola no demasiado larga, que frecuentemente despliega en abanico, gracias a lo cual el ave puede practicar
durante largo rato un vuelo sostenido que alterna con cernidos ocasionales. Su plumaje presenta numerosas variaciones individuales, por lo que se pueden observar desde individuos muy claros hasta ejemplares bastante oscuros. No obstante, la coloración más típica del adulto es de un tono marronáceo bastante homogéneo en las regiones dorsales y ligeramente más clara en las ventrales, donde aparece una franja pectoral blanquecina de desigual extensión (dibujo 1). En vuelo se hacen patentes unas amplias manchas relativamente claras —muy barradas— coincidentes con las rémiges primarias y secundarias en su cara ventral. Las alas muestran el borde posterior recorrido por una banda oscura, al igual que la cola, que puede aparecer variablemente barrada (dibujo 2). El joven presenta las partes inferiores de desiguales tonos marrones y las coberteras dorsales con bordes pálidos; además, su cola está finamente barrada, pero carece de la ancha banda terminal propia de los adultos. Visto ventralmente, no se aprecia con nitidez el reborde posterior oscuro de las alas, y tanto estas como el cuerpo dan la sensación de estar más estriados que barrados. Finalmente, a diferencia de los adultos, que poseen el iris de color oscuro, el del joven es bastante claro.
Canto
En vuelo emite con frecuencia un grito característico parecido a un maullido: piiiii aaaa.
Photo Entitled: “The Exotic Eastern”
Anna May Wong, glamorous Chinese star, embroiders her tunic with her Chinese name,
“Frosted Yellow Willows”.
She plays “Zaharat” in “Chu Chin Chow” a Gainsborough Picture. Directed by Walter Forde. Produced at Islington London
The stunning Anna May Wong stars as slave girl Zaharat in this British film, which is based on the stage musical which in turn is based on the story Ali Baba and the Forty Thieves.
The timeworn British stage musical Chu Chin Chow had already been made into a silent picture when this talkie version made its bow in 1934. Based on Ali Baba and the 40 Thieves, the film stars corpulent music-hall comedian George Robey as Ali Baba, sinister Fritz Kortner as robber captain Abu Hahan, and exotic Anna May Wong as slave girl Zahrat, who saves Ali's life by properly applying oil to a collection of not-so-empty barrels. The obligatory romantic subplot is handled by John Garrick and Pearl Argyle, while comedy relief is supplied by a vaudevillian named Jetsam (that's right, of the team of "Flotsam and...") Director Walter Forde does little to "cinematize" the old property, which is just as well. Originally released at 93 minutes, Chu Chin Chow was shorn of about 5 minutes before its American release; presumably some of the sexier "nautch" dances were among the excised scenes.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
The Beautiful Lottie Locke The star of a Club shoot organised by David Rann of Fotofilia Studios.
The location is around the Jewellery Quarter of Birmingham.
Modify Clipping Path Background Knockout Drop Reflection Soft Shadow Mirror Effect Color Correction MaskingLayer Transparency Translucent Photo Retouching Restoration Manipulation Enhancing Image Edit Brightening Darkness Picture Change Raster Vector
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retouching ,Remove Background, Change background, Remove Objects from Pictures, Slim Body, Retouching, Whiten teeth, Improve complexion, Remove blemishes, Enhance color, Adjust lighting/contrast, Fix clothing, Adjust posture, Slimming, Remove flash glare, Remove/add people/objects, Remove shadows, braces, Change background, Color/tint B&W photo. Banner, Graphics Designs, Covers, Designs, Facebook Timeline, Timeline Covers
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Voila! Marcial Bernales dubbed her in oil paint, and did the right complexion and facial rouge to indicate weeping.
To protect your skin and have a radiant complexion all year, certain precautions are essential. Whatever the nature of your skin, here we give you 10 indispensable rules.
Each type of skin care
Need give more attention on sensitive areas
A gentle cleansing
The eye area, an area of...
I was trying to avoid getting to much sun on my face, but the plus side, my teeth look whiter with a darker complexion.
Wine-Oh! Face Serum is the perfect refreshing complexion pick me up! This serum is full of anti-oxidants and skin rejuvenating ingredients, including vitamin C & reservatrol (the powerful disease-fighting phytochemical found in red wine). A mix of grapeseed, jojoba, & sweet almond oil combine with lavender, rosewood, and orange essential oils, and meet up with black willowbark extract & cranberry seed oil (both are anti-inflammatory agents) to help diminish fine lines & promote cell renewal. As with all of my products, Wine-Oh! Face Serum is naturally preserved, using citric acid & grapefruit seed extract (GSE).
Product layers beautifully under moisturizer, make-up or used alone.
Bought this book - amzn.com/032172554 Awesome book!
My second photo retouch. Things I did to the photo:
Eyes (shaping, whitening, sharpening, color, reflection), Eyebrows & Eyelashes (Definition, trimming, etc), Mouth (Lip color and reflection, teeth whitening, teeth straightening), Skin (blemishes, smoothing, texture, dodge and burn), Hair (removing stray hairs, highlights, root lightening), Body & Face (sharpening), and other stuff that I can't remember haha.
Do not use without permission. © Azntaiji Multimedia 2011.
Horace King (sometimes Horace Godwin) (September 8, 1807 – May 28, 1885) was an American architect, engineer, and bridge builder.
King is considered the most respected bridge builder of the 19th century Deep South, constructing dozens of bridges in Alabama, Georgia, and Mississippi.
Born into slavery in South Carolina in 1807, King became a prominent bridge architect and construction manager in the Chattahoochee River Valley region of Alabama and Georgia before purchasing his freedom in 1846. He went on to construct lattice truss bridges in the style of Ithiel Town at every major crossing of the Chattahoochee River and over every major river in the Deep South between the Oconee and Tombigbee.
King served as a Republican member of the Alabama House of Representatives from 1868 to 1872.
Early career
Horace King was born as a slave in the Cheraw District of South Carolina, in present-day Chesterfield County, in 1807. King's ancestry was primarily African and Catawba, with contemporary biographer F.L. Cherry describing his complexion as showing more "Indian blood than any other."
Records indicate King spent his first 23 years near his birthplace, with his first introduction to bridge construction in 1824. In 1824, bridge architect Ithiel Town came to Cheraw to assist in the construction of a bridge over the Pee Dee River. While it is unknown whether King assisted in the construction of this bridge or its replacement span built in 1828, Town's lattice truss design used in both Pee Dee bridges became a hallmark of King's future work.
When King's master died around 1830, King was sold to John Godwin, a contractor who also worked on the Pee Dee bridge. In 1832, Godwin received a contract to construct a 560-foot (170-m) bridge across the Chattahoochee River from Columbus, Georgia into Girard, Alabama (today Phenix City). He and King moved to Girard that year to work on the project, which was completed in 1833 This bridge was the first known to be built by King, who likely planned the construction of the bridge and managed the slave laborers who built the span.
Rise to prominence
Between the completion of the "Godwin-King Bridge" in Columbus in 1833 and the early 1840s, King and Godwin partnered on no fewer than eight major construction projects throughout the South. The partners constructed some forty cotton warehouses in Apalachicola, Florida in 1834, the courthouses of Muscogee County, Georgia and Russell County, Alabama from 1839-1841, and bridges in West Point, Georgia (1838), Eufaula, Alabama (1838-39), Florence, Georgia (1840), and Columbus (1841), replacing their original span which had been destroyed in a flood in 1838. By 1840, King was being publicly acknowledged as being a "co-builder" along with his master, an uncommon honor for a slave. In the 1840s, King's prominence eclipsed that of his master, and he worked independently as architect and superintendent of major bridge projects in Wetumpka, Alabama and Columbus, Mississippi. While working on the Eufaula bridge, King met Tuscaloosa attorney and entrepreneur Robert Jemison, Jr., who soon began using King on a number of different projects in Lowndes County, Mississippi, including the 420-foot (130-m) Columbus, Mississippi bridge, and who would remain King's friend and associate for the rest of his life.
Freedom
Horace King used bridge-building techniques to design the spiral staircase in the Alabama State Capitol so that a central support was not required.
Despite his enslavement, King was allowed a significant income from his work and, in 1846, used some of his earnings to purchase his freedom from Godwin. However, under Alabama law of the time, a freed slave was only allowed to remain in the state for a year after manumission. Robert Jemison, who served in the Alabama State Senate, arranged for the state legislature to pass a special law giving King his freedom and exempting him from the manumission law. In 1852, King used this freedom to purchase land near his former master.
When Alabama State Capitol burned, and King was hired to construct the framework of the new capitol building, as well as design and build the double spiral entry staircases. King used his knowledge of bridge-building to cantilever the stairs' support beams so that the staircases appeared to "float", without any central support.
Around 1855, King formed a partnership with two other men to construct a bridge, known as "Moore's Bridge" over the Chattahoochee between Newnan and Carrollton, Georgia, near Whitesburg. Instead of collecting a fee for his work, King took stock instead, gaining a one-third interest in the bridge. King soon moved his family to Carroll County, adjacent to the bridge, though continued to maintain his home in Girard. The income from Moore's bridge allowed King a steady income, though he continued to design and construct major bridge projects through the remainder of the 1850s, including a major bridge in Milledgeville, Georgia and a second Chattahoochee crossing in Columbus, Georgia.
War times
King was conscripted to assist in the construction of Confederate ironclads, including this ship, the CSS Muscogee.
As the US Civil War approached in 1860, King, like many blacks in the South, opposed secession of the Southern states and was a confirmed Unionist. After the outbreak of hostilities, King attempted to continue his business as an architect and builder, constructing a factory and a mill in Coweta County, Georgia and a bridge in Columbus, Georgia. While working on the Columbus bridge, King was conscripted by Confederate authorities to build obstructions in the Apalachicola River, 200 miles (320 km) south of Columbus to prevent a naval attack on that city. After completing the obstructions on the Apalachicola, King was tasked to construct defenses on the Alabama River before returning to Columbus in 1863.
By this time, Columbus had become a major shipbuilding city for the Confederacy, and King and his men were assigned to assist construction of naval vessels at the Columbus Iron Works and Navy Yard. In 1863-64, King constructed a rolling mill for the Iron Works, providing cladding for Confederate ironclad warships. King's crews also provided lumber and timbers for the Navy Yard, and was at least peripherally involved with the construction of the CSS Muscogee.
As the war approached its end in 1864, many of King's bridges were destroyed by Union troops, including Moore's Bridge, which King owned. Raiders under Union general James H. Wilson assaulted Columbus in April of 1865, burning all of King's bridges in the city, including the one he had finished less than two years earlier.
King and Reconstruction
The destruction of the war led to new opportunities for King. Within six months after the war's end, King and a partner had constructed a 32,000 ft² (3,000 m²) cotton warehouse in Columbus and King had—for the third time—rebuilt the original Godwin-King bridge. Over the next three years, King would construct three more bridges across the Chattahoochee in Columbus, a major bridge in West Point, Georgia, two large factories, and the Lee County, Alabama courthouse.
When the Reconstruction Acts were implemented in 1867, King became a registrar for voters in Russell County, Alabama. Later that year, he attempted to establish a colony of freedmen in Georgia. While that plan was unsuccessful, King went on to be elected to the Alabama House of Representatives in 1868 as a Republican representing Russell County. King, though, busy in his construction business in Columbus, did not take his seat until over a year later, in November of 1869. King remained a reluctant legislator, voting only 78% of the time and proposing only three bills—none of which became law. Despite his lethargy, King was reelected in 1870, proposing no bills in the 1870-71 session and only five in the 1871-72 session, one of which—a prohibition on the sale of alcohol in Hurtsboro, Alabama—became law. King did not seek reelection in 1872.
Final years
After King left the Alabama legislature in 1872, he moved to LaGrange, Georgia. While in LaGrange, King continued building bridges, but also expanded to include other construction projects, specifically businesses and schools. By the mid-1870s, King had begun to pass on his bridge construction activities to his five children, who formed the King Brothers Bridge Company. King's health began failing in the 1880s, and he died on May 28, 1885 in LaGrange.
King received laudatory obituaries in each of Georgia's major newspapers, a rarity for African-Americans in the 1880s South. He was remembered both for his engineering skill and for his character and ability to bridge the gap between the races.
Further reading
* F.L. Cherry, "The History of Opelika and Her Agricultural Tributary Territory", The Alabama Historical Quarterly 15, No. 2 (1953), Chapter V.
* John S. Lupold and Thomas L. French, Bridging Deep South Rivers: The Life and Legend of Horace King, (Athens, Georgia: University of Georgia Press, 2004), ISBN 0-8203-2626-7.