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I had no clue Kenmore used any other ground aircraft other than the Cessna Caravan. Definitely not in the Kenmore Air colors. Maybe contracted? Idk
光，20130808
光，在面向著未來的方向時出現，
感覺是要我向前走
而我也只是好奇
在那光底下到底有什麼？
The light, Aug. 8th, 2013.
I saw the light and I faced it.
I thought I should move toward it.
Maybe, I was just curious about what is there?
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mercenary mech contract bounded, payment will be completed at the end of the task, no refunds.
later today you'll see the debut of the Mframe prototype mech.
on a side note: Go buy nexo knights, lets keep this theme alive! it is super awesome
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
The New Contract Missions are now open. Each month a new list of people of interest is posted with details on how you can build your mission and what you win of you complete it. Check it out on Eurobricks.com in The Great Brick War!
Local rock band Triggered Response contracted me back in December to do their first serious photoshoot. They wanted to take some explosive imagery that showed them off as a band so the idea to have this series of water explosions was born. Minus a flooded room, the shoot went off AMAZINGLY ^_^
Over 10 hours of photoshop was invested into the shot to blend the 8 or so images together! If the interest is there, I can prepare a short Tutorial showing how it's done!
In the mean time, I invite you guys to come check out the Making of Video by Eva Jinn Productions: vimeo.com/19996118
Credits:
Clients: TRIGGERED RESPONSE - http://triggeredresponse.com/
Kayla St. Cartier - Vocals, Rhythm Guitar
Abdiel Friedman - Lead Guitar
Alan Pick - Bass Guitar
Patrick N. Perrin - Drums
Makeup:
Lisa-Marie Charron
Assistants:
Anick Morel Photographie
Linda Zheng
Christine Claire Delta
—
Thanks for viewing my photostream =)
Please leave a comment and feel free to throw in some constructive criticism!
©VonWong
Montreal Conceptual Photographer
vonwong.com - Facebook - Twitter - Flickr
Be careful what you sign....
We're Here: World of Disturbia
288/365
Inspired by Mr X's recent series of still lives.
Headless horse courtesy of Moriarty.
So, let me start by making posting the story of Valiant:
Valiant, an Ascendant Lord, built like a castle, with high defense, and average mobility,
It is feared by it’s massive strength and usually, 1 hit from him is all that is needed to win.
Its pilot usually goes around with his son, who he is training to be the next pilot of Valiant. The Son, born blind, can only see when attached to the valiant, which makes this story even darker...
Valiant was seen as a threat, so Joker was contracted to eliminate it...which he did, but left the son alive, he does not kill if it is not on contract.
-- Build comment --
So, I got some new pieces, and I wanted to rebuild Valiant, but I got this idea of making a dynamic plot series, and this gave me the chance.
BTW, I did update the Joker’s design, Let me know if you want new photos of it.
Hope you like it.
Lothian Country's 1048 (LXZ 5436), a ZF Ecolife Volvo B9TL Wright Eclipse Gemini 2, drifting through Uphall on the service X18 to Edinburgh.
1048 was new to First Centrewest in October 2010 as their "VN37890" and was registered as "BF60 UUA". 1048 predominantly operated the service 18. The 18 operated, and continues to operate, between Sudbury and Euston.
UUA was later sold to Metroline in *2013, due to the demise of First Capital. VN37890 then was acquainted the new fleet number of "VW1842".
In 2017, Metroline lost the contract for the service 18 to RATP London United, RATP being a multinational operator also operating in Paris France. RATP stands for "Régie Autonome des Transports Parisiens", which essentially means it's a state owned operator of Paris, very similar to what is seen with Lothian here in Edinburgh.
RATP used, and still continues to use, Volvo B5LH Wright Eclipse Gemini 3s since their takeover of the 18.
As a result of losing the service 18, numerous Gemini 2s were withdrawn. This, in turn, saw Lothian purchase 48 of them, in the same batch as 1049, and 2 from Go Ahead London.
After their purchase, the 48 of them that were in the Metroline batch were sent to WrightBus in Ballymena, Northern Ireland, to receive an extensive refurbishment to high-quality Lothian specifications.
The other two from Go Ahead, now 1001 and 1002, were refurbished at Thorntons in Ashington, England.
Once refurbished, all 50 of them received private registrations, which appear as "LXZ 53××" or "LXZ 54××".
25 were sent to Lothian Buses Central Depot, and all started working in Edinburgh between June and September 2018. The other 25 were sent to Lothian Country, which started working West Lothian local routes in August 2018 from the Longstone depot. This was until the purchase of the Livingston depot in March 2019. I'll discuss more later on.
The Gemini 2s from London were mostly bought of Metroline, which were previously owned by First Centrewest. Two of them from the first batch, 1001 & 1002, were previously owned by Go-Ahead London. These were purchased to upgrade their fleet as well as to provide Lothian Country with buses to operate their new, at the time, West Lothian services; X27, X28 and 275, which commenced operations on Sunday, 19th August 2018.
The first batch was 1001 - 1050. They began entering service in July 2018. The following two months saw the rest of the ex Londoners entered service. Lothian Country's ones were the last ones that were required to enter service. They started entering service in August 2018 and were all in service by late September 2018.
These buses are rather unique to Lothian Buses for a couple of reasons. They have a shorter body than the usual double deck vehicles found in Lothian's native fleet. In Lothian's double deck fleet, their vehichles usually range from the lengths 11.3 - 11.5 meters, whereas the ex London B9TL's are only 10.8 meters long. Additionally, they have a ZF transmission instead of a Voith, which all Lothian's Volvo B9TL Chassis had.
Out of the 50 buses:
The 25 that found themselves at Lothian Buses Central Depot were 1001 - 1002, 1005 - 1012, 1014 - 1027, and 1050. The remaining 25 found themselves at Lothian Country. These were 1003, 1004, 1013 and 1028 - 1049.
The next batch of ex London B9TL's entered service in May 2019 (1000 and 1141 - 1153), these are different than the previous batch as these have an exit middle door, minus 1000. These have so far remained their entire Lothian Buses life the the Marine depot in Seafield apart from 1000 which was sent to Central in 2019 then transferred to Longstone in 2020 then subsequently back to Central in 2021.
One thing to note, in 2021 we saw 1031 be off the road for many months to have its gearbox replaced.
Notes:
1029 was withdrawn in July 2019 following a collision with a low hanging bridge in Fauldhouse. 1029 was subsequently scrapped. 1029 was housed in Livingston prior to this.
This photo was taken at Uphall's East Main Street on Monday, 12th of December 2022.
As of the date this was uploaded (12/12/2022) 1048 1048 has returned for repaint into the new Lothian Country livery, shared with East Coast Buses. Currently 1037, 1043, 1045, and 1048 have all returned from repaint and are back to operating services around West Lothian. Sent away and yet to return from paint are 1036, 1039, 1047 and 1049. The rest are yet to be sent away. 1035 has now moved to Marine to be moved to Seafield for repaint preparation.
Thank you for reading. Have a wonderful week, and stay safe! 😊
Big Lemon Volvo B10M coach V9 VSN seen in Hove awaiting passengers. Every Monday - Friday V9 heads to London and a Mercedes is used locally on a shuttle service for the same customer.
This is one of my original lawn contracts. I've been maintaining this lawn since the mid 90's. We just power raked and top seeded this lawn three weeks ago so it will be a few more weeks until it's in it's best condition. I'll be fertilizing these lawns next week too. No photo editing on these photos either. I'm just really happy with how they are taking shape. 😃
I hope everyone has a great weekend as well.
This is one of my original lawn contracts. I've been maintaining this lawn since the mid 90's. We just power raked and top seeded this lawn three weeks ago so it will be a few more weeks until it's in it's best condition. I'll be fertilizing these lawns next week too. No photo editing on these photos either. I'm just really happy with how they are taking shape. 😃
I hope everyone has a great weekend as well.
I saw a picture of this ex Australian Army Scammell Contractor tank transporter that'd been converted to a tipper here on Flickr around 2011, and when I was on holiday there in 2018 I decided to see if the 1971 built machine was still around.
With not much time or information I managed to track it down even though it'd moved location to a coal mine which was impossible to access without induction training!
Never mind, at least the old girl was parked fairly near the fence!
A young Mt Goat kid negotiates a model contract with the photographer, Dennis E Kirkland. I have had many people ask me if I had ever had close encounters with the wildlife I have photographed. The answer is yes, but I usually don't have someone (in this case, my wife) photographing me while I have these encounters...they are great fun! Best viewed large. All rights reserved.
Ivan Drackoff - Leader of the Shazir Cell in Bandaud. Wanted in connection with a bombing in Plighia last year. Wanted Alive
(for a contract build in Eurobrick's GREAT BRICK WAR)
So here we have L&B currently running the MS & SNS contract on behalf of GCT who run the contract of GNE for the MS & The SNS contract who was previously ran by GNE and JH
Seen at Ashford International Rail Station operating the Bakkavor Salads works contract was Bayliss Executive Travel of Deal YX73 PKC. This Alexander Dennis E400MMC was bought brand new in January 2024
Date:16.01.2024
With a hint of overnight dew and the rising sun just piercing the morning mist, DB Schenker 66111 rumbles through Cummersdale on the outskirts of Carlisle on 23 May 2015 heading the 6C33 05:22 Carlisle Yard to Dalston loaded bogie fuel tankers as some of the Blackwell Hall pedigree herd remain unperturbed by the train (but one with interest in the photographer behind a hedge I might add!). I was unaware at the time that this long-running BP contract with EWS/DBS would soon pass over to Colas Rail Freight.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Back in mid 2012 a new waste contract started for the Clarence Valley region and a pair of new bins was being rolled out to every property. Both Mastecs, you had a green lid 240L for the weekly organics service and a 360L yellow lid delivered for the fortnightly recycling collection. Shown in the picture is a handful of the bin stacks awaiting pick-up and delivery during the roll-out phase at the JR Richards yard in Grafton. To the left of the picture is a shed, where the collection trucks now park, but at the time there were hundreds upon hundreds of new bins being stored inside. I’ve got a video on YouTube titled “JR Richards South Grafton” which will show you more of the bin stock at the time.
A move of contract cars including those of McKinley Explorer and Princess Cruise lines departs the Denali station and heads north toward Fairbanks. The ARR does a good amount of business during the summer (in 2010 it did anyway) with these operations. Lodges along the line at Talkeetna and Denali host cruise passengers and the connections with air travel at Fairbanks and Anchorage and direct service to cruise ships at Whittier, Anchorage, and Seward make for a very dynamic operation. The forest of conifers, aspen and alders make for a nice mosaic of shades of greens.