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One final image from last Saturdays class 50 operated railtour organised by the Branch Line Society. This low angle view shows 50 007 'Hercules' at the buffer stops in platform 7, during the tours second visit to the Sussex terminus in an hour. Sister 'Hoover' 50 008 'Thunderer' was at the other end of the eight coach formation and was about to lead the tour on the next stage of it's itinerary to Newhaven.
This low vantage point was to try and emphasise the grandness of the large curved glass and iron roof, which was constructed in 1882/1883. The double-spanned roof covers all the platforms and is supported 75 feet above on cast iron columns. Substantial renovation work on the roof was carried out in 1999/2000.
(Magenta coverage corrected.)
It's been a long time since I've shot at night and my yield was terrible... 😅
久しぶりの夜撮りは歩留まりが最悪でした・・😅
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✈️RWY16L↘ - JA817A🇯🇵 - Boeing 787-8 Dreamliner - Air Japan - NH468(OKA-HND)
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✨Taken at Haneda airport terminal 2 on Dec. 23rd, 2024, 16:54
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📷Canon EOS R1
🔭EF500mm F4L IS II USM
⚙️MANUAL・F4.0・1/80th・-1.33EV・ISO1600(AUTO)
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Beyer Patton photo
As the last Rio Grande Zephyr left Denver and ascended the Front Range, TV cameras were in the air (and on the train) to capture the first part of the trip. One such news helicopter is seen from one of the domes.
Crescent, Colorado
April 23, 1983
Train of the Day
5/3/23
North side of the street, view to the east. Full sun in foreground, shade in background. Part of the album "Sun and Shade."
Another British Retro tartan stunner. It’s a size 14 again, but this one fits perfectly - go figure! Thought this would work better with tights on, just for contrast purposes 😊
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010