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Dimanche 10 mars, j'ai pris la route direction Lille pour une visite à la foire d’art contemporain « Lille art fair », avec Alexis, mon fils de 10 ans. Profitant de cette sortie dans le nord, je programme un petit détour vers le café « chez Salah » à Roubaix, afin d’immortaliser cette façade que j’avais vue dans un journal quotidien, un article qui évoquait la résistance du propriétaire « Salah » face à l’aménagement du quartier et des bulldozers qui veulent relooker le quartier. Après un peu plus d’une heure de route, nous arrivons sur les lieux, je ne reconnais pas trop l’endroit, il faut dire que les photographes ont le don de nous présenter les choses :) Le café me semble abandonné et fermé en ce jour dominical, celui-ci se trouve à quelques pas d’un carrefour, les aménagements entrepris ne me permette pas de me garer à coté. Je trouve donc une petite place sur une route qui mène à des travaux. Une fois à pied, nous nous dirigeons vers l’édifice, à quelques mètres de l’entrée des clients, notre venue réveille un chien derrière une porte de métal… pour notre approche discrète, c’est raté…. Une fois en face de l’enseigne, j’effectue quelques prises de vue, non pas comme un touriste mais plutôt comme un témoin d’une vie passée. Pas le temps de faire le tour de ce bistrot, Salah sort de son troquet pour donner du pain aux pigeons, je pense que c’est le chien qui nous a dénoncés… Je m’avance donc vers cet homme qui « m’attends », j’engage la conversation, lui explique ma démarche et lui demande si c’est ouvert, nous voilà donc réuni tous les trois autour du bar. Soyons fou, c’est ma tournée ! La discussion se poursuit sur le combat de cet homme âgé de plus de 70 ans qui souhaite garder sa demeure, jusqu’à son dernier souffle. Les articles de presse et autres photos accrochés sur le mur témoignent de son dernier combat face aux travaux et autres promoteur. Je lui parle de retraite, « la retraite c’est pour les fainéants ! »…un sujet a oublié… Les sujets se suivent, je lui parle de son chien seul compagnon fidèle, il en profite pour me sortir une facture de sa nourriture, pourquoi ? Je ne sais pas. Je poursuis par une petite visite des lieux où un vieux juke-box trône à coté du bar, j’explique à Alexis l’utilité de ce meuble du siècle dernier. Je conclue ma visite par une demande afin d’immortaliser « Salah » sur mon capteur numérique, même si la lumière intérieure ne me facilite pas le travail. Une fois dehors, je finis le tour du propriétaire pour d’autres clichés afin de témoigner d’une partie de la vie de cet homme accueillant.
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Sunday, March 10, I took the road towards Lille to visit the Art Fair "Lille Art Fair" with Alexis, my 10 year old son. Taking advantage of this output in the north, I program a little detour to the coffee "in Salah" in Roubaix, to immortalize this facade that I had seen in a daily newspaper, an article that referred to the resistance of the owner "Salah" facing the development of the district and who want to revamp the bulldozers neighborhood. After a little over an hour's drive, we arrived on the scene, I do not recognize the place too, it must be said that photographers have the gift to introduce ourselves things :) The coffee seems abandoned and closed Sunday today, it is just not a crossroads, arrangements undertaken does not allow me to park next to me. So I find a small place on a road to work. Once on foot, we headed to the building, a few meters from the entrance of the clients, we came up one dog behind a metal door ... for our discrete approach is missed .... Once in front of the sign, I made a few shots, not as a tourist but as a witness to a past life. No time to turn at this bistro, Salah out of his troquet to give bread to the pigeons, I think it is the dog who reported us ... I therefore advance to the man who "wait for me" , I strike up a conversation, explain my approach and asks if it is open, here we met all three around the bar. Let's crazy is my tour! The discussion continues on the battle of man over the age of 70 who wishes to keep his home until his last breath. Newspaper articles and other pictures hung on the wall testify to his last fight against the promoter and other work. I told him about retirement, "retirement is for the lazy! "... A subject has forgotten ... The following topics, I asked about his faithful companion dog alone, he took the opportunity to get out a bill for his food, why? I do not know. I continue with a visit of the premises where an old jukebox throne next to the bar, I told Alexis the usefulness of this piece of the last century. I concluded my visit with a request to immortalize "Salah" on my digital sensor, even if the interior light does not help me work. Once outside, I finished the tour of the property for other pictures to show a part of the life of this man welcoming.
Formerly Discovery Bay of OCL, one of the first generation container ships built in 1969. Seen in her dotage at Darling Harbour in 1994, employed on trans- Tasman service.
Direct Rail Services Class 68 No. 68007 Named. "Valliant" is seen here in it's Abellio Scotrail Saltire Blue livery passing Holytown Station leading service 5L69 which was the 15:59 Motherwell T.M.D (DRS) to Edinburgh [Fife Circle Empty Coaching Stock Move], With a rake of Mk2E/F coaches in tow behind and the numbers of the coaches were 5952, 6183, 6027, 9527, 5965 and 6137.
Direct Rail Services Vossloh/Caterpilar UK Light Class 68s 68017 'Hornet' and 68018 'Vigilant' top and tail Northern's 2C49 the 11:40 Barrow-in-Furness to Carlisle passenger service at Drigg station on the Cumbrian coast railway line.
I lucked in on this one as I was only expecting a unit. Anglia Saturday diagrams usually see the last loco hauled train in the afternoon, but this service saw an additional use of
37 409 Lord Hinton and 37 405 with 2J88,the 19:05 Norwich - Lowestoft, seen here slowly crossing Reedham Swing Bridge
Thanks to the other photographers on the bridge who filled me in with the info (my local knowledge is 35 years out of date !!)
Vintage card. Photo: Metro-Goldwyn-Mayer (M.G.M.).
Gene Kelly (1912-1996) was an American actor, dancer, singer, filmmaker, and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen. He starred in, choreographed, or co-directed some of the most well-regarded musical films of the 1940s and 1950s until they fell out of fashion in the late 1950s. Kelly is best known today for his performances in films such as Anchors Aweigh (1945), On the Town (1949), which was his directorial debut, An American in Paris (1951), Singin' in the Rain (1952), Brigadoon (1954), and It's Always Fair Weather (1955).
Eugene Curran Kelly was born in 1912 in the East Liberty neighborhood of Pittsburgh. He was the third son of James Patrick Joseph Kelly, a phonograph salesman, and his wife, Harriet Catherine Curran. By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered Pennsylvania State College as a journalism major, but after the 1929 crash, he left school and found work in order to help his family financially. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs. In 1931, Kelly enrolled at the University of Pittsburgh to study economics. His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. In 1937, having successfully managed and developed the family's dance-school business, he finally did move to New York City in search of work as a choreographer. His first Broadway assignment, in 1938, was as a dancer in Cole Porter's 'Leave It to Me!' Kelly's first big breakthrough was in the Pulitzer Prize-winning 'The Time of Your Life' (1939), in which, for the first time on Broadway, he danced to his own choreography. In 1940, he got the lead role in Rodgers and Hart's 'Pal Joey', choreographed by Robert Alton. This role propelled him to stardom. Offers from Hollywood began to arrive.
Metro-Goldwyn-Mayer was the largest and most powerful studio in Hollywood when Gene Kelly arrived in town in 1941. There he made his film debut with Judy Garland in For Me and My Gal (Busby Berkeley, 1942). The film was a production of the Arthur Freed unit at MGM and it was one of the big hits of the year. The talent pool at MGM was especially large during World War II, when Hollywood was a refuge for many musicians and others in the performing arts of Europe who were forced to flee the Nazis. Kelly's film debut was followed by Cole Porter's Du Barry Was a Lady (Roy Del Ruth, 1943) with Lucille Ball, the morale booster Thousands Cheer (George Sidney, 1943), Cover Girl (Charles Vidor, 1944) opposite Rita Harworth, and Anchors Aweigh (George Sidney, 1945) with Frank Sinatra. MGM gave him a free hand to devise a range of dance routines for the latter, including his duets with Sinatra and the celebrated animated dance with Jerry Mouse—the animation for which was supervised by William Hanna and Joseph Barbera. Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946), Kelly collaborated with Fred Astaire, for whom he had the greatest admiration, in 'The Babbitt and the Bromide' challenge dance routine. He co-starred with Judy Garland in The Pirate (1948) which gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time but flopped at the box office. Kelly made his debut as a director with On the Town (1949), for Arthur Freed. Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."
Two musicals secured Gene Kelly's reputation as a major figure in the American musical film. First, he directed and starred in An American in Paris (1951) with Leslie Caron. The highlight of the film is the seventeen-minute ballet sequence set to the title song written by George Gershwin and choreographed by Kelly. The sequence cost a half-million dollars (U.S.) to make in 1951 dollars. Kelly's many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. In 1952, he received an Academy Honorary Award for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. Probably the most admired of all film musicals is his next film, Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the central driving force and unforgettable is Kelly's celebrated and much-imitated solo dance routine to the title song. Kelly continued his string of classic Hollywood musicals with Brigadoon (1954) with Cyd Charisse, and It's Always Fair Weather (1955), co-directed with Donen. The latter was a musical satire on television and advertising and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. It, too, sold few movie tickets. Dale O'Connor at IMDb: "Kelly was in the same league as Fred Astaire, but instead of a top hat and tails Kelly wore work clothes that went with his masculine, athletic dance style." He finally made for MGM The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.
After musicals got out of fashion, Gene Kelly starred in two films outside the musical genre: Inherit the Wind (Stanley Kramer, 1960) with Spencer Tracey and Fredric March, and What a Way to Go! (1964). In 1967, he appeared in French musical comedy Les Demoiselles de Rochefort/The Young Girls of Rochefort (Jacques Demy, 1967) opposite Catherine Deneuve. It was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture. Kelly directed films without a collaborator, including the bedroom-farce comedy A Guide for the Married Man (1967) starring Walter Matthau, and the musical Hello, Dolly! (1969) starring Barbra Streisand and Matthau. The latter was nominated for the Academy Award for Best Picture. He appeared as one of many special narrators in the surprise hit That's Entertainment! (Jack Haley Jr., 1974). The compilation film was released by Metro-Goldwyn-Mayer to celebrate the studio's 50th anniversary. The film turned the spotlight on MGM's legacy of musical films from the 1920s through the 1950s. Kelly subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (Gene Kelly, 1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film. It was later followed by That's Dancing! (Jack Haley Jr., 1985), and That's Entertainment, Part III (Bud Friedgen, Michael J. Sheridan, 1994). Kelly received lifetime achievement awards in the Kennedy Center Honors (1982) and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema. Gene Kelly passed away in 1996 at the age of 83 in Beverly Hills, California, U.S. His final film project was the animated film Cats Don't Dance, not released until 1997, on which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory. Gene Kelly was married three times: yo actress Betsy Blair (1941-1957), Jeanne Coyne (1960- her death in 1973) , and Patricia Ward (1990- his death in 1996).
Sources: Dale O'Connor (IMDb), Wikipedia, and IMDb.
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In response to emails I got about yesterdays kindle post I'm posting this pic. Yes, you can see the screen in direct sunlight at any angle. The kindle is lying flat on a table in midday sun, no glare. So glad there is so much interest in kindle, I'm very happy with mine. Enjoy.
Nikon D7000
Nikkor 18-105mm
Exposure 1/500 sec.
Aperture f/6.3
Focal Length 105 mm
ISO Speed 100
Don't use this image on websites, blogs or other media without explicit permission from Laurarama.
© All rights reserved
SPARKLING VIOLETEAR (hummingbird) male Colibri coruscans. This Sparkling Violetear male is perching near flowers along the Old Nono Mindo Road in the Tandayapa Valley in Northwestern Ecuador on August 2, 2013.
Esta foto de un macho de Colibrí Orejivioláceo Ventriazul Colibri coruscans proviene del Viejo Camino a Nono en el Valle de Tandayapa en el noroeste de Ecuador el 2 de agosto del 2013.
For OPTIMAL VIEWING of this Sparkling Violetear, VIEW AT THE GIANT SIZE (1388 x 1200) using this direct Flickr link: www.flickr.com/photos/neotropical_birds_mayan_ruins/11305...
M692-30 passes the North End of Toe River Siding and takes a direct hit from evening sun as it comes down the straightaway to Berry Gap. The signals, relay box, and milepost are all survivors from the Clinchfield Era.
Direct Rail Services Class 37/0's 37259 and 37069 diesel-electric locomotives power away from St. Bees on the Cumbrian Coast railway line with 6M22 the 12:17 Hunterston to BNFL Sellafield nuclear flask train.
Seen on 2P29 1718 Great Yarmouth - Norwich running on time.
It left Great Yarmouth on time.
It arrived at Norwich on time
Dublin Bus E400/Volvo B9TL EV3 is seen with this simple ad for Canadian Airline Westjet and the commencement of their direct flights from Dublin to Calgary starting Sunday 2nd June using a B787 Dreamliner
Original file jpg: 103,4 MB
dimensions: 7360 x 4912 pixel
equipment: camera Nikon D800E + lens Nikon 105 micro
NO PHOTOSHOP, NO DIGITAL PROCESSING
NATURAL DIRECT SUN OBLIQUE LIGHT
THE BLACK BACKGROUND IS GIVEN BY THE CORRECT EXPOSURE ON THE FLOWER
SEE ON BLACK, PLEASE: IT IS REALLY WONDERFUL!!!!!
IF, THEN, AND THE ATHEIST DILEMMA.
All scientific theories are based on ‘if’ and ‘then’. The proposition being; IF such a thing is so, THEN we can expect certain effects to be evident.
For example: there are only two competing alternatives for the origin/first cause of everything.
A natural, first cause, OR a supernatural, first cause.
Atheists believe in a natural, first cause.
Theists believe in a supernatural, first cause.
IF the first cause is natural, THEN progressive evolution of the universe (cosmos) and life are deemed to be expected, even essential.
Conversely, IF the first cause is supernatural, THEN an evolutionary scenario of the cosmos and/or life is not required, not probable, but not impossible.
In other words, while evolution, and an enormous, time frame are perceived as absolutely essential for atheist naturalism, theism could (perhaps reluctantly) accept evolution and/or a long, time frame as possible in a creation scenario.
Crucially, if the evidence doesn’t stack up for cosmic evolution, biological evolution, and a long evolutionary time frame, atheist naturalism is perceived to fail.
For atheism, evolution is an Achilles heel. Atheists have an ideological commitment to a natural origin of everything from nothing - which, if it were possible, would essentially require both cosmic and biological evolution and a vast timescale.
Consequently, atheist scientists can never be genuinely objective in assessing evidence. Only theist scientists can be truly objective.
However, the primary Achilles heel for atheist naturalism is its starting proposition.
Because the ‘IF’ proposal of a natural, first cause, is fatally flawed, the subsequent ‘THEN’ is a non sequitur.
The atheist ‘IF’ (a natural, first cause) is logically impossible according to the laws of nature, because all natural entities are contingent, temporal and temporary.
In other words:
All natural entities depend on an adequate cause.
All natural entities have a beginning.
And all natural entities are subject to entropy.
Whereas a first cause MUST be non-contingent, infinite and eternal.
But, just suppose we ignore this insurmountable obstacle and, for the sake of argument, assume that the ‘THEN’ which follows from the atheist ‘IF’ proposition of a natural, first cause is worth considering.
We realise that both cosmic and biological evolution are still not possible as NATURAL occurrences.
The law of cause and effect tells us that whatever caused the universe (whether it evolved or not) could not be inferior, in any way, to the sum total of the universe.
An effect cannot be greater than its cause.
So, we know that cosmic evolution from nothing could not happen naturally.
That traps atheists in an impossible, catch 22 situation, by supporting cosmic evolution, they are supporting something which could not happen naturally, according to natural laws.
It doesn’t get any better with biological evolution, in fact it gets worse. The Law of Biogenesis (which has never been falsified) rules out the spontaneous generation of life from sterile matter. Atheists choose to ignore this firmly established law and have, perversely, invented their own law (abiogenesis), which says the exact opposite. However, their cynical disregard for laws of nature, ironically, fails to solve their problem.
Crucially ...
An origin of life, arising of its own volition from sterile matter, conditions permitting (abiogenesis), would require an inherent predisposition/potential of matter to automatically develop life.
The atheist dilemma here is; where does such an inherent predisposition to automatically produce life come from? In a purposeless universe, which arose from nothing, how could matter have acquired such a potential or property?
A predisposed potential for spontaneous generation of life would require a purposeful creation (some sort of blueprint/plan for life intrinsic to matter). So, by advocating abiogenesis, atheists are unintentionally supporting a purposeful creation.
Following on from that, we also realise that abiogenesis requires an initial input of constructive, genetic information. Information Theory tells us; there is no NATURAL means by which such information can arise of its own accord in matter.
Then there is the problem of the law of entropy (which derives from the Second Law of Thermodynamics). How can abiogenesis defy that law? The only way that order can increase is by an input of guided energy. Raw energy has the opposite effect. What could possibly direct or guide the energy to counter the natural effects of entropy?
Dr James Tour - 'The Origin of Life'
Suppose we are stupid enough to ignore all this and we carry on speculating further by proposing a progressive, microbes-to-human evolution (Darwinism).
Starting with the limited, genetic information in the first cell (which originated how, and from where? nobody knows). The only method of increasing that original information is through a long, incremental series of beneficial mutations (genetic, copying MISTAKES). Natural selection cannot produce new information, it simply selects from existing information.
Proposing mistakes as a mechanism for improvement is not sensible. In fact, it is completely bonkers. Billions of such beneficial mutations would be required to transform microbes into humans and every other living thing.
Once again, it would need help from a purposeful creator.
So, we can conclude that the atheist ‘IF’, of a natural, first cause, is not only a non-starter, but also every ‘THEN’, which would essentially arise from that proposal, ironically supports the theist ‘IF’.
Consequently ...
If you don't believe in cosmic evolution you (obviously) support a creator.
If you do believe in cosmic evolution you (perhaps unintentionally) also support a creator.
And...
If you don’t believe in abiogenesis and biological evolution, you (obviously) support a creator.
If you do believe in abiogenesis and biological evolution you (perhaps unintentionally) also support a creator.
Conclusion:
The inevitable and amazing conclusion is that everyone (intentionally or unintentionally) supports the existence of a creator, whatever scenario they propose for the origin of the universe.
No one can devise an origin scenario for the universe that doesn’t require a Creator. That is a fact, whether you like it or not!
The Bible correctly declares:
Only the fool in his heart says there is no God.
Theists have no ideological need to be dogmatic. Unlike atheists, they can assess all the available scientific evidence objectively. Because a long timescale, and even an evolutionary scenario, in no way disproves a creator. In fact, as I have already explained, a creator would still be essential to enable: cosmic evolution, the origin of life, and microbes-to-human evolution. Whereas, both a long timescale and biological evolution are deemed essential to (but are no evidence for) the beliefs of atheist naturalism.
Atheist scientists are hamstrung by their own preconceptions.
It is impossible for atheists to be objective regarding any evidence. They are forced by their own ideological commitment to make dogmatic assumptions. It is unthinkable that atheists would even consider any interpretation of the evidence, other than that which they perceive (albeit erroneously) to support naturalism. They force science into a straitjacket of their own making.
All scientific hypotheses/theories about past events, that no one witnessed, rely on assumptions. None can be claimed as FACT.
The biggest assumption of all, and one that is logically and scientifically unsustainable, is the idea of a natural, first cause. If this is your starting assumption, then everything that follows is flawed.
The new atheist nonsense, is simply the old, pagan nonsense of naturalism in a new guise.
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
youtu.be/B1E4QMn2mxk
The poison in our midst - progressive politics.
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"Once more unto the breach," the Henry V statue directs the traffic at Rosebird island in Stratford-upon-Avon.
Sometimes you live dangerously as a football photographer...the ball can be seen blurred on the photo before it hit my face. As a result there was a black eye and i had to have a wound over the eye stitched in hospital emergency. My glasses and lens hood didn't survive. My eyes, my brain and my camera and lens remained unharmed. That's why you should always use a lens hood...
direct from my camera with min touch up.....enjoy your sunday.....
many thanks for supporting KL Nature Outers www.flickr.com/groups/1352572@N23/
Location: dpp riverside Putrajaya Malaysia.
a shot from my Oly e500.
terima kasih - thank you - syukran - for your kind interest & support...really appreciate & take good care always ...rgds tank/sulaiman
Direct Rail Services Brush/General Motors Class 57s 57010 and 57002 diesel-electric locomotives power through Harrington towards Salterbeck in Workington with 6C46 the 19:40 BNFL Sellafield to Carlisle Kingmoor Depot nuclear flask train.
With both locomotives and coaching stock in need of a new year service, the short set made its way along the Breckland line on the 02/01/15. 37422 passes the camera at Hethersett around 10 minutes into the journey to Crewe.
Direct Rail Services Class 88 No. 88005 "Minerva" & Class 68 No. 68007 "Valiant" + 2 FNA wagons head North bound towards Spelter Works Road Sunderland working the 6M60 1336 Seaton-o-t British Energy to Sellafield B.N.F. flask working.
21/02/24
Direct scan of the graphic used to illustrate the back cover of the book and the Advent calender included with "The Story of Christmas," adapted by Kathryn Jackson, illustrated by Augie Napoli, 1973.
I found this book in a used bookstore in California, with the stand-alone fold out calendar. It has a Scripture-based reading for the 24 days before Christmas, and lavish illustrations. I read from this book to each of my two kids for years and years as part of our family's Advent devotions.
Direct Rail Services 68 003 / 002 passing Cheney Longville, Craven Arms with the diverted 6M63 Nuclear Flasks from Bridgewater to Crewe, diverted via the marches due to engineering works at Bristol
The Ravenglass and Eskdale Railway's 'new' locomotives - 'Whillan Beck', a Pacific built by Krauss of Munich in 1929 was on display at Kingmoor along with Traction Engine 'Providence'.
The new locomotive was built for the Ibero-American Exposition in Seville and following it's move from Spain to the UK it is completing it's restoration before being brought into full time use later this year. The display with 'Providence' was a nod to the 50th anniversary of the delivery of River Mite which was moved from Leeds to Ravenglass behind the same traction engine.
Behind can be seen 37424 'Avro Vulcan XH558', one of the large logo 37's rostered for Cumbrian Coast loco hauled duties.
22nd July 2017.