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Women waiting for food aid at a distribution centre in Afgoye, Somalia. The United Arab Emirates Red Crescent gave out food aid as part of a programme for the month of Ramadan. African Union Mission in Somalia (AMISOM) forces provided support in Afgoye, where over 5,000 internally displaced people (IDPs) were given something to eat.
Afgoye, Somalia 04/08/2013
Photo ID 557871 UN Photo/Tobin Jones
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modfied, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
RPB-01 railway ballast distributing and profiling machine is a new agregate for our railways which are produced by the Kaluga Track Machines and Hydraulic Drives Plant (part of the Sinara Group) in Russia. This machine distributes the crashed stone (future track ballast) to form perfect railway track profile.
Next is the personnel car from of newer series built by RPM Group, Russia
The last is the railway tamping machine Dynamic 09-3Х designed in Austria by the Plasser & Theurer, localized and produced by the Russian RPM Group (Выправочно-подбивочно-рихтовочная машина Динамик-подбивочный экспресс 09-3Х).
October Railway division of the Russian Railways, Leningrad region, Russia
The great egret (Ardea alba), also known as the common egret, large egret, or (in the Old World) great white egret[2] or great white heron is a large, widely distributed egret, with four subspecies found in Asia, Africa, the Americas, and southern Europe, recently also spreading to more northern areas of Europe. Distributed across most of the tropical and warmer temperate regions of the world, it builds tree nests in colonies close to water.
he great egret is a large heron with all-white plumage. Standing up to 1 m (3.3 ft) tall, this species can measure 80 to 104 cm (31 to 41 in) in length and have a wingspan of 131 to 170 cm (52 to 67 in). Body mass can range from 700 to 1,500 g (1.5 to 3.3 lb), with an average around 1,000 g (2.2 lb).[10] It is thus only slightly smaller than the great blue or grey heron (A. cinerea). Apart from size, the great egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like nonbreeding adults. Differentiated from the intermediate egret (Mesophoyx intermedius) by the gape, which extends well beyond the back of the eye in case of the great egret, but ends just behind the eye in case of the intermediate egret.
It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight. The great egret walks with its neck extended and wings held close. The great egret is not normally a vocal bird; it gives a low, hoarse croak when disturbed, and at breeding colonies, it often gives a loud croaking cuk cuk cuk and higher-pitched squawks.
Owing to its wide distribution across so much of the Americas, as well as Africa, Europe and Asia, the great egret shares its habitat with many other similar species. For example, the little egret (Egretta garzetta), intermediate egret (Ardea intermedia), Chinese egret (Egretta eulophotes), and the western reef heron (Egretta gularis). In the Americas, the snowy egret (Egretta thula) — a medium-sized heron that shares the same habitat as the great egret — is one such species. The snowy egret is readily distinguished from the great egret because it is noticeably smaller, and it has a more slender bill which is black in color and yellow feet, whereas the great egret has a yellow bill and black feet. Another species that — in North America — is easily confused with the great egret is the white morph of the great blue heron (Ardea herodias). The great blue heron is a bit larger, and has a thicker bill than that of the great egret.
In North America, large numbers of great egrets were killed around the end of the 19th century so that their plumes, known as "aigrettes", could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss, particularly wetland degradation through drainage, grazing, clearing, burning, increased salinity, groundwater extraction and invasion by exotic plants. Nevertheless, the species adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas.
The great egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
In 1953, the great egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.
For more information, please visit en.wikipedia.org/wiki/Great_egret
widely distributed across Europe, Asia, and North Africa, with its presence extending into parts of the Middle East. Preferring aquatic environments, it typically inhabits freshwater habitats such as rivers, lakes, ponds, and marshes, as well as coastal estuaries. This species thrives in areas with clear, slow-moving water that supports abundant fish populations, which are essential for its diet. Kingfishers are often seen perched on low branches or fishing from exposed perches, where they scan the water below for prey. Dense vegetation along the water's edge is also crucial for providing shelter and nesting sites, usually in burrows within riverbanks.
The distribution of the Common Kingfisher is mostly concentrated in temperate and subtropical regions, but its migratory patterns vary depending on the climate of the region. In colder northern parts of its range, such as Scandinavia, the species migrates to warmer southern areas in the winter to avoid freezing waters. Birds from northern Europe and parts of Asia travel south to North Africa or the Mediterranean. However, in more temperate regions like southern Europe, the kingfisher may remain year-round. Its migratory behavior ensures it stays in habitats with suitable resources throughout the year.
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Thank you,
I belong to this set. Textures&Backgrounds .
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Distributing shampoo and hair oil samples at Sonepur Mela, India.
See more on my website: www.maciejdakowicz.com/sonepur-mela/
Western Distributing "USAC" Peterbilt 389 parked at the Pilot in Biggs JCT, OR in November 2015. "USAC" stands for United States Armored Company. These trucks have armored sides and bulletproof glass and are operated by armed drivers.
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© This photograph is copyrighted. Under no circumstances can it be reproduced, distributed, modified, copied, posted to websites or printed or published in media or other medium or used for commercial or other uses without the prior written consent and permission of the photographer.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any forms or by any means, including electronic, mechanical, photocopying and recording without my written permission. © All rights reserved.
P.S. Big thank you to all visitors ... soon as possible I will thank you personally on your profile!
Lawson Station began distributing Rilakkuma-branded custard pudding Big Little bites during the spring. This flavour is one of the semi-standard varieties of Kit Kat and has cropped up from time-to-time in one form or another. It's pretty light and tastes okay, but I wish they'd roll out something better as regularly as they do this one. (Or, even more, I wish they'd made a honey-flavoured Kit Kat to go with the rest of their spring Rilakkuma Meets Honey campaign.)
March Point. Padilla Bay/Fidalgo Bay.
"The Washington population of the Black Oystercatcher is estimated to be roughly 400 birds. This number is probably not significantly different from the historical population, as these birds require fairly specialized habitat, which is not evenly distributed. Oystercatchers are highly vulnerable to human disturbance, oil spills, and pollution of the intertidal zone. Numbers of Black Oystercatchers on the outer coast may be higher than in the past, in part due to decreased human disturbance resulting from lighthouse automation. Numbers in inland areas, however, have declined in response to increased human activity. The Northern Pacific Coast Regional Shorebird Management Plan has identified the Black Oystercatcher as a regional species of high concern."
"The Black Oystercatcher is restricted in its range, never straying far from shores, in particular favoring rocky shorelines. It has been suggested that this bird is seen mostly on coastal stretches which have some quieter embayments, such as jetty protected areas. It forages in the intertidal zone, feeding on marine invertebrates, particularly molluscs such as mussels, limpets and chitons. It will also take crabs, isopods and barnacles. It hunts through the intertidal area, searching for food visually, often so close to the water's edge it has to fly up to avoid crashing surf. It uses its strong bill to dislodge food and pry shells open."
The common eider (Somateria mollissima) is a large (50–71 cm (20–28 in) in body length) sea-duck that is distributed over the northern coasts of Europe, North America and eastern Siberia. It breeds in Arctic and some northern temperate regions, but winters somewhat farther south in temperate zones, when it can form large flocks on coastal waters. It can fly at speeds up to 113 km/h (70 mph).
The eider's nest is built close to the sea and is lined with eiderdown, plucked from the female's breast. This soft and warm lining has long been harvested for filling pillows and quilts, but in more recent years has been largely replaced by down from domestic farm-geese and synthetic alternatives. Although eiderdown pillows or quilts are now a rarity, eiderdown harvesting continues and is sustainable, as it can be done after the ducklings leave the nest with no harm to the birds. The scientific name of the duck is derived from Ancient Greek somatos "body" and erion "wool", and Latin mollissimus "very soft", all referring to its down feathers.
A particularly famous colony of eiders lives on the Farne Islands in Northumberland, England. These birds were the subject of one of the first ever bird protection laws, established by Saint Cuthbert in the year 676.
About 1,000 pairs still nest there every year.
Because St. Cuthbert is the patron saint of Northumberland, it was natural that the eider should be chosen as the county's emblem bird; the birds are still often called Cuddy's ducks in the area, "Cuddy" being the familiar form of "Cuthbert".
This image was taken near the Farne Islands in Northumberland, England.
Razorbills are distributed across the North Atlantic; the world population of razorbills is estimated to be at less than 1,000,000 breeding pairs, making them among the rarest auks in the world. Approximately half of the breeding pairs occur in Iceland and at Látrabjarg where this image is captured about 40% of the global population breed.
© This photograph is a copyrighted image. Please do not download this image to use or distribute for any other purpose without my expressed consent.
Use without permission is ILLEGAL.
Title.
The driver's profile.
(FUJIFILM GFX50R shot)
Guam. America. 2024. … 4 / 10
(Today's photo. It's unpublished.)
Images.
Cub Sport … Magic In U
youtu.be/UFDgcAis5Ek?si=WRxAJx1l4NFghT3H
::Link photo music and iTunes playlist::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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Exhibition in 2024
theme
Goodbye , Photo .
Images
Ai Otsuka ( 大塚 愛 ) / Goodbye photo ( 恋愛写真 )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
Sponsored by
design festa
place
Tokyo Big Site
schedule
November 16 and 17, 2024.
exhibition.mitsushiro.nakagawa@gmail.com
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Notice regarding "Lot No.402_”.
From now on # I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 2020 by Mitsushiro - Nakagawa.
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2024 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.
Kaori's dream of coming to Tokyo is to become friends with a famous artist.
For that purpose, the radio station's producer, Ryo Osawa, was needed.
Osawa speaks to Kaori during a live radio broadcast.
"I have a wife and children. But I want to meet you."
Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other to brush the dust of memory like an old man who misses old days staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
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What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell # I want to leave.
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About Japanese photographers. Japanese YouTube bar is Pistols.
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The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
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What is a good composition? What is a bad composition?
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What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
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About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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my statistics. (As of February 7, 2024)
What is the number of accesses to Flickr and YouPic?
Flickr 21,694,434 Views
Youpic 7,003,230 Views
What is the number of accesses to Flickr and YouPic?
(As of November 13, 2023)
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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Title.
運転手の横顔。
( FUJIFILM GFX50R shot )
グアム。 アメリカ。２０２４。 … 4 / 10
(今日の写真。それは未発表です。）
Images.
Cub Sport … Magic In U
youtu.be/UFDgcAis5Ek?si=WRxAJx1l4NFghT3H
::写真の音楽とiTunesプレイリストをリンク::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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２０２４年の展示
テーマ
Goodbye , Photo
Images
大塚 愛 ( Ai Otsuka ) / 恋愛写真 ( Goodbye photo )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
主催
デザインフェスタ
場所
東京ビッグサイト
日程
2024年11月16日。17日。
exhibition.mitsushiro.nakagawa@gmail.com
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
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2/9
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3/9
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4/9
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6/9
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8/9
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9/9
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Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2024年2月7日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 21,694,434 View
Youpic 7,003,230 View
僕の統計。（2023年11月13日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2024 Lot No.402_ All rights reserved.
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Dubaï, un classique de la photo spatiale avec ses formes remarquables de jour comme de nuit. L’Exposition Universelle s’y tient cette année, et la France et son pavillon magnifique sont à l’honneur en cette journée pour y porter le plus haut possible les valeurs de liberté, égalité, fraternité… et protection de la planète 😊 www.esa.int/ESA_Multimedia/Images/2021/10/Dubai_distributed
Dubai is a classic of space photography, it stands out day and night, but today at the World Expo in Dubai it is France day! I have seen pictures of our French pavilion, of which I am an ambassador, together with chef Jessica Prealpato, and it looks great, almost as amazing as the palm islands from space! 😊 www.esa.int/ESA_Multimedia/Images/2021/10/Dubai_distributed
Credits: ESA/NASA–T. Pesquet/W. Harold
Expedition 65 earth observation composite of Dubai photographed by ESA astronaut Thomas Pesquet (created with iss065e074287 - iss065e074327).
GMT160_21_51_For ESA_Thomas Pesquet_Dubai Ferrari - 1120mm mapping
jsc2021e036462-Dubai (Large)
Distributed braking container CN 0005 is helping CN X106 maintain its air as it heads east through Dorval, its journey nearly over. CN has a number of these, as well as distributed braking cars built from boxcars.
It is difficult to catch a freight in good light in Healy Canyon. As the freights generally run at night only on the longest days of summer does one get the opportunity. And of course then you need cooperation from the weather Gods. Well it all came together on the morning of 6.22 around 545 Am the sun had cleared the mountains and brightened the canyon floor. The series of shots I am posting today where all taken from the same location. The train has just passed the Garner section house and is on the new section of railroad built to bypass the tunnel below me. Healy Canyon is an extreme maintenance issue for the railroad with the exception of this section of fairly newly rebuilt rail.
Press 'L' for better view
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© All rights reserved.This Image may not be copied, reproduced, distributed,republished, downloaded, displayed, posted or transmitted
in any forms or by any means, including electronic,mechanical, photocopying & recording without my written permission.
Track ballast made of crashed stone forms the trackbed upon which railroad sleepers are laid. This machine distributes the crashed stone (future track ballast) to form perfect track profile. The bunker in this picture can be filled with the ballast.
New railway track ballast distributing and profiling machine RPB-01 are being built by the Kaluga Track Machines and Hydraulic Drives Plant (part of the Sinara Group) in Russia. The bogie suspension system of the RPB-01 is consisted of primary wheelset Chevron type suspension by the rubber spring; the support of the carbody and guidance traction by the bogie is realised by the flexicoil type secondary suspension throught the coil springs which can be deflected into vertical and horizontal directions according to flexicoil principle. Also hydraulic dampers are instaled.
Распределитель-планировщик балласта РПБ-01-83 производства Калугапутьмаш (группа Синара) модернизированный совместно с фирмой Geismar (Франция).
The Giant Swallowtail is widely distributed throughout the North American continent. Its range extends from southern New England across the northern Great Lakes states, into Ontario, Canada, through the southern portions of the Central Plains to the Rocky Mountains. The species ranges southward to Florida and the Caribbean, into the southwestern United States, and on through Mexico to Central and South America. In the United States it is mainly found in the south and eastern part of the country.
It is the largest butterfly in Canada and the United States with a wingspan of 3.9 - 6.3 inches (10 - 16.1 cm). Distinction between males and females is very difficult as both sexes are similar, however, females tend to have larger wingspans than males. With both gender the body and wings are dark brown to black with yellow bands. There is a yellow "eye" in each spoon shaped wing tail that can be seen from above or below. The abdomen has bands of yellow along with the previously mentioned brown. Adults are quite similar to the adults of another Papilio species, being P. thoas, which is mainly confined to the southwestern part of the United States.
Giant Swallowtails fly between May and August where there are 2 broods in the north and 3 in the south. But in some areas of the southern United States such as Texas and Louisiana, they may be seen as late as October.
Habitat is mostly deciduous forest and citrus orchards in the south where they are considered an occasional pest due to the host plants for the larvae being trees and herbs of the citrus family (Rutaceae) including Citrus species, prickly ash (Zanthoxylum americanum), hop tree (Ptelea trifoliata), and Common Rue (Ruta graveolens).
Giant Swallowtail caterpillars, nicknamed "orange dogs" visually appear much like large bird droppings on plants. If predators are not fooled by their appearance, the caterpillars can extend their V-shaped osmeterium and release a foul odor to drive away predators.
All giant swallowtails have a distinctive flight pattern which generally looks as if they are "hopping" through the air. Females tend to beat their wings slowly but move quickly. Because females have such large wings, each wing beat will carry it a long way. They can glide long distances before needing to beat their wings again. Males however, tend to have more of a darty flight and beat their wings rapidly but move slower than females because their wings are smaller and each beat doesn't carry them far. Giant swallowtails in general fly fast and high.
ISO400, aperture f/8, exposure .003 seconds (1/400) focal length 300mm
The Postcard
A postally unused postcard that was published in 1986 by Impact of Pittsburg, California 94565. The card, which was designed and distributed in the USA, was printed in Korea.
The photography was by Ken Raveill, and the card, which has a divided back, was made with recycled paper.
Hearst Castle
Hearst Castle, known formally as La Cuesta Encantada ("The Enchanted Hill"), is an estate in San Simeon, located on the Central Coast of California. Conceived by William Randolph Hearst, the publishing tycoon, and his architect Julia Morgan, the castle was built between 1919 and 1947.
George Bernard Shaw described Hearst Castle as:
"What God would have built
if he had had the money."
Today, Hearst Castle is a museum open to the public as a California State Park and registered as a National Historic Landmark and California Historical Landmark.
George Hearst, William Randolph Hearst's father, had purchased the original 40,000-acre (162 km2) estate in 1865 and Camp Hill, the site for the future Hearst Castle, was used for family camping vacations during Hearst's youth.
In 1919 William inherited $11,000,000 (equivalent to $172,000,000 in 2021) and estates, including the land at San Simeon. He used his fortune to further develop his media empire of newspapers, magazines and radio stations, the profits from which supported a lifetime of building and collecting.
Within a few months of Phoebe Hearst's death, he had commissioned Morgan to:
"Build something a little more
comfortable up on the hill."
This was the genesis of the present castle. Morgan was an architectural pioneer:
"America's first truly independent
female architect."
She was the first woman to study architecture at the School of Beaux-Arts in Paris, the first to have her own architectural practice in California, and the first female winner of the American Institute of Architects' Gold Medal.
Julia worked in close collaboration with Hearst for over twenty years, and the castle at San Simeon is her best-known creation.
In the Roaring Twenties and into the 1930's, Hearst Castle reached its social peak. Originally intended as a family home for Hearst, his wife Millicent and their five sons, by 1925 he and Millicent had effectively separated and he held court at San Simeon with his mistress, the actress Marion Davies.
Their guest list comprised most of the Hollywood stars of the period; Charlie Chaplin, Cary Grant, the Marx Brothers, Greta Garbo, Buster Keaton, Mary Pickford, Jean Harlow and Clark Gable all visited, some on multiple occasions.
Political luminaries encompassed Calvin Coolidge and Winston Churchill, while other notables included Charles Lindbergh, P. G. Wodehouse and George Bernard Shaw.
Visitors gathered each evening at Casa Grande for drinks in the Assembly Room, dined in the Refectory and watched the latest movie in the theater before retiring to the luxurious accommodation provided by the guest houses of Casa del Mar, Casa del Monte and Casa del Sol.
During the days, they admired the views, rode, played tennis, bowls or golf and swam in "the most sumptuous swimming pool on earth".
While Hearst entertained, Morgan built; the castle was under almost continual construction from 1920 until 1939, with work resuming after the end of World War II until Hearst's final departure in 1947.
Hearst, his castle and his lifestyle were satirized by Orson Welles in his 1941 film Citizen Kane. In the film, which Hearst sought to suppress, Charles Foster Kane's palace Xanadu is said to contain:
"Paintings, pictures, statues, the very stones
of many another palace – a collection of
everything so big it can never be cataloged
or appraised; enough for ten museums; the
loot of the world".
Welles's was referring to Hearst's mania for collecting; the dealer Joseph Duveen called him the "Great Accumulator".
With a passion for acquisition almost from childhood, he bought architectural elements, art, antiques, statuary, silverware and textiles on an epic scale. Shortly after starting San Simeon, he began to conceive of making the castle:
"A museum of the best
things that I can secure".
Foremost among his purchases were architectural elements from Western Europe, particularly Spain. Over thirty ceilings, doorcases, fireplaces and mantels, entire monasteries, paneling and a medieval tithe barn were purchased, shipped to Hearst's Brooklyn warehouses and transported on to California.
Much was then incorporated into the fabric of Hearst Castle. In addition, he built up collections of more conventional art and antiques of high quality; his assemblage of ancient Greek vases was one of the world's largest.
In May 1947, Hearst's health compelled him and Marion Davies to leave the castle for the last time. He died in Los Angeles in 1951, and Morgan died in 1957. The following year, the Hearst family gave the castle and much of its contents to the State of California, and the mansion was opened to the public on the 17th. May 17, 1958.
It has since operated as the Hearst San Simeon State Historical Monument, and attracts about 750,000 visitors annually.
The Hearst family retains ownership of the majority of the 82,000 acres (332 km2) wider estate and, under a land conservation agreement reached in 2005, has worked with the California State Parks Department and American Land Conservancy to preserve the undeveloped character of the area.
Early History to 1864
The coastal range of Southern California has been occupied since prehistoric times. The indigenous inhabitants were the Salinans and the Chumash. In the late 18th. century, Spanish missions were established in the area in order to convert the Native American population.
The Mission San Miguel Arcángel, one of the largest, opened in what is now San Luis Obispo county in 1797. By the 1840's, the mission had declined and the priests departed. In that decade, the governors of Mexican California distributed the mission lands in a series of grants.
Three of these were Rancho Piedra Blanca, Rancho Santa Rosa and Rancho San Simeon. The Mexican–American War of 1846–1848 saw the area pass into the control of the United States under the terms of the Mexican Cession. The California Gold Rush of the next decade brought an influx of American settlers, among whom was the 30-year old George Hearst.
Buying the land: 1865–1919
Born in Missouri in 1820, George Hearst made his fortune as a miner of gold and silver, notably at the Comstock Lode and the Homestake Mine. He then undertook a political career, becoming a senator in 1886, and bought The San Francisco Examiner.
Investing in land, he bought the Piedra Blanca property in 1865, and subsequently extended his holdings with the acquisition of most of the Santa Rosa estate, and much of the San Simeon lands.
In the 1870's George Hearst built a ranch house on his estate, which remains a private property maintained by the Hearst Corporation. The San Simeon area became a site for family camping expeditions, including his young son, William. A particularly favored spot was named Camp Hill, the site of the future Hearst Castle.
Years later Hearst recalled his early memories of the place:
"My father brought me to San Simeon
as a boy. I had to come up the slope
hanging on to the tail of a pony.
We lived in a cabin on this spot and I
could see forever. That's the West –
forever."
George Hearst developed the estate somewhat, introducing beef and dairy cattle, planting extensive fruit orchards, and expanding the wharf facilities at San Simeon Bay. He also bred racehorses.
While his father developed the ranch, Hearst and his mother traveled, including an eighteen-month tour of Europe in 1873, where Hearst's life-long obsession with art collecting began.
When George Hearst died in 1891, he left an estate of $18 million to his widow including the California ranch. Phoebe Hearst shared the cultural and artistic interests of her son, collecting art and patronizing architects.
She was also a considerable philanthropist, founding schools and libraries, supporting the fledgling University of California, Berkeley, including the funding of the Hearst Mining Building in memory of her husband, and making major donations to a range of women's organizations, including the YWCA.
During the late 1890's, Mrs Hearst encountered Julia Morgan, a young architecture student at Berkeley. On Phoebe Hearst's death in 1919, William Hearst inherited the ranch, which had grown to 250,000 acres and 14 miles (23 km) of coastline, as well as $11 million.
250,000 acres is a huge area for an estate - to accommodate that area in a square, it would need sides of over 19.8 miles (32 km).
Within days of his mother's death, William was at Morgan's San Francisco office.
Julia Morgan
Julia Morgan, who was born in 1872, was 47 when Hearst entered her office in 1919. Her biographer Mark A. Wilson has described her subsequent career as that of:
"America's first independent
full-time woman architect".
After studying at Berkeley, where she worked with Bernard Maybeck, and in 1898 she became the first woman to win entry to the prestigious École des Beaux-Arts in Paris. Passing out from the École in 1902, Morgan returned to San Francisco and took up a post at the architectural practice of John Galen Howard.
Howard recognized Morgan's talents, but also exploited them:
"The best thing about this person
is, I pay her almost nothing, as it is
a woman."
In 1904, Julia passed the California architects' licensing examination, the first woman to do so, establishing her own office in 1906 at 456 Montgomery Street in San Francisco.
During her time with Howard, Morgan was commissioned by Phoebe Hearst to undertake work at her Hacienda del Pozo de Verona estate at Pleasanton. This led to work at Wyntoon and to a number of commissions from Hearst himself; an unexecuted design for a mansion at Sausalito, north of San Francisco, a cottage at the Grand Canyon, and the Los Angeles Examiner Building.
In 1919, when he turned up at Morgan's office, Hearst was fifty-six years old, and the owner of a publishing empire that included twenty-eight newspapers, thirteen magazines, eight radio stations, four film studios, extensive real-estate holdings and thirty-one thousand employees.
He was also a significant public figure: although his political endeavors had proved largely unsuccessful, the influence he exerted through his direct control of his media empire attracted fame and opprobrium in equal measure.
In 1917, one biographer described him as:
"The most hated man
in the country".
The actor Ralph Bellamy, a guest at San Simeon in the mid-1930's, recorded Hearst's working methods in a description of a party in the Assembly Room:
"The party was quite gay. And in the midst of it,
Mr Hearst came in. There was a teletype machine
just inside, and he stopped and he read it.
He went to a table and picked up a phone.
He asked for the editor of his San Francisco
newspaper and he said, 'Put this in a two-column
box of the front pages of all the newspapers
tomorrow morning.'
And without notes he dictated an editorial."
Morgan and Hearst's partnership at San Simeon lasted from 1919 until his final departure from the castle in 1947. Their correspondence, preserved in the Julia Morgan archive in the Robert E. Kennedy Library at Cal Poly San Luis Obispo, runs to some 3,700 letters and telegrams.
Victoria Kastner, Hearst Castle's in-house custodian, has described the partnership as "a rare, true collaboration," and there are many contemporary accounts of the closeness of the relationship. Walter Steilberg, a draughtsman in Morgan's office, once observed them at dinner:
"The rest of us could have been a
hundred miles away; they didn't pay
any attention to anybody ... these
two very different people just clicked".
Thomas Aidala, in his 1984 history of the castle, made a similar observation:
"Seated opposite each other, they
would discuss and review work,
consider design changes, pass
drawings back and forth ... seemingly
oblivious of the rest of the guests."
Having a Ball: 1925–1938
Hearst and his family occupied Casa Grande for the first time at Christmas, 1925. Thereafter, Hearst's wife, Millicent, went back to New York, and from 1926 until they left for the last time in 1947, Hearst's mistress Marion Davies acted as his chatelaine at the castle.
The Hollywood and political elite often visited in the 1920's and 1930's. Among Hearst's guests were Calvin Coolidge, Winston Churchill, Charlie Chaplin, Cary Grant, the Marx Brothers, Charles Lindbergh, and Clark Gable.
Churchill described his host, and Millicent Hearst and Davies, in a letter to his own wife:
"A grave simple child – with no doubt a
nasty temper – playing with the most
costly toys.
Two magnificent establishments, two
charming wives, complete indifference
to public opinion, oriental hospitalities."
Weekend guests were either brought by private train from Glendale Station north of Los Angeles, and then by car to the castle, or flew into Hearst's airstrip, generally arriving late on Friday evening or on Saturday. Cecil Beaton wrote of his impressions during his first visit for New Year's Eve in 1931:
"We caught sight of a vast, sparkling white
castle in Spain. It was out of a fairy story.
The sun poured down with theatrical
brilliance on tons of white marble and white
stone.
There seemed to be a thousand statues,
pedestals, urns. The flowers were unreal in
their ordered profusion.
Hearst stood smiling at the top of one of
the many flights of garden steps".
Guests were generally left to their own devices during the day. Horseback riding, shooting, swimming, golf, croquet and tennis were all available, while Hearst would lead mounted parties for picnics on the estate. The only absolute deadline was for cocktails in the assembly room at 7.30 on Saturday night.
Alcohol was rationed; guests were not permitted to have liquor in their rooms, and were limited to one cocktail each before dinner. This was due not to meanness on Hearst's part, but to his concerns over Davies's alcoholism, though the rule was frequently flouted.
The actor David Niven later reflected on his supplying illicit alcohol to Davies:
"It seemed fun at the time to stoke up
her fire of outrageous fun and I got a
kick out of feeling I had outwitted one
of the most powerful and best informed
men on earth, but what a disloyal and
crummy betrayal of him, and what a
nasty potential nail to put in her coffin."
Dinner was served at 9.00 in the refectory. Wine came from Hearst's 7,000-bottle cellar. Charlie Chaplin commented on the fare:
"Dinners were elaborate -- pheasant, wild
duck, partridge and venison -- but were
also informal: amidst the opulence, we
were served paper napkins, it was only
when Mrs Hearst was in residence that
the guests were given linen ones."
The informality extended to the ketchup bottles and condiments in jars which were remarked on by many guests.
Dinner was invariably followed by a movie; initially outside, and then in the theater. The actress Ilka Chase recorded a showing in the early 1930's:
"The theater was not yet complete – the plaster
was still wet – so an immense pile of fur coats
was heaped at the door, and each guest picked
one up and enveloped himself before entering...
Hearst and Marion, close together in the gloom
and bundled in their fur coats, looked for all the
world like the big and baby bears".
Movies were generally films from Hearst's own studio, Cosmopolitan Productions, and often featured Marion Davies. Sherman Eubanks, whose father worked as an electrician at the castle, recorded in an oral history:
"Mr Hearst would push a button and call up to
the projectionist and say 'Put on Marion's Peg
o' My Heart'.
So I've seen Peg o' My Heart about fifty times.
This is not being critical. I'm simply saying that's
the way it was. This repetition tended to put a
slight strain on the guests' gratitude."
In 1937, Patricia Van Cleeve married at the castle, the grandest social occasion there since the visit of President and Mrs Coolidge in February 1930. Ken Murray records these two events as the only occasions when formal attire was required of guests to the castle.
Van Cleeve, who married the actor Arthur Lake, was always introduced as Marion Davies' favorite niece. It was frequently rumored that she was in fact Davies and Hearst's daughter, something she herself acknowledged just before her death in 1993.
In February 1938, a plane crash at the San Simeon airstrip led to the deaths of Lord and Lady Plunket, who were traveling to the castle as Hearst's guests, and the pilot Tex Phillips. The only other passenger, the bobsledding champion, James Lawrence, survived.
The Specter at the Feast: Hearst, Welles and Xanadu
Hearst Castle was the inspiration for Xanadu, and Hearst himself the main model for Charles Foster Kane in Orson Welles's 1941 film Citizen Kane.
Having made his name with the Mercury Theatre production of The War of the Worlds in 1938, Welles arrived in Hollywood in 1939 to make a film version of Joseph Conrad's novel, Heart of Darkness for RKO Pictures.
The film was not made, and Welles began a collaboration with the screenwriter Herman J. Mankiewicz on a screenplay originally entitled American. The film tells the stories of Kane, a media magnate and aspiring politician, and of his second wife Susan Alexander, a failed opera singer driven to drink, who inhabit a castle in Florida.
Filming began in June 1940, and the movie premiered on the 1st. June 1941. Although at the time Orson Welles and RKO denied that the film was based on Hearst, his long-time friend and collaborator, John Houseman was clear:
"The truth is simple: for the basic concept
of Charles Foster Kane and for the main
lines and significant events of his public life,
Mankiewicz used as his model the figure of
William Randolph Hearst".
Told of the film's content before its release – his friends, the gossip columnists Hedda Hopper and Louella Parsons having attended early screenings – Hearst made strenuous efforts to stop the premiere. When these failed, he sought to damage the film's circulation by alternately forbidding all mention of it in his media outlets, or by using them to attack both the movie and Welles.
Hearst's assault damaged the film at the box office, and harmed Welles' subsequent career.
Since its inception in 1952 through to 2012, the Sight and Sound Critics' Poll voted Citizen Kane the greatest film of all time in every decade of polling. On the 9th. March 2012 the film was screened in the movie theater at Hearst Castle for the first time as part of the San Luis Obispo International Film Festival.
Depression, Death and After: 1939–Present
By the late 1930's, the Great Depression and Hearst's profligacy had brought him to the brink of financial ruin. Debts totaled $126 million, and he was compelled to cede financial control of the Hearst Corporation. Newspapers and radio stations were sold, and much of his art collection was dispersed in a series of sales, often for much less than he had paid.
Hearst railed against his losses, and the perceived incompetence of the sales agents, Parish-Watson & Co:
"They greatly cheapened them and us,
he advertises like a bargain basement
sale. I am heartbroken".
Construction at Hearst Castle virtually ceased. After the attack on Pearl Harbor, the castle was closed up and Hearst and Davies moved to Wyntoon, which was perceived to be less vulnerable to enemy attack.
They returned in 1945, and construction on a limited scale recommenced, finally ending in 1947. In early May of that year, with his health declining, Hearst and Davies left the castle for the last time. The pair settled in at 1007 North Beverly Drive in Beverly Hills.
William Randolph Hearst died in 1951, his death abruptly severing him from Davies, who was excluded from the funeral by Hearst's family:
"For thirty-two years I had him,
and they leave me with his
empty room".
In 1950 Julia Morgan closed her San Francisco office after a career of forty-two years. Ill health marred her retirement and she died, a virtual recluse, in early 1957.
In 1958 the Hearst Corporation donated Hearst Castle, its gardens, and many of its contents, to the state of California. A plaque at the castle reads:
"La Cuesta Encantada presented to
the State of California in 1958 by the
Hearst Corporation in memory of
William Randolph Hearst who created
this Enchanted Hill, and of his mother,
Phoebe Apperson Hearst, who
inspired it".
The castle was opened to the public for the first time in June 1958. Hearst Castle was added to the National Register of Historic Places on the 22nd. June.
Hearst was always keen to protect the mystique of his castle. In 1926, he wrote to Morgan to congratulate her after a successful party was held on the hill:
"Those wild movie people said it was
wonderful and that the most extravagant
dream of a movie picture fell far short of
this reality. They all wanted to make a
picture there but they are NOT going to
be allowed to do this."
Commercial filming at the castle is still rarely allowed. Since 1957 only two projects have been granted permission:
-- Stanley Kubrick's 1960 film Spartacus used the castle to stand in as the villa of Marcus Licinius Crassus, played by Lawrence Olivier.
-- In 2014, Lady Gaga's music video for "G.U.Y." was filmed at the Neptune and Roman Pools.
On the 12th. February 1976, the Casa del Sol guesthouse was damaged by a bomb. The device was placed by allies of the Symbionese Liberation Army (SLA), in retaliation for Patty Hearst, Hearst's granddaughter, testifying in court at her trial for armed robbery, following her kidnapping by the SLA in 1974.
On the 22nd. December 2003, an earthquake occurred with its epicenter some three miles north of the castle. With a magnitude of 6.5, it was the largest earthquake recorded at San Simeon. The very limited structural damage which resulted was a testament to the quality of the castle's construction.
Since its opening, the castle has become a major California tourist attraction, attracting over 850,000 visitors in 2018. Recent changes to the tour arrangements now allow visitors time to explore the grounds independently at the conclusion of the conducted tours.
The Hearst family maintains a connection with the castle, which was closed for a day in early August 2019 for the wedding of Amanda Hearst, Hearst's great-granddaughter.
The castle closed in March 2020, due to the COVID-19 pandemic. After 2 years of closure and repairs to the access road due to rainstorm damage, the castle reopened on the 11th. May 2022.
Architecture of Hearst Castle
Hearst's original idea was to build a bungalow, according to Walter Steilberg, one of Morgan's draftsmen who recalled Hearst's words from the initial meeting:
"I would like to build something up on
the hill at San Simeon. I get tired of
going up there and camping in tents.
I'm getting a little too old for that.
I'd like to get something that would
be a little more comfortable".
However within a month, Hearst's original ideas for a modest dwelling had greatly expanded. Discussion on the style began with consideration of "Jappo-Swisso" themes. Then the Spanish Colonial Revival style was favored. Morgan had used this style when she worked on Hearst's Los Angeles Herald Examiner headquarters in 1915.
Hearst appreciated the Spanish Revival but was dissatisfied with the crudeness of the colonial structures in California. Mexican colonial architecture had more sophistication, but he objected to its abundance of ornamentation.
Thomas Aidala, in his 1984 study of the castle, notes the Churrigueresque influence on the design of the main block:
"Flat and unembellished exterior surfaces;
decorative urges are particularized and
isolated, focused mainly on doorways,
windows and towers".
The Panama-California Exposition of 1915 in San Diego held the closest approximations in California to the approach Hearst desired. But William's European tours, and specifically the inspiration of the Iberian Peninsula, led him to Renaissance and Baroque examples in southern Spain that more exactly suited his tastes. He particularly admired a church in Ronda, Spain and asked Morgan to model the Casa Grande towers after it.
In a letter to Morgan dated 31st. December 1919, Hearst wrote:
"The San Diego Exposition is the best source
of Spanish in California. The alternative is to
build in the Renaissance style of southern Spain.
We picked out the towers of the church at Ronda...
a Renaissance decoration, particularly that of the
very southern part of Spain, could harmonize well
with them.
I would very much like to have your views on what
style of architecture we should select."
This blend of Southern Spanish Renaissance, Revival and Mediterranean examples became San Simeon's defining style:
"Something a little different than other
people are doing out in California".
The architectural writers Arrol Gellner and Douglas Keister describe Casa Grande as
"A palatial fusion of Classicism and Mediterranean
architecture that transcended the Mission Revival
era and instead belonged to the more archaeological
Period Revival styles that gained favor after the
Panama-California Exposition of 1915".
Hearst Castle has a total of 42 bedrooms, 61 bathrooms, 19 sitting rooms, 127 acres (half a square kilometer) of gardens, indoor and outdoor swimming pools, tennis courts, a movie theater, an airfield and, during Hearst's lifetime, the world's largest private zoo.
Hearst was an inveterate rethinker who would frequently order the redesign of previously agreed, and often built, structures: the Neptune Pool was rebuilt three times before he was satisfied.
He was aware of his propensity for changing his mind; in a letter dated the 18th. March 1920, he wrote to Morgan:
"All little houses stunning. Please complete
before I can think up any more changes".
As a consequence of Hearst's persistent design changes, and financial difficulties in the early and later 1930's, the complex was never finished.
By the late summer of 1919, Morgan had surveyed the site, analyzed its geology, and drawn initial plans for Casa Grande. Construction began in 1919 and continued through 1947 when Hearst left the estate for the last time.
During the early years of construction, until Hearst's stays at San Simeon became longer and more frequent, his approval for the ongoing design was obtained by Morgan sending him models of planned developments.
By the late 1920's the main model, designed by another female architect Julian C. Mesic, had become too large to ship, and Mesic and Morgan would photograph it, hand-color the images, and send these to Hearst.
Construction of Hearst Castle
The castle's location presented major challenges for construction. It was remote; when Morgan began coming to the estate for site visits in 1919, she would leave her San Francisco office on Friday afternoon and take an eight-hour, 200-mile train journey to San Luis Obispo, followed by a fifty-mile drive to San Simeon.
The relative isolation made recruiting and retaining a workforce a constant difficulty. In the early years, the estate lacked water, its limited supplies coming from three natural springs on Pine Mountain, a 3,500-foot-high (1,100 m) peak seven miles (11 km) east of Hearst Castle.
The issue was addressed by the construction of three reservoirs, and Morgan devised a gravity-based water delivery system that transported water from the nearby mountain springs to the reservoirs, including the main one on Rocky Butte, a 2,000-foot (610 m) knoll less than a mile southeast of Hearst Castle.
Water was of particular importance; as well as feeding the pools and fountains Hearst desired, it provided electricity, by way of a private hydroelectric plant, until the San Joaquin Light and Power Corporation began service to the castle in 1924.
The climate presented a further challenge. The proximity to the coast brought strong winds in from the Pacific Ocean, and the site's elevation meant that winter storms were frequent and severe.
After a period of severe storms in February 1927, Hearst wrote a letter:
"We are all leaving the hill. We are drowned,
blown and frozen out. Before we build anything
more, let's make what we have practical,
comfortable and beautiful.
If we can't do that we might just as well change
the names of the houses to Pneumonia House,
Diphtheria House and Influenza Bungalow.
The main house we can call the Clinic."
Water was also essential for the production of concrete, the main structural component of the houses and their ancillary buildings.
Morgan had substantial experience of building in steel-reinforced concrete and, together with the firm of consulting engineers Earl and Wright, experimented in finding suitable stone, eventually settling on that quarried from the mountain top on which the foundation platform for the castle was built.
Combining this with desalinated sand from San Simeon Bay produced concrete of exceptionally high quality. Later, white sand was brought in from Carmel. Material for construction was transported either by train and truck, or by sea into a wharf built in San Simeon Bay below the site. In time, a light railway was constructed from the wharf to the castle, and Morgan built a compound of warehouses for storage and accommodation for workers by the bay.
Brick and tile works were also developed on site, as brick was used extensively, and tiling was an important element of the decoration of the castle. Morgan used several tile companies to produce her designs, including Grueby Faience, Batchelder, California Faience and Solon & Schemmel.
Albert Solon and Frank Schemmel came to Hearst Castle to undertake tiling work, and Solon's brother, Camille, was responsible for the design of the mosaics of blue-and-gold Venetian glass tile used in the Roman pool and the murals in Hearst's Gothic library.
Morgan worked with a series of construction managers; Henry Washburn from 1919 to 1922, then Camille Rossi from 1922, until his firing by Hearst in 1932, and finally George Loorz until 1940. From 1920 to 1939, there were between 25 and 150 workmen employed in construction at the castle.
Costs of Hearst Castle
The exact cost of the entire San Simeon complex is unknown. Kastner makes an estimate of expenditure on construction and furnishing the complex between 1919 and 1947 as "under $10,000,000".
Thomas Aidala suggests a slightly more precise figure for the overall cost at between $7.2 and $8.2 million. Hearst's relaxed approach to using the funds of his companies, and sometimes the companies themselves, to make personal purchases made clear accounting for expenditure almost impossible.
In 1927 one of his lawyers wrote:
"The entire history of your corporation
shows an informal method of withdrawal
of funds".
In 1945, when the Hearst Corporation was closing the Hearst Castle account for the final time, Morgan gave a breakdown of construction costs, which did not include expenditure on antiques and furnishings.
Casa Grande's build cost is given as $2,987,000, and that for the guest houses, $500,000. Other works, including nearly half a million dollars on the Neptune pool, brought the total to $4,717,000.
Morgan's fees for twenty-odd years of almost continuous work came to $70,755. Her initial fee was a 6% commission on total costs. This was later increased to 8.5%. Many additional expenses, and challenges in getting prompt payment, led her to receive rather less than this.
Kastner suggests that Morgan made an overall profit of $100,000 on the entire, twenty-year, project. Her modest remuneration was unimportant to her. At the height of Hearst's financial travails in the late 1930's, when his debts stood at over $87 million, Morgan wrote to him,
"I wish you would use me in any way
that relieves your mind as to the care
of your belongings. There never has
been, nor will there be, any charge in
this connection, it is an honor and a
pleasure".
Casa del Mar
Casa del Mar, the largest of the three guest houses, provided accommodation for Hearst himself until Casa Grande was ready in 1925. He stayed in the house again in 1947, during his last visit to the estate.
Casa del Mar contains 5,350 square feet (546 square meters) of floor space. Although luxuriously designed and furnished, none of the guest houses had kitchen facilities, a lack that sometimes irritated Hearst's guests. Adela Rogers St. Johns recounted her first visit:
"I rang and asked the maid for coffee.
With a smile, she said I would have to
go up to the castle for that.
I asked Marion Davies about this. She
said W. R. Hearst did not approve of
breakfast in bed."
Adjacent to Casa del Mar is the wellhead from Phoebe Hearst's Hacienda del Pozo de Verona, which Hearst moved to San Simeon when he sold his mother's estate after her death in 1919.
Casa del Monte
Casa del Monte was the first of the guest houses, originally entitled simply Houses A (del Mar), B (del Monte) and C (del Sol). It was built by Morgan on the slopes below the site of Casa Grande during 1920–1924.
Hearst had initially wanted to commence work with the construction of the main house, but Morgan persuaded him to begin with the guest cottages because the smaller structures could be completed more quickly.
Each guest house faces the Esplanade, and appears as a single story at its front entrance. Additional stories descend rearward down the terraced mountain side. Casa del Monte has 2,550 sq ft (237 sq. meters) of living space.
Casa del Sol
The decorative style of the Casa del Sol is Moorish, accentuated by the use of antique Persian tiles. A bronze copy of Donatello's David stands atop a copy of an original Spanish fountain.
The inspiration for the fountain came from an illustration in a book, The Minor Ecclesiastical, Domestic and Garden Architecture of Southern Spain, written by Austin Whittlesey and published in 1919.
Hearst sent a copy to Morgan, while retaining another for himself, and it proved a fertile source of ideas. The size of the house is 3,620 square feet (242 sq. meters).
Morgan's staff were responsible for the cataloguing of those parts of Hearst's art collection which were shipped to California, and an oral record made in the 1980's indicates the methodology used for furnishing the buildings at San Simeon:
"We would set the object up, and then I would
stand with a yardstick to give it scale. Sam Crow
would take a picture. Then we would give it a
number and I would write a description.
These were made into albums.
When Mr Hearst would write and say 'I want a
Florentine mantel in Cottage C in Room B, and
four yards of tiles,' then we would look it up in
the books and find something that would fit."
Casa Grande
Construction of Casa Grande began in April 1922. Work continued almost until Hearst's final departure on the 2nd. May 1947, and even then the house was unfinished. The size of Casa Grande is 68,500 square feet (5,634 sq. meters).
The main western façade is four stories. The entrance front, inspired by a gateway in Seville, is flanked by twin bell towers modeled on the tower of the church of Santa Maria la Mayor.
The layout of the main house was originally to a T-plan, with the assembly room to the front, and the refectory at a right angle to its center. The subsequent extensions of the North and South wings modified the original design.
As elsewhere, the core construction material is concrete, though the façade is faced in stone. In October 1927 Morgan wrote to Arthur Byne:
"We finally took the bull by the horns
and are facing the entire main building
with a Manti stone from Utah."
Morgan assured Hearst that it would be "the making of the building".
A cast-stone balcony fronts the second floor, and another in cast-iron the third. Above this is a large wooden overhang or gable. This was constructed in Siamese teak, originally intended to outfit a ship, which Morgan located in San Francisco.
The carving was undertaken by her senior carver Jules Suppo. Sara Holmes Boutelle suggests Morgan may have been inspired by a somewhat similar example at the Mission San Xavier del Bac in Arizona. The façade terminates with the bell towers, comprising the Celestial suites, the carillon towers and two cupolas.
The curator Victoria Kastner notes a particular feature of Casa Grande, the absence of any grand staircases. Access to the upper floors is either by elevators or stairwells in the corner turrets of the building. Many of the stairwells are undecorated and the plain, poured concrete contrasts with the richness of the decoration elsewhere.
The terrace in front of the entrance, named Central Plaza, has a quatrefoil pond at its center, with a statue of Galatea on a Dolphin. The statue was inherited, having been bought by Phoebe Hearst when her son was temporarily short of money.
The doorway from the Central Plaza into Casa Grande illustrates Morgan and Hearst's relaxed approach to combining genuine antiques with modern reproductions to achieve the effects they both desired. A 16th.-century iron gate from Spain is topped by a fanlight grille, constructed in a matching style in the 1920's by Ed Trinkeller, the castle's main ironmonger.
The castle made use of the latest technology. Casa Grande was wired with an early sound system, allowing guests to make music selections which were played from a Capehart phonograph located in the basement, and piped into rooms in the house through a system of speakers. Alternatively, six radio stations were available.
The entire estate was also equipped with 80 telephones, operated through a PBX switchboard, which was staffed 24 hours a day, and ran under the exclusive exchange 'Hacienda'.
Fortune recorded an example of Hearst's delighting in the ubiquitous access the system provided:
"A guest) fell to wondering about the result
of a ball game while seated by a campfire
with Mr Hearst, a day's ride from the castle.
'I'll tell you' volunteers Mr Hearst and,
fumbling with the rock against which he was
leaning, pulls from there a telephone, asks
for New York, and relieves his guest's curiosity".
The Assembly Room
The assembly room is the main reception room of the castle, described in 1985 by Taylor Coffman as:
"One of San Simeon's most
magnificent interiors".
The fireplace, originally from a Burgundian chateau in Jours-lès-Baigneux, is named the Great Barney Mantel, after a previous owner, Charles T. Barney, from whose estate Hearst bought it after Barney's suicide.
The ceiling is from an Italian palazzo. A concealed door in the paneling next to the fireplace allowed Hearst to surprise his guests by entering unannounced. The door opened off an elevator which connected with his Gothic suite on the third floor.
The assembly room, completed in 1926, is nearly 2,500 square feet in extent, and was described by the writer and illustrator Ludwig Bemelmans as:
"Looking like half of Grand
Central Station".
The room held some of Hearst's best tapestries. These include four from a set celebrating the Roman general Scipio Africanus, designed by Giulio Romano, and two copied from drawings by Peter Paul Rubens depicting The Triumph of Religion.
The need to fit the tapestries above the paneling and below the roof required the installation of the unusually low windows.
The room has the only piece of Victorian decorative art in the castle, the Orchid Vase lamp, made by Tiffany for the Exposition Universelle held in Paris in 1889. It was bought by Phoebe Hearst, who had the original vase converted to a lamp. William placed it in the assembly room in tribute to his mother.
The Refectory
The refectory was the only dining room in the castle, and was built between 1926 and 1927. The choir stalls which line the walls are from the La Seu d'Urgell Cathedral in Catalonia, and the silk flags mounted on the walls are Palio banners from Siena.
Hearst originally intended a "vaulted Moorish ceiling" for the room but, finding nothing suitable, he and Morgan settled on the Italian Renaissance example, dating from around 1600, which Hearst purchased from a dealer in Rome in 1924.
Victoria Kastner considered that the flat roof, with life-size carvings of saints:
"Strikes a discordant note of
horizontality among the vertical
lines of the room".
The style of the whole is Gothic, in contrast to the Renaissance approach adopted in the preceding assembly room. The refectory is said to have been Morgan's favorite interior within the castle.
The design of both the refectory and the assembly room was greatly influenced by the monumental architectural elements, especially the fireplaces and the choir stalls used as wainscoting, and works of art, particularly the tapestries, which Hearst determined would be incorporated into the rooms.
The central table provided seating for 22 in its usual arrangement of two tables, which could be extended to three or four, on the occasion of larger gatherings. The tables were sourced from an Italian monastery, and were the setting for some of the best pieces from Hearst's collection of silverware. One of the finest is a wine cooler dating from the early 18th. century and weighing 14.2 kg by the Anglo-French silversmith David Willaume.
The Library
The library is on the second floor, directly above the assembly room. The ceiling is 16th. century Spanish, and a remnant is used in the library's lobby. It comprises three separate ceilings, from different rooms in the same Spanish house, which Morgan combined into one.
The fireplace is the largest Italian example in the castle. Carved from limestone, it is attributed to the medieval sculptor and architect Benedetto da Maiano.
The library contains a collection of over 5,000 books, with another 3,700 in Hearst's study above. The majority of the library collections, including Hearst's choicest pieces from his sets of, often signed, first editions by Charles Dickens, his favorite author, were sold at sales at Parke-Bernet at 1939 and Gimbels in 1941. The library is also the location for much of Hearst's important holding of antique Greek vases.
The Cloisters and the Doge's Suite
The Cloisters form a grouping of four bedrooms above the refectory and, along with the Doge's Suite above the breakfast room, were completed in 1926. The Doge's Suite was occupied by Millicent Hearst on her rare visits to the castle.
The room is lined with blue silk, and has a Dutch painted ceiling, in addition to two more of Spanish origin, which was once the property of architect Stanford White.
Morgan also incorporated an original Venetian loggia in the suite, refashioned as a balcony. The suite leads on to Morgan's inventive North and South Duplex apartments, with sitting areas and bathrooms at entry level and bedrooms on mezzanine floors above.
The Gothic Suite
The Gothic suite was Hearst's private apartment on the third floor. He moved there in 1927. It comprises the Gothic study or library and Hearst's own South Gothic bedroom and private sitting room.
The ceiling of the bedroom is one of the best Hearst bought; Spanish, of the 14th. century, it was discovered by his Iberian agent Arthur Byne who also located the original frieze panels which had been detached and sold some time before.
The whole was installed at the castle in 1924. The space originally allocated for the study was too low to create the impression desired by Morgan and Hearst, a difficulty Morgan surmounted by raising the roof and supporting the ceiling with concrete trusses.
These, and the walls, were painted with frescoes by Camille Solon. Light was provided by two ranges of clerestory windows. The necessity of raising the roof to incorporate the study occasioned one of the few instances where Hearst hesitated:
"I telegraphed you my fear of the cost...
I imagine it would be ghastly."
Nevertheless Morgan urged further changes and expense. The result vindicated Morgan. The study, completed in 1931, is dominated by a portrait of Hearst at age 31, painted by his life-long friend, Orrin Peck.
The Celestial Suites
The Celestial bedrooms, with a connecting, shared, sitting room, were created between 1924 and 1926. The bell towers were raised to improve the proportions of the building, and the suites constructed in the spaces created below.
The relatively cramped spaces allowed no room for storage, and en-suite bathrooms were "awkwardly squeezed" into lower landings. Ludwig Bemelmans, a guest in the 1930's, recalled:
"There was no place to hang your
clothes, so I hung mine on wire
coat hangers that a former tenant
had left hanging on the arms of
two six-armed gold candelabra,
the rest I put on the floor".
The sitting room contains one of the most important paintings in Hearst's collection, Bonaparte Before the Sphinx (1868) by Jean-Léon Gérôme. The suites are linked externally by a walkway, the Celestial Bridge, which is decorated with elaborate tiling.
The North and South Wings
The North, or Billiard, and the South, or Service, wings complete the castle, and were begun in 1929.
The North wing houses the billiard room on the first floor, which was converted from the original breakfast room. It has a Spanish antique ceiling and a French fireplace, and contains the oldest tapestry in the castle, a Millefleur hunting scene woven in Flanders in the 15th. century.
The spandrel over the doorcase is decorated with a frieze of 16th. century Persian tiles depicting a battle. The 34 tiles originate from Isfahan and were purchased by Hearst at the Kevorkian sale in New York in 1922.
The theater, which leads off the billiard room, was used both for amateur theatricals and the showing of movies from Hearst's Cosmopolitan Studios. The theater accommodated fifty guests and had an electric keyboard that enabled the bells in the carillon towers to be played. The walls are decorated in red damask, which originally hung in the Assembly room, and feature gilded caryatids.
The upper stories of the North Wing were the last to be worked upon, and were never completed. Activity recommenced in 1945 and Morgan delegated the work to her assistant, Warren McClure. Many of the rooms are unfinished, but Aidala considers that the bathrooms in the wing represent first-rate examples of streamline design.
The Service Wing contains the kitchen. The hotel-scale units and worktops are constructed in Monel Metal, an expensive form of nickel alloy invented in 1901. The wing contains further bedroom suites, a staff dining room, and gives entry to the 9,000 square foot basement which contained a wine cellar, pantries, the boiler plant which heated the main house, and a barber shop, for the use of Hearst's guests.
Planned but Uncompleted Elements
Hearst and Morgan intended a large ballroom or cloister to connect the North and South wings at the rear of Casa Grande and unify the whole composition, but it was never undertaken.
In 1932, Hearst contemplated incorporating the reja (grille) he had acquired from Valladolid Cathedral in 1929 into this room. He described his vision in a letter to Morgan dated that year:
"A great ballroom and banqueting hall,
that is the scheme! Isn't it a pippin."
The letter was signed "Sincerely, Your Assistant Architect".
Other structures that did not develop beyond drawings and plans included two more guest houses, in English and Chinese architectural styles.
Collections
After a visit to Ansiglioni's workshop in 1889, William wrote the following in a letter to his mother:
"Why didn't you buy Ansiglioni's Galatea. It is
superb...I have a great notion to buy it myself,
the one thing that prevents me is a scarcity of
funds.
The man wants eight thousand dollars for the
blooming thing. I have the art fever terribly.
Queer, isn't it?
I never miss a gallery and I go and nosey about
the pictures and statuary and wish they were mine."
Hearst was a voracious collector of art, with the stated intention of making the castle "a museum of the best things that I can secure."
The dealer Joseph Duveen, from whom Hearst bought despite their mutual dislike, called him the "Great Accumulator." His robust approach to buying, particularly the purchase and removal of entire historic structures, generated considerable ill-feeling, and sometimes outright opposition.
William's deconstruction and removal of the 14th. century Bradenstoke Priory in England led the Society for the Protection of Ancient Buildings to organize a campaign which used language so violent that its posters had to be pasted over for fear of a libel suit.
Hearst sometimes encountered similar opposition elsewhere. In 1919 he was writing to Morgan about:
"The patio from Bergos (sic) which, by the
way, I own but cannot get out of Spain".
The dismantling of a monastery in Sacramenia, which Hearst bought in its entirety in the 1920's, saw his workmen attacked by enraged villagers.
Hearst's tardiness in paying his bills was another less attractive feature of his purchasing approach; in 1925 Morgan was obliged to write to Arthur Byne:
"Mr. Hearst accepts your
dictum – cash or nothing".
Some of the finest pieces from the collections of books and manuscripts, tapestries, paintings, antiquities and sculpture, amounting to about half of Hearst's total art holdings, were sold in sales in the late 1930's and early 1940's, when Hearst's publishing empire was facing financial collapse, but a great deal remains.
William's art buying had started when he was young and, in his tested fashion, he established a company, the International Studio Arts Corporation, as a vehicle for purchasing works and as a means of dealing with their export and import.
In 1975, the Hearst Corporation donated the archive of Hearst's Brooklyn warehouses, the gathering point for almost all of his European acquisitions before their dispersal to his many homes, to Long Island University.
As of 2015, the university has embarked on a digitization project which will ultimately see the 125 albums of records, and sundry other materials, made available online.
Antiquities
The ancient Egyptian, Greek and Roman antiquities are the oldest works in Hearst's collection. The oldest of all are the stone figures of the Egyptian goddess Sekhmet which stand on the South Esplanade below Casa Grande. They date from the Eighteenth and Nineteenth Dynasties, approximately 1550 to 1189 BC.
Morgan designed the pool setting for the pieces, with tiling inspired by ancient Egyptian motifs. In the courtyard of Casa del Monte is one of a total of nine Roman sarcophagi collected by Hearst, dated to 230 AD, and previously held at the Palazzo Barberini, which was acquired at the Charles T. Yerkes sale in 1910.
The most important element of the antiquities collection is the holding of Greek vases, on display in the second-floor library. Although 65 vases were purchased by the Metropolitan Museum of Art in New York after Hearst's death, those which remain at the castle still form one of the world's largest private groups. Hearst began collecting vases in 1901, and his collection was moved from his New York homes to the castle in 1935.
At its peak, the collection numbered over 400 pieces. The vases were placed on the tops of the bookshelves in the library, each carefully wired in place to guard against vibrations from earthquakes. At the time of Hearst's collecting, many of the vases were believed to be of Etruscan manufacture, but later scholars ascribe all of them to Greece.
Sculptures
Hearst often bought multiple lots from sales of major collections; in 1930 he purchased five antique Roman statues from the Lansdowne sale in London. Four are now in the collection of the Los Angeles County Museum of Art, and one in the Metropolitan.
William collected bronzes as well as marble figures; a cast of a stone original of Apollo and Daphne by Bernini, dating from around 1617, stands in the Doge's suite.
In addition to his classical sculptures, Hearst was content to acquire 19th. century versions, or contemporary copies of ancient works:
"If we cannot find the right thing
in a classic statue, we can find a
modern one".
He was a particular patron of Charles Cassou, and also favored the early 19th. century Danish sculptor Bertel Thorvaldsen whose Venus Victorious remains at the castle.
Both this, and the genuinely classical Athena from the collection of Thomas Hope, were displayed in the Assembly room, along with the Venus Italica by Antonio Canova. Other works by Thorvaldsen include the four large marble medallions in the Assembly room depicting society's virtues.
Two 19th. century marbles are in the anteroom to the Assembly room, Bacchante, by Frederick William MacMonnies, a copy of his bronze original, and Pygmalion and Galatea by Gérôme.
A monumental statue of Galatea, attributed to Leopoldo Ansiglioni and dating from around 1882, stands in the center of the pool on the Main terrace in front of Casa Grande.
Textiles
Tapestries include the Scipio set by Romano in the Assembly room, two from a set telling the Biblical story of Daniel in the Morning room, and the millefleur hunting scene in the Billiard room. The hunting scene is particularly rare, one of only "a handful from this period in the world".
Hearst also assembled and displayed an important collection of Navajo textiles at San Simeon, including blankets, rugs and serapes. Most were purchased from Herman Schweizer, who ran the Indian Department of the Fred Harvey Company.
Originally gathered at Hearst's hacienda at Jolon, they were moved to Wyntoon in 1940 before being brought to San Simeon. They were finally donated to the Los Angeles County Museum of Art in 1942.
Hearst was always interested in pieces that had historical and cultural connections to the history of California and Central and Latin America. The North Wing contains two Peruvian armorial banners. Dating from the 1580's, they show the shields of Don Luis Jerónimo Fernández Cabrera y Bobadilla, Count of Chinchón and viceroy of Peru.
Nathaniel Burt, the composer and critic evaluated the collections at San Simeon thus:
"Far from being the mere kitsch that
most easterners have been led to
believe, San Simeon is full of real
beauties and treasures".
Paintings
The art collection includes works by Tintoretto, whose portrait of Alvisius Vendramin hangs in the Doge's suite, Franz Xaver Winterhalter who carried out the double portraits of Maximilian I of Mexico and his empress Carlota, located in Casa del Mar, and two portraits of Napoléon by Jean-Léon Gérôme.
Hearst's earliest painting, a Madonna and Child from the school of Duccio di Buoninsegna, dates from the early 14th. century. A gift from his friend, the editor Cissy Patterson, the painting hangs in Hearst's bedroom.
Portrait of a Woman, by Giulio Campi, hangs in a bedroom in the North Wing. In 1928 Hearst acquired the Madonna and Child with Two Angels, by Adriaen Isenbrandt.
The curator Taylor Coffman describes this work, which hangs in the Casa del Mar sitting room, as perhaps "San Simeon's finest painting". In 2018, a previously unattributed Annunciation in the Assembly room was identified as a work of 1690 by Bartolomé Pérez.
The Gardens and Grounds of Hearst Castle
The Esplanade, a curving, paved walkway, connects the main house with the guest cottages; Hearst described it as:
"Giving a finished touch to the big
house, to frame it in, as it were."
Morgan designed the pedestrianized pavement with great care, to create a coup de théâtre for guests, desiring:
"A strikingly noble and saississant effect
be impressed upon everyone on arrival."
Hearst concurred:
"Heartily approve. I certainly want that
saississant effect. I don't know what it
is, but I think we ought to have at least
one such on the premises".
A feature of the gardens are the lampposts topped with alabaster globes; modeled on "janiform hermae", the concept was Hearst's. The Swan lamps, remodeled with alabaster globe lights to match the hermae, were designed by Morgan's chief draftsman, Thaddeus Joy.
Others who influenced Hearst and Morgan in their landscaping include Charles Adams Platt, an artist and gardener who had made a particular study of the layout and planting of Italian villas. Also Nigel Keep, Hearst's orchardman, who worked at San Simeon from 1922 to 1947, and Albert Webb, Hearst's English head gardener who was at the hill from 1922 to 1948.
The Neptune Pool
The Neptune Pool, "the most sumptuous swimming pool on earth", is located near the edge of the hilltop. It is enclosed by a retaining wall and underpinned by a framework of concrete struts to allow for movement in the event of earthquakes.
The pool is often cited as an example of Hearst's changeability; it was reconstructed three times before he was finally satisfied. Originally begun as an ornamental pond, it was first expanded in 1924 as Millicent Hearst desired a swimming pool.
It was enlarged again during 1926–1928 to accommodate Cassou's statuary. Finally, in 1934, it was extended again to act as a setting for a Roman temple, in part original and in part comprising elements from other structures which Hearst transported from Europe and had reconstructed at the site.
The pool holds 345,000 gallons of water, and is equipped with seventeen shower and changing rooms. It was heated by oil-fired burners. In early 2014, the pool was drained due to drought conditions and leakage.
After a long-term restoration project to fix the leaking, the pool was refilled in August 2018. The restoration of the pool was recognized with a Preservation Design Award for Craftsmanship from the California Preservation Foundation in 2019.
The pool is well-supplied with sculpture, particularly works by Charles Cassou. His centerpiece, opposite the Roman temple, is The Birth of Venus. An even larger sculptural grouping, depicting Neptune in a chariot drawn by four horses, was commissioned to fill the empty basin above the Venus. Although carved, it was never installed.
Roman Pool
The Roman Pool, constructed under the tennis courts, provided an indoor alternative to the Neptune pool. Originally mooted by Hearst in 1927, construction did not begin until 1930, and the pool was not completed until 1935.
Hearst initially wanted the pool to be fed by salt-water, but the design challenges proved to be insuperable. A disastrous attempt to fulfill Hearst's desires by pouring 20 tons of washed rock salt into the pool saw the disintegration of the cast-iron heat exchanger and pump.
Inspiration for the mosaic decoration came from the Mausoleum of Galla Placidia in Ravenna. The tiles are of Murano glass, with gold-leaf, and were designed by Solon and manufactured in San Francisco.
Although a pool of "spectacular beauty", it was little used as it was located in a less-visited part of the complex.
The Pergola and Zoo
Two other major features of the grounds were the pergola and the zoo. The pergola, an ornamental bridleway, runs to the west of Casa Grande. Comprising concrete columns, covered in espaliered fruit trees, Morgan ensured that it was built to a height sufficient to allow Hearst, "a tall man with a tall hat on a tall horse", to ride unimpeded down its mile-long length.
Plans for a zoo, to house Hearst's large collection of wild animals, were drawn up by Morgan, and included an elephant house and separate enclosures for antelopes, camels, zebras and bears. The zoo was never constructed, but a range of shelters and pits were built, sited on Orchard Hill.
The Estate
At the height of Hearst's ownership, the estate totaled more than 250,000 acres. W. C. Fields commented on the extent of the estate while on a visit:
"Wonderful place to bring up children.
You can send them out to play. They
won't come back till they're grown."
23 miles to the north of the castle, Morgan constructed the Milpitas Hacienda, a ranch-house that acted as a trianon to the main estate, and as a focus for riding expeditions.
Appraisals of Hearst Castle
As with Hearst himself, Hearst Castle and its collections have been the subject of considerable criticism. From the 1940's the view of Hearst and Morgan's most important joint creation as the phantasmagorical Xanadu of Orson Welles's imagination has been commonplace.
Some literary depictions were gently mocking; P. G. Wodehouse's novel of 1953, The Return of Jeeves has a character describe her stay:
"I remember visiting San Simeon once,
and there was a whole French Abbey
lying on the grass."
John Steinbeck's unnamed description was certainly of Hearst:
"They's a fella, newspaper fella near the
coast, got a million acres. Fat, sof' fella
with little mean eyes an' a mouth like a
ass-hole".
The writer John Dos Passos went further, explicitly referencing Hearst in the third volume of his 1938 U.S.A trilogy:
"The emperor of newsprint retired to his
fief of San Simeon where he built an
Andalusian palace and there spends his
last years amid the relaxing adulations
of screen stars, admen, screenwriters,
publicity-men, columnists.
Until he dies, a spent Caesar grown old
with spending."
The English architectural writer Clive Aslet was little more complimentary about the castle. Disliking its "unsympathetic texture of poured concrete", he described it as "best seen from a distance".
The unfinished, and unresolved, rear façade of Casa Grande has been the subject of particular negative comment; Carleton Winslow and Nicola Frye, in their history from 1980, suggest:
"The flanking North and South wings
compete rather disastrously with the
central doge's suite block."
Others questioned the castle's very existence; the architect Witold Rybczynski asked:
"What is this Italian villa doing on the
Californian Coastal Range? A costly
piece of theatrical décor that ignores
its context and lacks meaning."
Hearst's collections were similarly disparaged. The art historian William George Constable echoed Joseph Duveen when he assessed Hearst as:
"Not a collector but a gigantic
and voracious magpie."
Later decades after Hearst's death have seen a more sympathetic and appreciative evaluation of his collections, and the estate he and Morgan created to house them.
The director of the Metropolitan Museum of Art, Thomas Hoving, although listing Hearst only at number 83 in his evaluation of America's top 101 art collectors, wrote:
"Hearst is being reevaluated. He may
have been much more of a collector
than was thought at the time of his
death."
The curator Mary Levkoff, in her 2008 study, Hearst the Collector, contends that he was indeed a collector, describing the four separate "staggeringly important" collections of antique vases, tapestries, armor and silver which Hearst had brought together.
She wrote of the challenge of bringing their artistic merit to light from under the shadow of his own reputation.
Of Morgan's building, its stock has risen with the re-evaluation of her standing and accomplishments, which saw her inducted into the California Hall of Fame in 2008. She became the first woman to receive the American Institute of Architects Gold Medal in 2014, and to have an obituary in The New York Times as recently as 2019.
The writer John Julius Norwich recorded his recantation after a visit to the castle:
"I went prepared to mock; I remained
to marvel. Hearst Castle is a palace in
every sense of the word."
Final Thoughts From William Randolph Hearst
"News is something somebody doesn't
want printed; all else is advertising.”
"Don't be afraid to make a mistake,
your readers might like it."
"Putting out a newspaper without
promotion is like winking at a girl
in the dark -- well-intentioned, but
ineffective."
"Truth is not only stranger than
fiction, it is more interesting."
"You must keep your mind on the
objective, not on the obstacle."
The Great Tit is widely distributed across Europe, Asia, and parts of North Africa. It can be found throughout most of Europe and has a range that extends from Central Asia to eastern China. It also occurs sporadically in North Africa.
Physical Characteristics:
The Great Tit is a medium-sized bird, measuring approximately 14 cm (5.5 inches) in length, with a large head and a short, powerful bill. Its upperparts are generally greenish-blue, and the underparts are yellow. It features a black stripe down its head and a broad black-and-white pattern on its face. There is minimal sexual dimorphism, though males tend to exhibit slightly brighter plumage.
Habitat and Behavior:
Great Tits inhabit a variety of habitats ranging from woodlands to parks, gardens, and rural areas. They are often found in and around trees, particularly oak, pine, and poplar trees. They are also adaptable to human-modified landscapes.
Diet:
These birds primarily feed on insects, including small beetles, spiders, and other invertebrates. They also consume seeds and fruits as part of their diet.
Breeding:
Great Tits nest in tree cavities or in nests made in foliage. Females typically lay 7-12 eggs, which are incubated for about 13-16 days. The chicks fledge after about 16-22 days and become independent shortly thereafter.
This summary provides a comprehensive overview of the Great Tit, covering its distribution, physical characteristics, habitat preferences, diet, and breeding habits.
Great Tit (Parus major) Details:
Family: Paridae
Size: Approximately 12.5-14 cm (4.9-5.5 inches) in length.
Weight: Ranges from 16-21 grams (0.6-0.74 ounces).
Appearance: Males are typically characterized by their bright yellow underparts, black head, and black throat. Females and juveniles are generally paler. They have olive-green backs and a tail with white edges.
Call: They produce a variety of melodious calls, including sounds that can be described as "teacher-teacher" or "tche-tche-tche."
Behavior and Habitat:
Habitat: They can be found in a range of habitats, including deciduous and mixed forests, parks, gardens, and coastal areas.
Diet: Their diet consists of a variety of foods, including insects, spiders, seeds, and fruits.
Breeding: Breeding season starts in spring. They lay eggs in tree cavities or artificial nest boxes. The chicks grow rapidly and typically fledge the nest within about three weeks.
Distribution in Turkey:
The Great Tit is widespread throughout Turkey. It is commonly found in forested areas, parks, and gardens. It can be observed across different climatic regions of Turkey, including the Mediterranean, Black Sea, and Aegean regions. They are also adaptable to urban environments, making them a frequent sight in cities and towns.
In summary, the Great Tit is a versatile and adaptable bird that thrives in a variety of environments, from natural forests to urban areas.
I've captured some memorable moments with my camera, and I genuinely hope you'll experience the same joy in viewing these images as I did in capturing them.
Thank you immensely for visiting my gallery, whether you leave comments, add favorites, or simply take a moment to look around. Your support means a lot to me, and I wish you the best of luck and beautiful light in all your endeavors.
© All rights reserved by R.Ertug. Please refrain from using this image without my explicit written permission. If you're interested in purchasing or using it, feel free to contact me via Flickr mail.
Your comments and critiques are highly valued.
Thanks for taking the time to stop by and explore :)
title
Strollin' (My son, Yui and his wife)
(Lumix. G3, shot.)
Cairns. Australia. 2016. shot ... 6 / 6
(Today's photo. It has not been published yet.)
Images.
Tems - Found (Audio) ft. Brent Faiyaz
Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
Latest news.
The following my T-shirt. Free distribution.
Due to the influence of corona # the method of transportation varies from country to country.
1/25
The first one has been decided.
It's a German.
m.flickr.com/photos/ute_kluge/favorites/
I thank you from the bottom of my heart. Thank you.
:)
December 3 # 2020. shipped.
It is a sea mail. It takes 2 to 3 months.
2/25
The second is a Thai woman.
youpic.com/photographer/Abbozzo/
I asked her to pick it up.
:)
December 10 # 2020. shipped.
It is a sea mail. It takes 2 to 3 months.
3/25
The third is a Mexican woman.
She has supported me since the days of fotolog.
She gave me directions.
Thank you.
:)
Shipped on December 10 # 2020.
It is EMS. Maybe it will arrive within 1 to 2 months.
4/25
The fourth is a woman from the Republic of Serbia.
youpic.com/photographer/IvanaPopov/
Shipped on December 14 # 2020.
It is a sea mail. Maybe it will arrive within 2 to 3 months.
:)
5/25
The fifth is an Indonesian man.
www.flickr.com/photos/33836533@N04/
December 24 # 2020. shipped.
It is EMS. Maybe it will arrive within 1 to 2 months.
6/25
The sixth is from France.
youpic.com/image/18158054/ombre-chinoise-by-ce-pe
www.flickr.com/photos/191604817@N04/
January 7 # 2021.
I shipped it.
:)
7/25
The seventh person is also from France.
www.flickr.com/photos/151630891@N07/
www.flickr.com/people/liveworkcreate/
January 7 # 2021.
I shipped it.
:)
8/25
The eighth person is from Romania.
It will be shipped in January 2021.
:)
9/25
The ninth person is from Japan. He is 16 years old
Award history
2017 Oguni Town Photo Contest 2 Division
2018 EPSON meet up selection Data Category Excellence Award
2020 Kumamoto Takafumiren First Half Photo Contest Excellence Award
Web Photo Contest Sponsoring Maker Award
10/25
The tenth person is from Brazil.
www.flickr.com/photos/mangelo/
It will be shipped in February 2021.
:)
11/25
11th person is from USA.
youpic.com/photographer/HeathBrunner/
www.flickr.com/photos/181948650@N04/
It will be shipped in February 2021.
:)
12/25
The 13th person is from Italy.
www.flickr.com/photos/122700703@N05/
youpic.com/photographer/raffadepa2019/
cacciatoredisogniblog.wordpress.com
It will be shipped in February 2021.
13/25
The 14th person is from Russia.
www.flickr.com/photos/183731920@N08/
youpic.com/photographer/Andjey/
It will be shipped in March 2021.
Mitsu.
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Notice regarding "Lot No.402_”.
From now on # I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 # 2020 by Mitsu - Nakagawa.
Mitsu Nakagawa belong to Lot No. 402 _.Copyright©︎2021 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami # who is aiming for a university # meets Kaori Uemura # an event companion who is 6 years older than her on SNS.
Kaori's dream of coming to Tokyo is to become friends with famous artists.
For that purpose # the presence of radio station producer Ryo Osawa was necessary.
Osawa talks to Kaori during the live radio broadcast.
"I have a wife and a child # but I want to see you."
Kay's classmate # Rika Sanjo # who thinks of him # was exploring Kaori's trends. .. .. .. ..
Synopsis.
Kei Kitami who aims at university.
A 6 year old older event companion woman. Meet Kaori Uemura on SNS.
The dream of Kaori who has moved to Tokyo.
It is to be a friend of the artist.
The producer of the radio station for that. The existence of Ryo Osawa was necessary.
Live on the radio.Osawa talks to Kaori.
"I have a wife and a child # but I want to see you."
Kei’s classmate Rika Sanzyou who is thinking of him.
She was searching for Kaori.
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One # to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other # to brush the dust of memory like an old man who misses old days # staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow # a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left # I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However # I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous # unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
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2/9
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3/9
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4/9
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5/9
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6/9
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7/9
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8/9
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9/9
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Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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Exhibition in 2023.
theme.
Turing back the time.
The location will be one of the following.
1
DIC Kawamura Memorial Museum of Art 1st attached gallery.
2
place. Tokyo Big Site.
Sponsoring. Design festa.
images.
ONE OK ROCK… Heartache
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell # I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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My statistics. (As of May 11 # 2021)
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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title
お散歩中。(僕の息子。ユイと妻)
( Lumix. G3, shot. )
ケアンズ。オーストラリア。2016. shot ... 6 / 6
(今日の写真。それは未発表です。)
Images.
Tems - Found (Audio) ft. Brent Faiyaz
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
最新のお知らせ。
以下の僕のTシャツ。無料配布。
コロナの影響で、運送方法は国によって変わります。
1/25
一人目が決まりました。
それはドイツの人です。
m.flickr.com/photos/ute_kluge/favorites/
僕は心から感謝します。ありがとう。
:)
２０２０年１２月３日。発送しました。
船便です。２ヶ月から３ヶ月を要します。
2/25
二人目はタイの女性です。
youpic.com/photographer/Abbozzo/
僕は彼女へ受け取って欲しいとお願いしました。
:)
２０２０年１２月１０日。発送しました。
船便です。２ヶ月から３ヶ月を要します。
3/25
3人目はメキシコの女性です。
彼女はfotologの頃からずっと僕を支えてくれました。
彼女は僕の道案内をしてくれました。
ありがとう。
:)
２０２０年１２月１０日発送しました。
EMSです。たぶん１ヶ月から２ヶ月以内で到着します。
4/25
4人目は、セルビア共和国の女性です。
youpic.com/photographer/IvanaPopov/
２０２０年１２月１４日発送しました。
船便です。たぶん２ヶ月から３ヶ月以内で到着します。
:)
5/25
５人目は、インドネシアの男性です。
www.flickr.com/photos/33836533@N04/
２０２０年１２月２４日。発送しました。
EMSです。たぶん１ヶ月から２ヶ月以内で到着します。
１月８日。到着しました。
6/25
6人目は、フランスの方です。
youpic.com/image/18158054/ombre-chinoise-by-ce-pe
www.flickr.com/photos/191604817@N04/
２０２１年１月７日。
僕は発送しました。
:)
7/25
7人目も、フランスの方です。
www.flickr.com/photos/151630891@N07/
www.flickr.com/people/liveworkcreate/
２０２１年１月７日。
僕は発送しました。
:)
8/25
８人目の 方はルーマニアの方です。
2021年１月中に発送します。
:)
9/25
9人目は日本の方です。16歳です。
受賞歴
2017 小国町フォトコンテスト2部門
2018 EPSONmeet up selectionデータ部門優秀賞
2020 熊本高文連前期写真コンテスト優秀賞
Webフォトコンテスト協賛メーカー賞
10/25
10人目は、ブラジルの方です。
www.flickr.com/photos/mangelo/
２０２１年２月中に発送します。
:)
11/25
11人目は、アメリカの方です。
youpic.com/photographer/HeathBrunner/
www.flickr.com/photos/181948650@N04/
２０２１年２月中に発送します。
:)
12/25
12人目は、イタリアの方です。
www.flickr.com/photos/122700703@N05/
youpic.com/photographer/raffadepa2019/
cacciatoredisogniblog.wordpress.com
２０２１年２月中に発送します。
13/25
13人目は、 ロシアの方です。
www.flickr.com/photos/183731920@N08/
youpic.com/photographer/Andjey/
２０２１年３月中に発送します。
Mitsu.
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsu - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
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２０２３年の展示。
テーマ。
Turing back the time.
場所は、以下のいずれかを予定。
１
DIC川村記念美術館 第１付属ギャラリー。
２
東京ビッグサイト。
Sponsoring. Design festa.
images.
ONE OK ROCK … Heartache
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
_________________________________
_________________________________
flickr.
www.flickr.com/photos/stealaway/
_________________________________
_________________________________
YouTube.
www.youtube.com/user/mitsushiro/
_________________________________
_________________________________
instagram.
www.instagram.com/mitsushiro_nakagawa/
_________________________________
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
_________________________________
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2021年5月11日現在）
_________________________________
_________________________________
Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
_________________________________
_________________________________
_________________________________
_________________________________
” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsu - Nakagawa.
Copyright©︎2020 Lot No.402_ All rights reserved.
_________________________________
_________________________________
The barn owl (Tyto alba) is the most widely distributed species of owl in the world and one of the most widespread of all species of birds, being found almost everywhere in the world except for the polar and desert regions, Asia north of the Himalayas, most of Indonesia, and some Pacific Islands. It is also known as the common barn owl, to distinguish it from the other species in its family, Tytonidae, which forms one of the two main lineages of living owls, the other being the typical owls (Strigidae).
Phylogenetic evidence shows that there are at least three major lineages of barn owl: one in Europe, western Asia, and Africa; one in southeastern Asia and Australasia; and one in the Americas; as well as some highly divergent taxa on various islands. Accordingly, some authorities divide barn owls into the western barn owl, for the group in Europe, western Asia, and Africa; the eastern barn owl for the group in southeastern Asia and Australasia; and the American barn owl for the group in the Americas. Some taxonomic authorities classify barn owls differently, recognising up to five separate species; and further research needs to be done to resolve the disparate taxonomies. There is considerable variation of size and colour among the approximately 28 subspecies, but most are between 33 and 39 cm (13 and 15 in) in length, with wingspans ranging from 80 to 95 cm (31 to 37 in). The plumage on the head and back is a mottled shade of grey or brown; that on the underparts varies from white to brown and is sometimes speckled with dark markings. The face is characteristically heart-shaped and is white in most subspecies. This owl does not hoot, but utters an eerie, drawn-out screech.
The barn owl is nocturnal over most of its range; but in Great Britain and some Pacific Islands, it also hunts by day. Barn owls specialize in hunting animals on the ground and nearly all of their food consists of small mammals, which they locate by sound, their hearing being very acute. The owls usually mate for life unless one of the pair is killed, whereupon a new pair bond may be formed. Breeding takes place at varying times of the year, according to the locality, with a clutch of eggs, averaging about four in number, being laid in a nest in a hollow tree, old building, or fissure in a cliff. The female does all the incubation, and she and the young chicks are reliant on the male for food. When large numbers of small prey are readily available, barn owl populations can expand rapidly; and globally the bird is considered to be of least conservation concern. Some subspecies with restricted ranges are more threatened.
The barn owl is a medium-sized, pale-colored owl with long wings and a short, squarish tail. There is considerable size variation across the subspecies, with a typical specimen measuring about 33 to 39 cm (13 to 15 in) in overall length, the length ranging from 29 to 44 cm (11 to 17 in). Barn owls have a typical wingspan of some 80 to 95 cm (31 to 37 in), with an extreme range of from 68 to 105 cm (27 to 41 in).[8][9] Adult body mass is also variable, with male owls from the Galapagos (T. a. punctatissima) weighing approximately 260 g (9.2 oz) on average, while male eastern barn owls (T. javanica) average 555 g (19.6 oz), the weight of all barn owls ranging from 224 to 710 g (7.9 to 25.0 oz). Female barn owls are larger than males, with a strong female T. alba of a large subspecies weighing over 550 grams (19 oz).[11] In general, owls living on small islands are smaller and lighter, perhaps because they have a higher dependence on insect prey and need to be more manoeuvrable,[12] an exception being the largest-bodied race of barn owl, T. a. furcata, from Cuba and Jamaica, which is also an island race, albeit being found on sizeable islands with larger prey available and few larger owls competing for dietary resources. The shape of the tail is a means of distinguishing the barn owl from typical owls when seen in the air. Other distinguishing features are the undulating flight pattern and the dangling, feathered legs. The pale face with its heart shape and black eyes give the flying bird a distinctive appearance, like a flat mask with oversized, oblique black eye-slits, the ridge of feathers above the beak somewhat resembling a nose.
In most subspecies, the bird's head and upper body typically vary between pale brown and some shade of grey (especially on the forehead and back). Some are a purer, richer brown instead, and all have fine black-and-white speckles except on the main wing feathers and tail feathers, which are light brown with darker bands. The heart-shaped face is usually bright white, but in some subspecies it is brown. The left ear is slightly above the eyes, whereas the right ear is slightly below. Also, the orientation of one ear's covert feathers differs, by about 15°, from those of the other. The underparts, including the tarsometatarsal (lower leg) feathers, vary from white to reddish buff among the subspecies, and are either mostly unpatterned or bear a varying number of tiny blackish-brown speckles. It has been found that, at least in the continental European populations, females with more spotting are healthier than plainer birds. By contrast, this does not hold true for European males, where the spotting varies according to subspecies. The beak varies from pale horn to dark buff, corresponding to the general plumage hue, and the iris is blackish brown. The feet, like the beak, vary in color, ranging from pink to dark pinkish-grey; and the talons are black. Within any one population, males, on average, tend to have fewer spots on the underside, and are paler in color, than females. Nestlings are covered in white down, but the heart-shaped facial disk becomes visible soon after hatching.
Contrary to popular belief, the barn owl does not hoot (such calls are made by typical owls, such as the tawny owl, or other members of the genus Strix). It instead produces the characteristic shree scream, an eerie, long-drawn-out shriek that is painful for humans to hear at close range. Males in courtship give a shrill twitter. Both young and old animals produce a snake-like defensive hiss when disturbed. Other sounds produced include a purring chirrup denoting pleasure, and a "kee-yak", which resembles one of the vocalizations of the tawny owl. When captured or cornered, the barn owl throws itself on its back and flails with sharp-taloned feet, making for an effective defense. In such situations, it may emit rasping or clicking noises, produced probably by the beak but possibly by the tongue.
The barn owl is the most widespread land bird species in the world, occurring on every continent except Antarctica.[17] Its range includes all of Europe (except Fennoscandia and Malta), most of Africa apart from the Sahara, the Indian subcontinent, Southeast Asia, Australia, many Pacific Islands, and North-, Central-, and South America. In general, it is considered to be sedentary; and, indeed, many individuals, having taken up residence in a particular location, remain there even when better nearby foraging areas are available. In the British Isles, the young seem largely to disperse along river corridors; and the distance traveled from their natal site averages about 9 km (5.6 mi).
In continental Europe the dispersal distance is greater, commonly somewhere between 50 and 100 kilometres (31 and 62 mi) but exceptionally 1,500 km (932 mi), with ringed birds from the Netherlands ending up in Spain and in Ukraine. In the United States, dispersal is typically over distances of 80 and 320 km (50 and 199 mi), with the most travelled individuals ending up some 1,760 km (1,094 mi) from their points of origin. Dispersal movements in the African continent include 1,000 km (621 mi) from Senegambia to Sierra Leone and up to 579 km (360 mi) within South Africa. In Australia there is some migration as the birds move towards the northern coast in the dry season and southward in the wet season, as well as nomadic movements in association with rodent plagues. Occasionally, some of these birds turn up on Norfolk Island, Lord Howe Island, or New Zealand, showing that crossing the ocean is within their capabilities. In 2008, barn owls were recorded for the first time breeding in New Zealand. The barn owl has been successfully introduced into the Hawaiian island of Kauai in an attempt to control rodents; distressingly, it has been found to also feed on native birds.
For more information, please visit en.wikipedia.org/wiki/Barn_owl
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Working as a distributed power train, TT03 and TT04, with TT132 at the rear, power towards Belford as MR189 empty PN coal train to Moorlarben.
Wednesday 30th May 2018
New railway track ballast distributing and profiling machine RPB-01 are being built by the Kaluga Track Machines and Hydraulic Drives Plant (part of the Sinara Group) in Russia. This machine distributes the crashed stone (future track ballast) to form perfect railway track profile.
The bogie suspension system of the RPB-01 is consisted of primary wheelset Chevron type suspension by the rubber spring; the support of the carbody and guidance traction by the bogie is realised by the flexicoil type secondary suspension throught the coil springs which can be deflected into vertical and horizontal directions according to flexicoil principle. Also hydraulic dampers are instaled.
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May 1, 2018 - East of Smith Center Kansas US
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Positioned my self a few miles east of Smith Center Kansas... This storm was maturing fast, and this cell was starting to look like she meant business.... and I had the perfect view!
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Juvenile Barn Owl (Tyto alba)
The barn owl (Tyto alba) is the most widely distributed species of owl, and one of the most widespread of all birds. It is also referred to as the common barn owl, to distinguish it from other species in its family, Tytonidae, which forms one of the two main lineages of living owls, the other being the typical owls (Strigidae). The barn owl is found almost everywhere in the world except polar and desert regions, Asia north of the Himalayas, most of Indonesia and some Pacific islands.
Phylogenetic evidence shows that there are at least three major lineages of barn owl, one in Eurasia and Africa, one in Australasia and one in the New World, and some highly divergent taxa on islands. Some authorities further split the group, recognising up to five species, and further research needs to be done to clarify the position. There is considerable variation between the sizes and colouring of the approximately 28 subspecies but most are between 33 and 39 cm (13 and 15 in) in length with wingspans ranging from 80 to 95 cm (31 to 37 in). The plumage on head and back is a mottled shade of grey or brown, the underparts vary from white to brown and are sometimes speckled with dark markings. The face is characteristically heart-shaped and is white in most species. This owl does not hoot, but utters an eerie, drawn-out shriek.
The barn owl is nocturnal over most of its range but in Britain and some Pacific islands, it also hunts by day. Barn owls specialise in hunting animals on the ground and nearly all of their food consists of small mammals which they locate by sound, their hearing being very acute. They mate for life unless one of the pair gets killed, when a new pair bond may be formed. Breeding takes place at varying times of year according to locality, with a clutch, averaging about four eggs, being laid in a nest in a hollow tree, old building or fissure in a cliff. The female does all the incubation, and she and the young chicks are reliant on the male for food. When large numbers of small prey are readily available, barn owl populations can expand rapidly, and globally the bird is considered to be of least conservation concern. Some subspecies with restricted ranges are more threatened.
Taxonomy and etymology
The barn owl was one of several species of bird first described in 1769 by the Tyrolean physician and naturalist Giovanni Antonio Scopoli in his Anni Historico-Naturales. He gave it the scientific name Strix alba. As more species of owl were described, the genus name Strix came to be used solely for the wood owls in the typical owl family Strigidae, and the barn owl became Tyto alba in the barn owl family Tytonidae. The name literally means "white owl", from the onomatopoeic Ancient Greek tyto (τυτώ) for an owl – compare English "hooter" – and Latin alba, "white". The bird is known by many common names which refer to its appearance, call, habitat or its eerie, silent flight: white owl, silver owl, demon owl, ghost owl, death owl, night owl, rat owl, church owl, cave owl, stone owl, monkey-faced owl, hissing owl, hobgoblin or hobby owl, dobby owl, white-breasted owl, golden owl, scritch owl, screech owl, straw owl, barnyard owl, and delicate owl. "Golden owl" might also refer to the related golden masked owl (T. aurantia). "Hissing owl" and, particularly in the US and in India, "screech owl", refers to the piercing calls of these birds. The latter name is more correctly applied to a different group of birds, the screech-owls in the genus Megascops.
The ashy-faced owl (T. glaucops) was for some time included in T. alba, and by some authors its populations from the Lesser Antilles still are. Based on DNA evidence, König, Weick & Becking (2009) recognised the American Barn Owl (T. furcata) and the Curaçao Barn Owl (T. bargei) as separate species. They also proposed that T. a. delicatula should be split off as a separate species, to be known as the eastern barn owl, which would include the subspecies T. d. sumbaensis, T. d. meeki, T. d. crassirostris and T. d. interposita. However the International Ornithological Committee has doubts about this and states that the split of Tyto delicatula from T. alba "may need to be revisited". Some island subspecies are occasionally treated as distinct species, a move which should await further research into barn owl phylogeography. According to Bruce in the Handbook of Birds of the World, Volume 5: Barn-owls to Hummingbirds, "a review of the whole group [is] long overdue". Molecular analysis of mitochondrial DNA shows a separation of the species into two clades, an Old World alba and a New World furcata, but this study did not include T. a. delicatula which the authors seem to have accepted as a separate species. A high amount of genetic variation was also found between the Indonesian T. a. stertens and other members of the alba clade.
The barn owl has a wider distribution than any other species of owl. Many subspecies have been proposed over the years but several are generally considered to be intergrades between more distinct populations. Twenty to thirty are usually recognised, varying mainly in body proportions, size and colour. Island forms are mostly smaller than mainland ones, and those inhabiting forests have darker plumage and shorter wings than those occurring in open grasslands. Barn owls range in colour from the almost beige-and-white nominate subspecies, erlangeri and niveicauda, to the nearly black-and-brown contempta.
Description
The barn owl is a medium-sized, pale-coloured owl with long wings and a short, squarish tail. There is considerable size variation across the subspecies with a typical specimen measuring about 33 to 39 cm (13 to 15 in) in overall length, with a wingspan of some 80 to 95 cm (31 to 37 in). Adult body mass is also variable with male owls from the Galapagos weighing 260 g (9.2 oz) while male Pacific barn owls average 555 g (19.6 oz). In general, owls living on small islands are smaller and lighter, perhaps because they have a higher dependence on insect prey and need to be more manoeuvrable. The shape of the tail is a means of distinguishing the barn owl from typical owls when seen in the air. Other distinguishing features are the undulating flight pattern and the dangling, feathered legs. The pale face with its heart shape and black eyes give the flying bird a distinctive appearance, like a flat mask with oversized, oblique black eyeslits, the ridge of feathers above the bill somewhat resembling a nose.
The bird's head and upper body typically vary between pale brown and some shade of grey (especially on the forehead and back) in most subspecies. Some are purer, richer brown instead, and all have fine black-and-white speckles except on the remiges and rectrices (main wing feathers), which are light brown with darker bands. The heart-shaped face is usually bright white, but in some subspecies it is brown. The underparts, including the tarsometatarsal (lower leg) feathers, vary from white to reddish buff among the subspecies, and are either mostly unpatterned or bear a varying number of tiny blackish-brown speckles. It has been found that at least in the continental European populations, females with more spotting are healthier than plainer birds. This does not hold true for European males by contrast, where the spotting varies according to subspecies. The bill varies from pale horn to dark buff, corresponding to the general plumage hue, and the iris is blackish brown. The toes, like the bill, vary in colour, ranging from pink to dark pinkish-grey and the talons are black.
On average within any one population, males tend to have fewer spots on the underside and are paler in colour than females. The latter are also larger with a strong female T. alba of a large subspecies weighing over 550 g (19.4 oz), while males are typically about 10% lighter. Nestlings are covered in white down, but the heart-shaped facial disk becomes visible soon after hatching.
Contrary to popular belief, the barn owl does not hoot (such calls are made by typical owls, like the tawny owl or other members of the genus Strix). It instead produces the characteristic shree scream, ear-shattering at close range, an eerie, long-drawn-out shriek. Males in courtship give a shrill twitter. Both young and old can hiss like a snake to scare away intruders. Other sounds produced include a purring chirrup denoting pleasure, and a "kee-yak", which resembles one of the vocalisations of the tawny owl. When captured or cornered, the barn owl throws itself on its back and flails with sharp-taloned feet, making for an effective defence. In such situations it may emit rasping sounds or clicking snaps, produced probably by the bill but possibly by the tongue.
Distribution
The barn owl is the most widespread landbird species in the world, occurring in every continent except Antarctica. Its range includes all of Europe (except Fennoscandia and Malta), most of Africa apart from the Sahara, the Indian subcontinent, Southeast Asia, Australia, many Pacific Islands, North, Central and South America. In general it is considered to be sedentary, and indeed many individuals, having taken up residence in a particular location, remain there even when better foraging areas nearby become vacant. In the British Isles, the young seem largely to disperse along river corridors and the distance travelled from their natal site averages about 9 km (5.6 mi).
In continental Europe the distance travelled is greater, commonly somewhere between 50 and 100 kilometres (31 and 62 mi) but exceptionally 1,500 km (932 mi), with ringed birds from the Netherlands ending up in Spain and in Ukraine. In the United States, dispersal is typically over distances of 80 and 320 km (50 and 199 mi), with the most travelled individuals ending up some 1,760 km (1,094 mi) from the point of origin. Movements in the African continent include 1,000 km (621 mi) from Senegambia to Sierra Leone and up to 579 km (360 mi) within South Africa. In Australia there is some migration as the birds move towards the northern coast in the dry season and southward in the wet, and also nomadic movements in association with rodent plagues. Occasionally, some of these birds turn up on Norfolk Island, Lord Howe Island or New Zealand, showing that crossing the ocean is not beyond their capabilities. In 2008, barn owls were recorded for the first time breeding in New Zealand. The barn owl has been successfully introduced into the Hawaiian island of Kauai in an attempt to control rodents, however it has been found to also feed on native birds.
Behaviour and ecology
Like most owls, the barn owl is nocturnal, relying on its acute sense of hearing when hunting in complete darkness. It often becomes active shortly before dusk and can sometimes be seen during the day when relocating from one roosting site to another. In Britain, on various Pacific Islands and perhaps elsewhere, it sometimes hunts by day. This practice may depend on whether the owl is mobbed by other birds if it emerges in daylight. However, in Britain, some birds continue to hunt by day even when mobbed by such birds as magpies, rooks and black-headed gulls, such diurnal activity possibly occurring when the previous night has been wet making hunting difficult. By contrast, in southern Europe and the tropics, the birds seem to be almost exclusively nocturnal, with the few birds that hunt by day being severely mobbed.
Barn owls are not particularly territorial but have a home range inside which they forage. For males in Scotland this has a radius of about 1 km (0.6 mi) from the nest site and an average size of about 300 hectares. Female home ranges largely coincide with that of their mates. Outside the breeding season, males and females usually roost separately, each one having about three favoured sites in which to conceal themselves by day, and which are also visited for short periods during the night. Roosting sites include holes in trees, fissures in cliffs, disused buildings, chimneys and haysheds and are often small in comparison to nesting sites. As the breeding season approaches, the birds move back to the vicinity of the chosen nest to roost.
The barn owl is a bird of open country such as farmland or grassland with some interspersed woodland, usually at altitudes below 2,000 metres (6,600 ft) but occasionally as high as 3,000 metres (9,800 ft) in the tropics. This owl prefers to hunt along the edges of woods or in rough grass strips adjoining pasture. It has an effortless wavering flight as it quarters the ground, alert to the sounds made by potential prey. Like most owls, the barn owl flies silently; tiny serrations on the leading edges of its flight feathers and a hairlike fringe to the trailing edges help to break up the flow of air over the wings, thereby reducing turbulence and the noise that accompanies it. Hairlike extensions to the barbules of its feathers, which give the plumage a soft feel, also minimise noise produced during wingbeats. The behaviour and ecological preferences may differ slightly even among neighbouring subspecies, as shown in the case of the European T. a. guttata and T. a. alba that probably evolved, respectively, in allopatric glacial refugia in southeastern Europe, and in Iberia or southern France.
Diet and feeding
The diet of the barn owl has been much studied; the items consumed can be ascertained from identifying the prey fragments in the pellets of indigestible matter that the bird regurgitates. Studies of diet have been made in most parts of the bird's range, and in moist temperate areas over 90% of the prey tends to be small mammals, whereas in hot, dry, unproductive areas, the proportion is lower, and a great variety of other creatures are eaten depending on local abundance. Most prey is terrestrial but bats and birds are also taken, as well as lizards, amphibians and insects. Even when they are plentiful and other prey scarce, earthworms do not seem to be consumed.
In North America and most of Europe, voles predominate in the diet and shrews are the second most common food choice. Mice and rats form the main foodstuffs in the Mediterranean region, the tropics, sub-tropics and Australia. Barn owls are usually more specialist feeders in productive areas and generalists in drier areas. On the Cape Verde Islands, geckos are the mainstay of the diet, supplemented by birds such as plovers, godwits, turnstones, weavers and pratincoles, and on a rocky islet off the coast of California, a clutch of four young were being reared on a diet of Leach's storm petrel (Oceanodroma leucorhoa). In Ireland, the accidental introduction of the bank vole in the 1950s led to a major shift in the barn owl's diet: where their ranges overlap, the vole is now by far the largest prey item. Locally superabundant rodent species in the weight class of several grams per individual usually make up the single largest proportion of prey. In the United States, rodents and other small mammals usually make up ninety-five percent of the diet and worldwide, over ninety percent of the prey caught.
The barn owl hunts by flying slowly, quartering the ground and hovering over spots that may conceal prey. It may also use branches, fence posts or other lookouts to scan its surroundings, and this is the main means of prey location in the oil palm plantations of Malaysia. The bird has long, broad wings, enabling it to manoeuvre and turn abruptly. Its legs and toes are long and slender which improves its ability to forage among dense foliage or beneath the snow and gives it a wide spread of talons when attacking prey. Studies have shown that an individual barn owl may eat one or more voles (or their equivalent) per night, equivalent to about twenty-three percent of the bird's bodyweight. Excess food is often cached at roosting sites and can be used when food is scarce.
Small prey is usually torn into chunks and eaten completely including bones and fur, while prey larger than about 100 g (4 oz), such as baby rabbits, Cryptomys blesmols, or Otomys vlei rats, is usually dismembered and the inedible parts discarded. Contrary to what is sometimes assumed, the barn owl does not eat domestic animals on any sort of regular basis. Regionally, non-rodent foods are used as per availability. On bird-rich islands, a barn owl might include some fifteen to twenty percent of birds in its diet, while in grassland it will gorge itself on swarming termites, or on Orthoptera such as Copiphorinae katydids, Jerusalem crickets (Stenopelmatidae) or true crickets (Gryllidae). Bats and even frogs, lizards and snakes may make a minor but significant contribution to the diet; small Soricomorpha like Suncus shrews may be a secondary prey of major importance.
The barn owl has acute hearing, with ears placed asymmetrically. This improves detection of sound position and distance and the bird does not require sight to hunt. The facial disc plays a part in this process, as is shown by the fact that with the ruff feathers removed, the bird can still locate the source in azimuth but fails to do so in elevation. Hunting nocturnally or crepuscularly, this bird can target its prey and dive to the ground, penetrating its talons through snow, grass or brush to seize small creatures with deadly accuracy. Compared to other owls of similar size, the barn owl has a much higher metabolic rate, requiring relatively more food. Weight for weight, barn owls consume more rodents—often regarded as pests by humans—than possibly any other creature. This makes the barn owl one of the most economically valuable wildlife animals for agriculture. Farmers often find these owls more effective than poison in keeping down rodent pests, and they can encourage barn owl habitation by providing nest sites.
Barn owls living in tropical regions can breed at any time of year, but some seasonality in nesting is still evident. Where there are distinct wet and dry seasons, egg-laying usually takes place during the dry season, with increased rodent prey becoming available to the birds as the vegetation dies off. In arid regions, such as parts of Australia, breeding may be irregular and may happen in wet periods, triggered by temporary increases in the populations of small mammals. In temperate climates, nesting seasons become more distinct and there are some seasons of the year when no egg-laying takes place. In Europe and North America, most nesting takes place between March and June when temperatures are increasing. The actual dates of egg-laying vary by year and by location, being correlated with the amount of prey-rich foraging habitat around the nest site and often with the phase of the rodent abundance cycle. An increase in rodent populations will usually stimulate the local barn owls to begin nesting; thus, even in the cooler parts of its range, two broods are often raised in a good year.
Females are ready to breed at ten to eleven months of age although males sometimes wait till the following year. Barn owls are usually monogamous, sticking to one partner for life unless one of the pair dies. During the non-breeding season they may roost separately, but as the breeding season approaches they return to their established nesting site, showing considerable site fidelity. In colder climates, in harsh weather and where winter food supplies may be scarce, they may roost in farm buildings and in barns between hay bales, but they then run the risk that their selected nesting hole may be taken over by some other, earlier-nesting species. Single males may establish feeding territories, patrolling the hunting areas, occasionally stopping to hover, and perching on lofty eminences where they screech to attract a mate. Where a female has lost her mate but maintained her breeding site, she usually seems to manage to attract a new spouse.
Once a pair-bond has been formed, the male will make short flights at dusk around the nesting and roosting sites and then longer circuits to establish a home range. When he is later joined by the female, there is much chasing, turning and twisting in flight, and frequent screeches, the male's being high-pitched and tremulous and the female's lower and harsher. At later stages of courtship, the male emerges at dusk, climbs high into the sky and then swoops back to the vicinity of the female at speed. He then sets off to forage. The female meanwhile sits in an eminent position and preens, returning to the nest a minute or two before the male arrives with food for her. Such feeding behaviour of the female by the male is common, helps build the pair-bond and increases the female's fitness before egg-laying commences.
Barn owls are cavity nesters. They choose holes in trees, fissures in cliff faces, the large nests of other birds such as the hamerkop (Scopus umbretta) and, particularly in Europe and North America, old buildings such as farm sheds and church towers. Buildings are preferred to trees in wetter climates in the British Isles and provide better protection for fledglings from inclement weather. Trees tend to be in open habitats rather than in the middle of woodland and nest holes tend to be higher in North America than in Europe because of possible predation by raccoons (Procyon lotor). No nesting material is used as such but, as the female sits incubating the eggs, she draws in the dry furry material of which her regurgitated pellets are composed, so that by the time the chicks are hatched, they are surrounded by a carpet of shredded pellets. Oftentimes other birds such as jackdaws (Corvus monedula) nest in the same hollow tree or building and seem to live harmoniously with the owls.
Before commencing laying, the female spends much time near the nest and is entirely provisioned by the male. Meanwhile the male roosts nearby and may cache any prey that is surplus to their requirements. When the female has reached peak weight, the male provides a ritual presentation of food and copulation occurs at the nest. The female lays eggs on alternate days and the clutch size averages about five eggs (range two to nine). The eggs are chalky white, somewhat elliptical and about the size of bantam's eggs, and incubation begins as soon as the first egg is laid. While she is sitting on the nest, the male is constantly bringing more provisions and they may pile up beside the female. The incubation period is about thirty days, hatching takes place over a prolonged period and the youngest chick may be several weeks younger than its oldest sibling. In years with plentiful supplies of food, there may be a hatching success rate of about 75%. The male continues to copulate with the female when he brings food which makes the newly hatched chicks vulnerable to injury.
The chicks are at first covered with greyish-white down and develop rapidly. Within a week they can hold their heads up and shuffle around in the nest. The female tears up the food brought by the male and distributes it to the chicks. Initially these make a "chittering" sound but this soon changes into a food-demanding "snore". By two weeks old they are already half their adult weight and look naked as the amount of down is insufficient to cover their growing bodies. By three weeks old, quills are starting to push through the skin and the chicks stand, making snoring noises with wings raised and tail stumps waggling, begging for food items which are now given whole. The male is the main provider of food until all the chicks are at least four weeks old at which time the female begins to leave the nest and starts to roost elsewhere. By the sixth week the chicks are as big as the adults but have slimmed down somewhat by the ninth week when they are fully fledged and start leaving the nest briefly themselves. They are still dependent on the parent birds until about thirteen weeks and receive training from the female in finding, and eventually catching, prey.
Moulting
Feathers become abraded over time and all birds need to replace them at intervals. Barn owls are particularly dependent on their ability to fly quietly and manoeuvre efficiently, and in temperate areas their prolonged moult lasts through three phases over a period of two years. The female starts to moult while incubating the eggs and brooding the chicks, a time when the male feeds her so she does not need to fly much. The first primary feather to be shed is the central one, number 6, and it has regrown completely by the time the female resumes hunting. Feathers 4, 5, 7 and 8 are dropped at a similar time the following year and feathers 1, 2, 3, 9 and 10 in the bird's third year of adulthood. The secondary and tail feathers are lost and replaced over a similar timescale, again starting while incubation is taking place. In the case of the tail, the two outermost tail feathers are first shed followed by the two central ones, the other tail feathers being moulted the following year.
In temperate areas, the male owl moults rather later in the year than the female, at a time when there is an abundance of food, the female has recommenced hunting and the demands of the chicks are lessening. Unmated males without family responsibilities often start losing feathers earlier in the year. The moult follows a similar prolonged pattern to that of the female and the first sign that the male is moulting is often when a tail feather has been dropped at the roost. A consequence of moulting is the loss of thermal insulation. This is of little importance in the tropics and barn owls here usually moult a complete complement of flight feathers annually. The hot-climate moult may still take place over a long period but is usually concentrated at a particular time of year outside the breeding season.
Predators and parasites
Predators of the barn owl include large American opossums (Didelphis), the common raccoon, and similar carnivorous mammals, as well as eagles, larger hawks and other owls. Among the latter, the great horned owl (Bubo virginianus) in the Americas and the Eurasian eagle-owl (B. bubo) are noted predators of barn owls (though there is little evidence for predation on wild birds by great horned owls). In Europe, the chief diurnal predators are the northern goshawk (Accipiter gentilis) and the common buzzard (Buteo buteo). The goshawk and the eagle owl are on the increase because of the greater protection these birds now receive.
When disturbed at its roosting site, an angry barn owl lowers its head and sways it from side to side, or the head may be lowered and stretched forward and the wings drooped while the bird emits hisses and makes snapping noises with its bill. A defensive attitude involves lying flat on the ground or crouching with wings spread out.
Barn owls are hosts to a wide range of parasites. Fleas are present at nesting sites and externally the birds are attacked by feather lice and feather mites which chew the barbules of the feathers and which are transferred from bird to bird by direct contact. Blood-sucking flies such as Ornithomyia avicularia are often present, moving about among the plumage. Internal parasites include the fluke Strigea strigis, the tape worm Paruternia candelabraria, several species of parasitic round worm and spiny-headed worms in the genus Centrorhynchus. These gut parasites are acquired when the birds feed on infected prey which provide intermediate hosts for the parasites. There is some indication that female birds with more and larger spots have a greater resistance to external parasites. This is correlated with smaller bursae of Fabricius, glands associated with antibody production, and a lower fecundity of the blood-sucking fly Carnus hemapterus that attacks nestlings.
Lifespan
Unusually for such a medium-sized carnivorous animal, the barn owl exhibits r-selection, producing large number of offspring with a high growth rate, many of which have a relatively low probability of surviving to adulthood. While wild barn owls are thus decidedly short-lived, the actual longevity of the species is much higher – captive individuals may reach twenty years of age or more. But occasionally, a wild bird reaches an advanced age. The American record age for a wild barn owl is eleven and a half years, while a Dutch bird was noted to have reached an age of seventeen years, ten months. Another captive barn owl, in England, lived to be over twenty-five years old. Taking into account such extremely long-lived individuals, the average lifespan of the barn owl is about four years, and statistically two-thirds to three-quarters of all adults survive from one year to the next. However, the mortality is not evenly distributed throughout the bird's life, and only one young in three manages to live to its first breeding attempt.
The most significant cause of death in temperate areas is likely to be starvation, particularly over the autumn and winter period when first year birds are still perfecting their hunting skills. In northern and upland areas, there is some correlation between mortality in older birds and adverse weather, deep-lying snow and prolonged low temperatures. Collision with road vehicles is another cause of mortality, and may result when birds forage on mown verges. Some of these birds are in poor condition and may have been less able to evade oncoming vehicles than fit individuals would have been. Historically, many deaths were caused by the use of pesticides, and this may still be the case in some parts of the world. Collisions with power-lines kill some birds and shooting accounts for others, especially in Mediterranean regions.
Status and conservation
Barn owls are relatively common throughout most of their range and not considered globally threatened. However, locally severe declines from organochlorine (e.g., DDT) poisoning in the mid-20th century and rodenticides in the late 20th century have affected some populations, particularly in Europe and North America. Intensification of agricultural practices often means that the rough grassland that provides the best foraging habitat is lost. While barn owls are prolific breeders and able to recover from short-term population decreases, they are not as common in some areas as they used to be. A 1995–1997 survey put their British population at between 3,000 to 5,000 breeding pairs, out of an average of about 150,000 pairs in the whole of Europe. In the USA, barn owls are listed as endangered species in seven Midwestern states, and in the European Community they are considered a Species of European Concern.
In some areas, it may be an insufficiency of suitable nesting sites that is the factor limiting barn owl numbers. The provision of nest boxes under the eaves of buildings and in other locations can be very successful in increasing the local population. In Malaysia, large areas of rainforest were felled to make way for oil palm plantations and with few tree cavities for breeding, the barn owl population, with its ability to control rodent pests, diminished. The provision of two hundred nest boxes in a trial saw almost one hundred percent occupancy and as the programme expanded, the plantations supported one of the densest barn owl populations in the world. Similarly, providing nesting boxes has increased the number of barn owls in rice-growing areas of Malaysia where the rodents do much damage to the crop. However, although barn owl numbers have increased in both these instances, it is unclear as to how effective this biological control of the rats is as compared to the trapping and baiting that occurred previously.
Common names such as "demon owl", "death owl", or "ghost owl" show that traditionally, rural populations in many places considered barn owls to be birds of evil omen. Consequently, they were often persecuted by farmers who were unaware of the benefit these birds bring. The Canary barn owl is particularly at risk, and as late as 1975, hunting by fearful locals was limiting the population on Fuerteventura where only a few dozen pairs remain. On Lanzarote a somewhat larger number of these birds still seem to exist, but altogether this particular subspecies is precariously rare: Probably less than three hundred and perhaps fewer than two hundred individuals still remain. Similarly, the birds on the western Canary Islands which are usually assigned to the nominate subspecies have declined much, and here wanton destruction seems still to be significant. On Tenerife they seem relatively numerous but on the other islands, the situation looks about as bleak as on Fuerteventura. Due to their assignment to the nominate subspecies, which is common in mainland Spain, the western Canary Islands population is not classified as threatened.
In the United Kingdom, the "Barn Owl Nest Box Scheme" is promoted by the World Owl Trust and has many participants in local areas such as Somerset where a webcam has been set up inside a nest box in which seven young were reared in 2014. Another barn owl nest box live-streaming webcam located in California, United States has proved popular online. In May 2012, it was revealed that farmers in Israel and Jordan had, over a period of ten years, replaced pesticides by barn owls in a joint conservation venture called "Project Barn Owl".
[Credit: en.wikipedia.org/]
RPB-01, the new railway track ballast distributing and profiling machine are produced by the Kaluga Track Machines and Hydraulic Drives Plant (part of the Sinara Group) in Russia. This machine distributes the crashed stone (future track ballast) to form perfect railway track profile.
The bogie suspension system of the RPB-01 is consisted of primary wheelset Chevron type suspension by the rubber spring; the support of the carbody and guidance traction by the bogie is realised by the flexicoil type secondary suspension throught the coil springs which can be deflected into vertical and horizontal directions according to flexicoil principle. Also hydraulic dampers are instaled.