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Draw holes for one of the four kilns at the Miller's Dale limeworks. The lime was drawn out over a perforated plate with whatever fell through being rejected as waste.
Sometimes we feel like we are alone on our journey. We feel no one understands.There is One who understands it all and who walks with you every step of your life.
"No temptation has overtaken you that is not common to man. God is faithful, and he will not let you be tempted beyond your ability, but with the temptation he will also provide the way of escape, that you may be able to endure it." - 1 Corinthian 10:13
"For we do not have a high priest who is unable to sympathize with our weaknesses, but one who in every respect has been tempted as we are, yet without sin. Let us then with confidence draw near to the throne of grace, that we may receive mercy and find grace to help in time of need." - Hebrews 4:15-16
#ChristAlone #alone #desperate #Jesus #Temptation #journey
#film #filmisnotdead #voigtlander #BessaT #upstate #newyork
The DB Draw railroad bridge crosses the Hackensack River, connecting Secaucus NJ (where I stood to get the shot) with Kearny NJ. It was taken out of service, Wiki tells me, in 2002, and left open for river traffic.
… as the day draws to an end. I was staying Kowloon-side for a change :-)
Watch it properly @ Gallery Minimal
Explored #1 on 02/07/2024.
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This is the sight of my son's high tech gear, an olympic recurve bow.
I took this shot with a tele-zoom at 210mm with low aperture at close distance. This gives a low depth of field. I processed a single shot into an HDR photo to bring out the colors without increasing the color saturation.
HDR, 1 RAW exposure, NEX-6, _DSC5671_hdr1def1b
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This is taken when I was in a bus on my way to London. It was an amazing day, and my first time in London. I miss my exchange partner Ellie and the funny evenings with her friends in the garden on the trampolin or watching the Worldcup. Hmm. Old, good times!
[I moved this cabinet card up to the head of the line because somebody favorited it today, and many of my new followers probably haven't seen it. When it comes to pure greatness, here you are. This is just a fabulous cabinet card. I paid a pretty penny for it back in the day, like, a lot of money, but I still think it was money well spent. A relative of Mrs. Robinson contacted me to tell me about her, but thank goodness she didn't want the photo back. I fall in love quite easily. I fell in love with Mrs. Robinson, and though my hopes are unrequited, I am still her eternal slave.]
I bought this card from an Internet dealer (not Ebay). He had posted the card, as he does every two weeks, and put a price on it, and no one had bought it. The photos are posted on Sunday, and the first person who says he will pay the money gets the photo. I told the dealer I was tempted, and he emailed back and urged me to buy it. Naturally, I ended up buying it, even though it was priced very high. I've paid more for a photo, but that was on Ebay. I'm not going to say how much I paid for this, but it was a lot.
On the one hand, you could say I overpaid. I mean, it's just a photo of a woman looking in a mirror. The photo has some fingerprint smudges, it's kind of plain, barren, there's not a lot going on, and though I find this woman attractive enough, she's not a stunning (a favorite Ebay seller's word) beauty. I mean, it's just a nice photograph---why did I waste my money?
I paid that money because the photograph is astonishingly modern. It's like the past leapfrogged the present and jumped into the future. I mean, this woman is dead, and there she is, looking right at us, right now, not a hundred years ago, or however long ago it was.
Did she know that we would be looking at her? Why isn't she smiling? I think she isn't smiling because she's saying "I Lived." She's saying, "I'm Living." She's saying, "I'm Alive." And of course she's not alive. But she is alive.
Perhaps I bought the photograph because it distills into a single artifact so much of what draws me to old photographs (and yes, of course, I find her attractive).
I don't think the seller had done a lot of research on Wirt Robinson. Maybe one of you who has access to genealogical resources could find her first name for me. Perhaps there was more than one "Wirt Robinson." However, I found information on only one, and since the one I found was a good one, I didn't look any further.
Wirt Robinson was in the Army, and he taught at West Point. He wrote a book which seems to be still in print, with the wonderful title "Notes On The Circumstances Of A Moving Projectile." Apparently, when he wasn't teaching at West Point, he was off in the tropics, looking at birds. Somewhere (ART_NAHPRO perhaps will find it for us) there is a book he wrote, or illustrated, about birds in the forests of Venezuela. How he could have borne the absence of Mrs. Wirt Robinson is beyond me. Perhaps the experience of her was so rich, so filling, so extravagant, that he could only take a little bit at a time, like foie gras or something. From the looks of things, I would guess that Mrs. Robinson was extremely sensitive in that little square inch just behind her ear lobe. They say that the universe is so vast that out there somewhere there is another planet where they speak English. If that is so, perhaps there is another planet out there where Mrs. Robinson and mrwaterslide might meet and fall in love (of course, not-wanting her to be Mrs. Robinson, but Amelia Arnold, or whatever her maiden name was.)
I have this idea of what Wirt Robinson was like. He must have been an academic sort of fellow, but, like Mr. Chips, he was that lucky fellow who met the love of his life, and won her heart, as she had won his. Unlike Mr. Chips, I hope his love endured in the earthly realm, and lasted to old age. There would have been fires in the fireplace, and sherry, and croquet perhaps, and the triumphs and sadnesses of students who came and went (it seems that Wirt Robinson lived in to the 20's though I haven't found a date of death.)
One last little tidbit, that I saw once and now can't find again---apparently at West Point there is a little memorial to Wirt Robinson, and it seems, though I haven't been able to find a picture, that it is a statue of a bunch of ducks. I really hope you're allowed to go there and see it.
Thanks to everyone who took the time to stop and look at the previous photo I posted. Tonight I had meant to post this shot and discuss my thoughts behind it at a bit of a greater length, but we shall see how far I get. I have been at the computer all day scanning and editing an image for a job, so my neck is sore and my eyes are tired, and it is a thoroughly less pleasant fatigue than the one you enjoy physically after a good hike in the woods.
Anyway, my attempt with my last photo was just to change the pace a little. I know part of my opinion coming up is cynicism, but also not entirely. I just wanted to take a shot at the 5-second attention span many of us use to rule our lives. Regarding photography specifically you notice this by watching a person's viewing habits. What do we do when browsing Flickr, but flip flip flip.
And flip flip flip.
I am certainly not immune to this, and have been paying a lot more attention to it lately and trying to slow myself down. It is one of the reasons I have been leaving fewer comments is I have been looking at fewer photos and trying to leave more personal comments than the usual "Excellent photo!" or "stonking good shot!". Yes that last is a nod to our good friend RC, for those of you who know who I am talking about. ;-) He is sort of the antithesis of what I was trying to encourage with my last photo.
Whoa, speaking of short attention spans, cannot let myself get too distracted. Anyway, I just notice this behavior in people (again myself included) and it sort of bugs me. Well ok, it bugs me a great deal. I recently rented a car for my trip up to Mt. Rainier. It had Sirius radio. Something like 156 stations to listen to. You know what I spent most of my time doing? Flipping stations!!!
And flip flip flip. Eventually I just turned the radio off and read a book (not while driving though). It was ridiculous. I find I do the same in hotel rooms when presented with cable television. It is almost too hard to resist. Oooh so many channels, cannot decide. I'll watch Discovery for 30 seconds until a commercial, then flip over to History. Wonder what is on AMC or HBO?
What I find a bit unsettling though, is sometimes I wonder if this attitude is affecting how we perceive the world, and hence the photos we take. They tend to rely more on intense colors, dynamic compositions, shock and awe. They have to, the average person only looks at a photo for a handful of seconds, it has to have a hook.
Nothing really wrong with that, unless you sacrifice depth to achieve it. I was browsing a really cool book of Ansel Adams' photos today over lunch (no I really do never stop thinking about photography). His photos certainly are full of drama and contrast, but they also have depth to them. They appeal to the wandering eye as well as the lingering one.
This is where I worry about the trends of our perceptions. We continuously think that a photo has to be vibrant, punchy, and saturated. Our black and white photos have to be contrasty and impending. And notice how these words work into our vocabulary. How often do we talk about the soft palette of colors an image celebrates? Or the extensive tonal range? What about richness without contrast? Sure, these still come up, but less frequently than they used to.
A couple of comments I received sparked various thoughts in my head. On the last self-portrait I posted taken at Lost Lake with my pinhole (that 4 minute exposure) someone commented on the extraordinary patience I must have. Really? Is it that extraordinary these days to be able to stand still and occupy one's self for 4 minutes? And I will even be more honest, I was not even occupying myself. I had a gorgeous lake and mountain in front of me to do it. Is it really such a gulf between 4 seconds and 4 minutes that people think I must be superhuman to bridge it?
And the second comment someone left on my last photo about the machine gun nature of DSLRs contributing to this drive-by attention span we have going. I think there is definitely some validity to this. The ability to fire through 1000 shots without having to stop to reload or waste film certainly plays a role. But I think this is more a matter of the egg coming before the chicken. We use digital cameras in this fashion because we want to. No sense blaming our behavior on the camera. It is not like that D70 is whispering seductively in your ear "come on, just 50 more frames, no need to stop to think or enjoy any of this. Just shoot shoot shoot." As I have said before, the important stuff all happens behind the camera. If a DSLR becomes a photo-machine gun it is because the photographer makes it one. And that photographer is just as likely to do so with a film camera too. Trust me, I know some of these people personally.
Anyway, these are all late night musings. Things I have noticed. I am not saying I am right. I am not saying I have a solution if I am. I am not even saying if you do this, you shouldn't. The great thing about photography is we each get to approach it how we will, and we should.
I have just been noticing this behavior a bit in myself and am attempting to curb it, because I feel like I get better photos when I do. If we approach the world only looking for the flashy stuff, we will find it. And we will take photos of it. But if you make an effort to move a bit slowly, to find the scenes that suck you in and hold you enthralled for minutes on end, you stand a good chance of taking photos that do the same. Isn't that what a photographer should aim for, that is, a photo that draws the viewer in and holds them enthralled. Is it really that fulfilling to take a photo that impresses someone for 4-10 seconds before they move on to the next image? I would rather take one picture that stopped someone for 5 minutes, than 30 images that stopped them for 10 seconds each.
Anyway, looks like I got a fair distance down after all. But enough is enough. You know the drill, got enough time for a single minute again? ;-)
And Brian it is ok to want to taste this, makes me want to too, so there are at least two of us weirdos out there.
The very thing that draws me to these slot canyons over and over again is the light. The endless pools of reflected light, the warm orange and pink glows, the cool blue depths of the shadows, the rich textures in the stone – all of it. These things combine with the deep, sinuous depths of the canyons as they wind left and right, up and down through the earth's crust giving us a portal to another world. It's a world of silence, calm, peace and sanctity. It's a world that never changes on its own, and yet can do so suddenly when water and earth collide in a deluge of mud and water from a flash flood. This particular canyon is one of my favorites, as it is even deeper, darker, and more rich in texture and tone than some of the others I've spent time in. I love returning to this place, and hope to continue doing so again and again in the future. Each time I return, I get to know the place a little better. I see it a little more clearly, and get a feel for its character on a slightly deeper level. It's an ongoing relationship with meaningful places that tends to produce the best experiences, and as a result, the best images.
“Tell me a story about your grandparents, Sara,” said Tilly as she settled into her narrow single bed in the attic room the two maids shared under the eaves of Wickham Place.
“Again?” sighed Sarah. “I’m bone tired after airing the bedrooms today.”
“Oh go on, Sara! Please!” begged Tilly, looking over at Sara in the opposite, equally narrow bed. “I never knew my grandparents.”
Sara sighed heavily again. “Alright. Which one?”
“The house. Tell me about their kitchen.” Tilly said with a smile as she settled back into her thin pillow.
“Well, my grandparents used to live in the Watendlath in the Lake District. They had a Lakeside farm. My grandfather used to have sheep…”
“What kind of sheep, Sara?”
“Shhh! Don’t interrupt and be impatient Tilly!”
“Sorry Sara.”
“Herdwick sheep, Tilly. Grandfather used to show them at the Keswick Agricultural Show. They had a little limewashed cottage that Grandmother kept spick and span, and I used to go and stay with them for the occasional holiday. It had a big kitchen with a flagstone floor and a stove that Grandmother used to keep well blackened. Poor Agnes would be jealous. Grandmother would hang her gleaming copper pans around it, and there was always a shiny copper kettle atop it. She would keep the pot on the stovetop edge to keep the pot warm as it steeped. We would eat our meals in the kitchen as it was farmhouse, not a grand house like this with its own dining room, so there was a big table surrounded my ladderback chairs.”
“And the kitchen dresser? What about the kitchen dresser, Sara?”
“Oh Tilly!” Sara hissed. “You! You know this so well!”
“Tell me again, Sara!”
“In the corner of the kitchen there stood a big old dresser, like Cook’s one downstairs. It was there when my grandparents moved in when they were first married, and I’m sure it is still there now, because the roofbeams bowed from age have held it in place where it stands. Grandmother used to have her best china on display in it: a Royal Doulton dinner set that they were given as a wedding gift.”
“Cor!” gasped Tilly. “Very fancy!”
“Grandmother’s family were comfortable, so they could give the newlyweds a nice gift.”
“And what did you and your Grandmother do whilst you waited for your Grandfather to come in?”
“Grandmother would pull her spinning wheel over by the stove, take out some of the wool Grandfather had taken from his sheep and she would spin it. Sometimes she would let me sit on the stool with her and she would teach me how to draw the thread out, long and straight as it slowly twirled around the spindle and the bobbin. Whir, whir, whir it went, and clack, clack clack.”
Light snoring came from Tilly\'s recumbent figure. Sara\'s happy story of her country childhood, so different to Tilly\'s inner city one, had sent Tilly off into a world of happy dreams.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “anything on wheels” was chosen by Phunny, phunnyfotos.
I have taken a small amount of liberty on the theme this week with two photos. This is one of them. I hope you will indulge me. I don’t drive, and I’m not really into cars, so at first I was a little stumped with this week’s theme, however a spinning wheel band does go on the spinning wheel, and the theme is about “anything on wheels”, so I hope that it counts. If it doesn’t, the fact that you have enjoyed my story and my photo, which is made up with pieces from my 1:12 size dollhouse miniatures collection, will hopefully make up for my stretch of the theme. Some pieces in this photo come from my own childhood including the spinning wheel in the centre foreground, which I was given as a reward for learning how to spin on a real timber wheel and the two teapots which I bought from a specialist tea shop when I was in my mid teens. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Interesting things to look for in this tableaux include:
The shelves of the dresser are set with a 1:12 scale miniature dinner service based on a Royal Doulton pattern from the late Nineteenth Century.
On the workspace of the dresser in the far left-hand corner is a Cornishware white and blue cannister. Cornishware is a striped kitchenware brand trademarked to and manufactured by T.G. Green & Co Ltd. Originally introduced in the 1920s and manufactured in Church Gresley, Derbyshire, it was a huge success for the company and in the succeeding 30 years it was exported around the world. The company ceased production in June 2007 when the factory closed under the ownership of parent company, The Tableshop Group. The range was revived in 2009 after T.G. Green was bought by a trio of British investors.
Next to the Cornishware cannister stands a miniature Blue Calico milk jug. Traditional dark blue Burleigh Calico made in Staffordshire, England by Burgess & Leigh since 1851. It was inspired by Nineteenth Century indigo fabrics. Blue Calico is still made today, and still uses the traditional print transfer process, which makes each piece unique.
Next to the Blue Calico milk jug is a C.W.S. biscuit tin. Crumpsall Biscuit Works (CWS) opened in Lower Crumpsall, near Manchester, in around 1873. The factory was subject to numerous alterations and expansions between around 1896 and the 1920s, including plans for a new cake bakery which were laid down in 1896, there was a new biscuit portion added in 1896, and in 1921 additional land was purchased to accommodate extensions such as new offices, a despatch room and a garage. factory created numerous products and had four departments, these were the biscuit factory; the cake factory; the sweets and toffee department; and the drugs and sundries section. The works at Crumpsall boasted being "the only 8 hour day biscuit works in England" and had numerous facilities for its employees including a cricket club; football club; tennis courts; a bowling green; a recreation ground; a dining room for over 600 people with discounted refreshments and free warming of packed dinners; a library; and board and card games. The works put on numerous social events through the year including sports days, and dances and whist drives nearly every week during the winter. The works also stated that girls, however young, were started at no less than 6 shillings a week, and that they were only employed to do girls work and not to save the expense of employing men. There was also a Sick Benefit Society.
On the stove is a floral teapot I acquired from a specialist high street tea shop when I was a teenager. I have five of them and each one is a different shape and has a different design. I love them, and what I also love is that over time they have developed their own crazing in the glaze, which I think adds a nice touch of authenticity.
On the small kitchen bench to the right-hand side of the stove there are a number of objects you might find in any country or town kitchen including an Art Nouveau brass cup, a silver Art Nouveau plate and funnel, all of which are dolls’ house miniatures from Germany, made in the first decade of the Twentieth Century. They are beautiful works of art as stand alone items, and are remarkably heavy.
Three artisan 1:12 miniature preserve jars stand on the shelf above the stove, and contain seeds and herbs. There is also a small spice rack hanging on the wall to the right of the stove. Containing real salt, pepper and other herbs, I have had this rack since I was seven years old. Each canister is made of glass and has a cork stopper inserted into them.
The embroidery basket in the bottom right-hand corner of the photo is an artisan made piece I acquired when I was in my late teens.
The silhouette picture hanging on the wall is one of a pair. They are also artisan pieces and have remarkable detail on them.
The spinning wheel, rocking chair, ladderback chair, round drop leaf dining table and the dresser are all miniatures from my collection that I have had since I was a child.
This is what i did yesterday morning.. was so lazy that i drew this on the back of my drawing book..yes on the cover..ddint even bother to pick up a pencil...drew it with a blue ball point pen and edited in picasa to make it B/W ...i love Hobbes holding the umbrella :)..
Have a great week ahead ..
Inside the draw tunnel of the limekiln at Mere Hill near Waterhouses in the Staffordshire Moorlands. A kiln of this size was a surprise in this remote hilltop location and the transport of the coal to fire it and the finished product must have been difficult.
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Big draw to the Canadian National Exhibition last month was this amazing sand sculpture near the Ricoh Coliseum! 50 years of Star Trek by sand artist Karen Fralich. Front and Back mash-up photograph
The Eden Project is a popular visitor attraction in Cornwall, England, UK. Inside the two biomes are plants that are collected from many diverse climates and environments. The project is located in a reclaimed china clay pit.
In 1981, the pit was used by the BBC as the planet surface of Magrathea in the 1981 TV series of the Hitchhiker's Guide to the Galaxy.
In 2018, the Eden Project revealed its design for a new version of the project, located on the seafront in Morecambe, Lancashire.
CSXT's ex Pan Am BO-1 local has a little seven car train seen hustling up the Keolis/MBTA (ex Boston and Maine) Eastern Route mainline at MP 9.5 crossing Saugus Draw enroute to Salem and the Danvers Branch headed to Peabody. The 487 ft long double track bridge dates from 1911 and has a 65 ft movable span. According to the Historic American Engineering Record (HAER) it is a single-leaf Strauss overhead counterweight bascule which is believed to be the oldest known example of its type in Massachusetts. It is particularly significant for its innovative engineering design and association with a prominent bridge engineer, Joseph Baermann Strauss, whose company designed the Golden Gate Bridge in San Francisco.
Alas like so much other legacy Boston and Maine infrastructure, this bridge has reached the end of its useful life and a replacement is in the works as described here: archives.lib.state.ma.us/bitstream/handle/2452/799579/ocn...
Leading the freight is CSXT's ex Pan Am Railways GMDD GP40-2W MEC 507 (blt. Jul 1974 as CN 9472) which was given this mysterious retro fresh Guilford gray paint job at Waterville in August 2020 and has been frequently assigned to BO-1 since then. If you haven't seen what she looked like sparking fresh check out this shot:
This view looks west from the crumbling sidewalk of the Route 1A General Edwards Bridge at the industrial waterfront of the Saugus River. At left is the controversial Wheelabrator Saugus trash incinerator that processes some 1500 tons of municipal waste every day generating up to 37MW of electricity. At right on the Lynn shore is the massive River Works plant of GE Aerospace that employs nearly 2500 and per their web site: has a history that dates back more than 125 years and is recognized as one of the founding sites of the General Electric Company. The site is home to the first U.S. jet engine (1942) and other prominent aviation industry milestones. The Lynn plant is recognized as a U.S. Department of Defense facility that designs, produces, assembles, and tests military and commercial aircraft engines and components.
In the foreground is a grafitti covered pipeline leading to a derelict pumping station on pilings. Alas I've not been able to find any info on when it was built and what it served so if anyone here knows it's history or purpose I'd love to know more.
And while everything looks normal at the moment, change is on the horizon as it was recently announced the Rousselot in Peabody is closing which means the end of the last freight customer remaining north of Boston on the Eastern Route. That may mean the end of BO-1 (or L055 as CSXT now symbols it) which has long been based in Somerville, as it's possible CSXT may choose to serve their Chelsea and Everett customers via Framingham. Regardless of what happens there your chances to photograph freight trains on this bridge or anywhere else on the line will be over by June....so shoot it now, you might not get a second chance.
Saugus, Massachusetts
Thursday March 9, 2023
Gladys Willems (Belgium) and Carolin Landesfeind (Germany)
World Field Archery Championships 2016
Killruddery House and Gardens - Wicklow - Ireland
www.youtube.com/watch?v=woR_NpKJr3s
To Archery competitors and everyone else, please feel free to use any of the photos from this World Championship photoshoot on your online accounts. Please credit the photo: Photograph by Owen J Fitzpatrick