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Cleopatra’s needle,
London
patinated and gilded bronze
44″ h., 1879
joseph whitley
With the British Royal Navy’s victory over the French, in the 1798 Battle of the Nile, Egypt regained a measure of autonomy (and France’s aspirations to control of the Mediterranean and England’s colony, India, were dealt a blow).
The great victory raised the expectation of a great gift. (The commander of the British fleet, Lord Nelson, was famously dis-satisfied with his honors and more tangible rewards.) In 1819, Egypt presented Britain with the 69-foot tall, red Aswan granite obelisk, originally erected by Thutmose III at Heliopolis, in about 1450 BC. In 12 BC, Roman emperor Augustus ordered the obelisk (and its twin, which eventually found its way to New York’s Central Park) moved down the Nile to Alexandria.
It was only in 1877, nearly 60 years after the gift had been given, that England came to retrieve the 224 ton token. A harrowing sea journey ensured, lives were lost, the obelisk thought sunk to the bottom; but on September 12, 1878, Thutmose’s obelisk (unconnected, incidentally, in any way, with Cleopatra) was pivoted into place along London’s Thames Embankment.
Months earlier, a new, Egyptian Revival Style, bronze base had been fashioned to receive the great monument. This pedestal contains two 15” diameter earthenware cylinders in which are sealed two 12” diameter, earthenware jars – time capsules containing period mementos –
Standard foot and point, presented by the Standard Department of the Board of Trade; bronze model of the obelisk, ½ in. scale to the foot, cast and presented by Mr. Joseph Whitley, of Leeds; copies of Engineering printed on vellum, with plans of the various arrangements and details employing in erecting and transporting the obelisk, together with its complete history, presented by the proprietors of the publication; jars of Doulton ware, presented by Doulton & Co.; a piece of the obelisk stone; complete set of British coinage, including an Empress of India rupee; parchment copy of Dr. Birch’s translation of the obelisk hieroglyphics; standard gauge to 1000th part of an inch as sample of accurate workmanship; portrait of the Queen; Bibles in various languages, presented by the British and Foreign Bible Society; Bradshaw’s Railway Guide; Mappin’s shilling razor; case of cigars; pipes; box of hair pins and sundry articles of female adornment; Alexandra feeding-bottle and children’s toys, presented by a lady; a Tangye’s hydraulic jack as used in raising the obelisk; wire ropes and specimens of submarine cables; copies of the daily and illustrated papers; photographs of a dozen pretty Englishwomen, painted by Captain Henry Carter; a 2 foot rule; a London Directory, Whitaker’s Almanac.
United Methodist Church Free Magazine (1878)
This list’s second item – the model cast by Whitley – was one, it appears, of at least 16 cast by the Leeds based founder. According to Engineering (1879), “an exquisitely made model in bronze of the obelisk, encased for protective purposes in lead. This model is hollow, the opening in the bottom being closed with a screwed plug. In the model are placed drawings of the hieroglyphics and their translation, on vellum;…”
Other of these models were presented to various Societys, often by Whitley himself, including the Leeds Philosophical and Literary Society in 1881, and Philosophical Society of Glasgow in 1884. The offered model was formerly in the collection of the National Arts Club in New York.
While all of these models are essentially identical, there are subtle variations. The bases of some models are unengraved, others are quite elaborate. Ours sports the monument’s name and scale, front and center in a fancy Gothic typeface, as well as less conspicuously recording its maker and date (1879). Inside the base, cast rather than engraved, is, again, the maker’s name, and “Leeds 1881”. What accounts for the differing dates inside and out? Perhaps the highly-publicized project to retrieve the Needle transpired more quickly than Whitley, at first, imagined.
That list of the inventory of the time capsules also mentions a “portrait of the Queen”. Unmentioned is the source of this portrait – Louis Aime Augustus Le Prince (1841 – vanished 1890). Whitley’s brother-in-law and, say many, the inventor of motion pictures. Intriguingly, Le Prince, a part owner of the Whitley firm after 1868, may have had some involvement in the production of the obelisk.
Additionally, we’ve located another model, less finished than the other – perhaps a part of the mold patterns – with which is a book – On the Antique Painting in Encaustic of Cleopatra – discovered in 1818 ‘A Forgotten Picture’ (1885) – inscribed to Le Prince by John Sartain (1808-1897) on September 20th, 1886. Sartain, a pioneer with mezzotint printing in the United States, would have met Le Prince during his visit there beginning in 1881. He returned to Leeds in 1887, shot the world’s first motion picture in 1888, in Whitley’s garden; then, famously, disappeared. On September 16, 1890, Le Prince boarded the Dijon-Paris train. The train arrived without him.
Sometimes something happens unusual and beyond expectation. And then beyond common senses emerges some ideas so unique of its own that it gives birth to an art one may call surrealism.
The overall composition was taken in a single shot, and then little bit editing was adopted to create effect without distorting the original composition. The whole composition came into being absolutely by chance while doing something not at all related to photography.
I do not know how you guys will like it, but it seemed to me a great fun...and if I tell you the story behind it you will simply laugh. I'm sure.
Grumman P-50K Spitfire
a/c 47, 1st Expeditionary Squadron, 2nd Latin American Fighter Group, Venezuelan Air Force
Taegu, UN-occupied southern Korea, 27 February 1946
Personal mount of Captain Josef Martínez
Disbanded at San Angelo, Italy, in November 1944, the Venezuelan Air Force’s 1st Expeditionary Squadron was re-established at Majors Army Airfield, Texas, USA, on 26 March 1945. Having previously flown the Canadian-built Federal Aircraft A-36B version of the Mustang, there was a high expectation among the Venezuelan personnel that they would be issued new Mustangs. Arriving on busses, they saw Venezuelan-marked Spitfires across the airfield. Muttering followed and there was the hope expressed that these were just for training. Maybe, someone suggested, like their colleagues from Argentina, Brazil and Mexico, they would soon be issued with P-47D Thunderbolts? Surely, they wouldn’t be flying Spitfires over Japan?
With time, they would learn how to fight with the Grumman P-50K Spitfire over Japan.
In April, the Venezuelan 1st Expeditionary Squadron would be joined by two other units. The men of the Columbian 101st Fighter Squadron arrived on the 9th and those of the Ecuadorean 21st Squadron on the 15th. Together, they would form the 2nd Latin American Fighter Group (2LAFG). After training at Major, the personnel of the 2LAFG were deployed to Clark Field, Philippines, where they picked up new P-50Ks and flew local combat missions during October. Here, they painted their Spitfires with high-visibility yellow, blue and red trims, to symbolise the colours shared by their national flags; only the red had to be minimised and the red centre of the Venezuelan national markings was replaced with white.
Built by Kaiser, the P-50K was the US equivalent to the UK-built Spitfire XVI. The type featured a bubble canopy, was powered by the V-1650-9 Packard Merlin, and were armed with either four 20mm Hispano cannon or two Hispano and two .50 cal Brownings (depending on the production block). With the RAF choosing to skip the P-50K for the Packard V-2240 Griffin powered P-50L (Spritire 35) and P-50N (Spitfire 36), the US Government offloaded the mass-produced P-50Ks onto other export customers.
Slower than the P-47D or P-51D, and shorter ranged too, the P-50K was passé by the time 2LAFG was formed. Realising that they were likely to be relegated to less glamorous ground attack duties, the 2LAFG focused on honing their air-to-surface combat skills. However, early training demonstrated that the P-50K was less accurate as a bombing platform than the A-36B the Venezuelans had previously flown. Fortunately, the type could be armed with six 5 inch HVAR, which in combat became the staple offensive loadout. To overcome the type’s range deficiency (compared to the P-47 and P-51), reusable 65 gal aluminium and single-use 90 gal plastic impregnated press paper drop tanks were carried on most combat sorties. Operating from Taegu on the Korean Peninsula, the external fuel tanks gave the P-50K sufficient combat radius with six HVARs to attack targets on Kyushu, Shikoku and most of Honshu. Critically, they could mount Watermelon cab-rank CAS missions in support of Operation Downfall, the Allied invasion of Honshu. Another loadout used was two 65 gal fuel tanks, six HVARs and a 65 gal napalm tank on the centreline. The 2LAFG left bombing with actual bombs to 1LAFG.
2LAFG joined 1LAFG at Taegu in November 1945 and participated in a range of operations. Code named mission types included Watermelons (providing cab-rank CAS), Strawberries (seek and destroy armed recce against targets of opportunity), Pumpkins (pre-planned strikes against fixed targets) and Shallots (as Pumpkins, but specifically against targets associated with ramp-launched, pulse-jet powered Yokosuka MXY-7 Ohka Model 43B Otsu). No 2LAFG pilots were credited with the destruction of Japanese aircraft in aerial combat until the invasion of Honshu. Tasked with Watermelons in support of Downfall’s Wakasa Bay landings, they inevitably encountered the kamikaze onslaught and shot down seven Japanese planes, including four Ki-115, two Ki-100 To-Gō and a Ki-61-II. By VJ Day, their air kill tally stood at just 11. Two of these kills were credited to Captain Josef Martínez: a Ki-115 on 1 March and another the next day.
The Spitfires flown at Major were of the P-50K-1-KA variety. At Clark, they were issued aircraft from the P-50-2-KA and P--50-3-KA blocks. The -1s and -2s were armed with a pair of 20mm Hispano cannon and two .50 cal Browning machine guns, while the -3s differed only from the -2s in having four cannon at the expense of the machine guns. However, as all P-50Ks were built with the “American Universal” wing, the Brownings could be replaced in service by a second pair of cannon. This appears to be the case with this aircraft, which is notable for having field produced aerodynamic sleeves for the inner pair of cannon (there having been a temporary shortage of genuine cannon sleeve parts when it was converted to an all cannon armament). Later photographs of this plane in Operation Downfall invasion stripes show standard, factory-supplied sleeves on all four cannon. Many of 2LAFG’s P-50-2-KA Spitfires had their machines guns replaced by cannons during December 1945 and January 1946.
During these winter months of reduced operations, all of the Group’s Spitfires also had their undercarriage modified to reduce tyre wear. In November, Taegu’s second runway was completed with a concrete surface, with the original runway being rebuilt in concrete during December and January. Using undercarriage and tyres designed for grass and dirt runways, the concrete runways produced excessive tyre wear on the Spitfires. The solution was to change the angle of the tyres relative to the undercarriage legs, which in turn required additional space in the wings when the undercarriage was retracted. To make room, a portion of the upper wing was cut open and faired over with a factory-supplied blister.
Captain Josef Martínez had flown 17 combat missions in the 1st Expeditionary Squadron’s A-36B Mustangs in Italy before rejoining the unit as it reformed on the P-50K. His P-50-1-KA Spitfire, a/c 47, is depicted here as photographed (with 30 mission markings) before his 31st Spitfire combat mission at Taegu on 27 February 1946. By VJ Day, 6 May 1946, he had flown 97 missions, 64 in a/c 47 (withdrawn after another Spitfire crashed into it whilst taxiing) and another 33 in a/c 87.
Expectation vs Reality - SpaceX Edition.
I had a blast prepping for this shot of SpaceX’s 100th Falcon 9 mission with Flight Club. My 10 minute exposure was dialed in thanks to the previous two scrubbed attempts, but the third try brought in the clouds. Bummer I didn’t get the star trails I wanted, but I learned a lot and will be back for more.
Commemoration of Liberation of Sillans- la-Cascade (Var France) by the allied troops WW2
People and vehicles by Association Memories 44
Muffins? Riche en calories? Laissons ça advenir! 😀 Chehya tayba #dinner#gymlife#fitspo#eatforabs#eatclean#healthy#gymaddict#bodybuilding#allnatural #expectation#determination#fitness #fitnessaddict#lifestyle
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My expectation to see the illuminated Mesa arch was very high. It was one of the landscapes I always wanted to capture. Despite my high hopes, the weather unfortunately didn't turn to my side. Also when I've arrived at the arch, there were so many photographers already standing by. I've arrived at 6:30 and I thought that was early enough.
Right before the sunrise, the rain started to fall. You can see the train falling in the background approaching towards the arch.
Even with this weather condition the landscape in Canyonlands National Park was amazing. The ragged lines and the dark bottom of the canyon below the arch looked like the hell.
This panorama picture comprises of 10 pictures.
I arrived home to find a large box on my porch. This photo shows the complete contents. At least it was easy to carry inside.
Thursday started at oh dark thirty. Today I was going early with Dad to observe how he started everyday.
To get the behemoth that is a steam engine to pull a train takes hours of preparation. Most critically, there needs to be a big fire in the firebox, this has to heat a lot of water to make steam and you need a good head of steam to move. This takes time.
Despite the boiler still being at 70psi from the day before's action, when we arrived at 7am the first thing to do was to light the fire - 200psi was a long way off. The first job is to dump all the ash from the previous day's fire and then set a new fire. Intriguingly there are many methods used, but we had a layer of coal, a layer of paraffin soaked rags and a layer of wood. Light it and wait. Then more coal. A lot more coal.
With any mechanical device there is a huge amount of routine, ongoing maintenance that needs doing, engines have more than most. There are a huge number of things that need checking, clearing, oiling, tightening, loosening and all manor of little jobs that clearly elucidate why these amazing machines needed a full time crew of three.
Then of course there is a lot of cleaning to do. Coal, steam and the odd bit of oil plus smoke, smuts, ash and just using the thing generates the most amazing amount of grime. Of course, the engine is lavished with brass, steel and the most amazing paintwork. It needs a lot of cleaning. And clean it they do.
I stayed well out of the way. And took pictures, over 500 during the course of the day. After all the preparation, I also was extremely fortunate to be able to run up and down the entire length of the line on the footplate. The main shot is from a point during that run. SOOC. There was just something I loved about it, despite the dodgy colours, focus and ISO 1600. Captured the nostalgic feel for me. It's Ian Wright, the driver of the train. He's Dad's very good friend. Tells horrifically cheesy, corny, non-PC and some downright pathetic jokes. You'll also notice he's in his 'dress' overalls rather than the mucky ones he uses to prep.
Here's some of the better ones from early on - all clickable, if you'd like to look larger. Part 2 will have more from later in the day.
Saturday, June 2nd, 2007.
At the bottom of their deepest hearts of hearts, at the level of instinct, people seem to carry a sticky expectation of spontaneous combustion, mothers who pluck cars off of their threatened children, visits from celestial beings, shapechangers, and animals who speak human languages. It's in the blood, these vagaries of of human history, and while they are alarming, they feel appropriate. (Possibly not the bit with the car, but metaphorically I'm fairly certain I'm still on solid ground.) Death, however, we don't seem to properly fathom death. It shocks us into denial, into a rejection of facts, on a level that is almost the antithesis of every day miracles. Nobody apparently expects death, even when seen approaching from far away. There just doesn't seem to be a framework in place, so instead we gather in loose groups, wear culture appropriate colours that feel outdated and fail utterly to write the music we need to capture our fallen friends.
Part of me wishes to hide inside gaudy and glaring jokes about how T. Paul still owes me money or that now we'll never move in together because I could never introduce my mother to a dead man, but they're all the same - dishonest escapes shutting away what I will only have to deal with later. Really I already miss him in ways that will never noted in any obituary. Yes, people will benevolently talk about how wrenchingly he's influenced Vancouver with his events, MC'ing, poetry and black-coffee solicitousness, his shining rhinestone humour, his unexpected grace with children, and the fun trapped in his Tom Waits paintings or even his retro trademark hair, (mentioned in the first piece of my writing ever properly published), but his cologne will go unacknowledged, the way it would scoff at showers, insisting on clinging for days, after even the briefest hug. It used to drive me crazy later, how I would turn and expect to see him, only to discover he was merely a rockabilly ghost fighting to haunt my clothing.
I caught myself wishing today that there was some way to publicily wear what I'm carrying in my heart, that we had an updated version of shaving off eyebrows, just to make this day different. Some way to mark the change in my life. My friend is dead, I want there to be a ripple, an outward effect that is more than his invisible absence. Otherwise it will only be like he has moved away, taken up residence in some other city, and that isn't fair at all. He was a rarity, a revelation of whack-job positive influence, more Vegas than Vegas, baby. He deserves to be missed.
First flying on August 22, 1931, the Gee Bee Z quickly proved to be tricky to fly, but fulfilled every expectation with regards to its speed. Flown by pilot Lowell Bayles, the Gee Bee Z established a world speed record for landplanes of 267.342 miles per hour (430.245 km/h) at the National Air Races during the Shell Speed Dash qualifying on September 1, then went on to win the Goodyear Trophy race, run over a course of 50 miles (80 km), the next day at an average speed of 205 miles per hour (330 km/h). On the 5th, the aircraft's engineer, Bob Hall, flew the Gee Bee Z to victory in the General Tire and Rubber Trophy race, then won again the next day in a free-for-all event.
In the Thompson Trophy Race on September 7, Bayles was triumphant, winning with an average speed of 236.24 miles per hour (380.19 km/h), winning over competitors including Jimmy Doolittle, James Wedell, Ben Howard, Dale Jackson, Bill Ong, Ira Eaker, and Hall, who finished fourth in a Gee Bee Model Y.
Following the Thompson Trophy race, the Gee Bee Z was re-engined with a larger, 750-horsepower (560 kW) Wasp Senior radial, in preparation for an attempt at establishing another world speed record at Wayne County Airport in Detroit, Michigan. Unofficially clocked at 314 miles per hour (505 km/h) in early trials, the record attempt on December 5, 1931, would end in tragedy, the aircraft suffering a wing failure and rolling into the ground, killing Bayles.
Analysis of the crash, based on motion picture film of the event examined frame-by-frame, showed that the aircraft's fuel cap had come loose and crashed through the Gee Bee Z's windscreen. It struck the pilot and incapacitated him, causing a sudden upset in pitch that led to the structural failure of the wing.] In addition, tests of a reproduction aircraft have shown that the Gee Bee Z was susceptible to aerodynamic flutter at high speed.
There are places where the reasonable expectation of personal space which your average American accepts, shrinks drastically.
Elevators are obvious places. But, what about wide open spaces?
How close can one approach a photographic subject, while they remain unaware and are simply carrying through with their habits?
We have expectations of privacy that are varied and staggered, but one thing that's absolute is that there are more photographic devices in the world than ever before.
Instead of studying a character from afar, for example with a telephoto lens, as if they are wildlife, what intimacy can you capture at a range normally not accepted, or even expected?
I am in your space.
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ginodiamonds23: Nice page. My other @mikediamonds23 Fitness and Lifestyle page has heaps of photos on there that I think you will love have a look if you have time 😃
With all the expectation and controversy about the new Dunny azteca 2 series inspired me to make my own piece and interpretation, I wanted to take a mexican icon that all of we know and that haven't done yet for that series.
In this custom I tried to stick to what is more usual in that series, paint work and less sculpting, to respect the main shape of the Dunny, the only things sculpted are the hair and hat, in addition of the accessories such as cigar, earrings, and hair golden snake, equally I tried to maintain something simple within the particular style of María Felix.
www.fanpix.net/picture-gallery/maria-felix-picture-128328...
www.cigarrosmanrique.com.ar/images/newss/maria%20felix%20...
Con toda la expectativa y polémica que causó la recién salida de la serie azteca 2 de dunnys me inspiró a hacer una pieza, quise tomar un ícono que todos los mexicanos conocemos y que aun no se ha realizado para dicha serie.
En este custom traté de apegarme a lo que se hace mas en este tipo de series, mas diseño de pintura y menos volumen fuera de la forma principal del Dunny, lo unico esculpido en esta figura es el cabello y el sombrero, aparte de los accesorios como el puro, aretes y la serpiente dorada en el cabello, igualmente traté de mantener algo sencillo pero apegado al estilo particular de María Felix.
www.fanpix.net/picture-gallery/maria-felix-picture-128328...
www.cigarrosmanrique.com.ar/images/newss/maria%20felix%20...
MELIA CABO REAL, LOS CABOS, MEXICO - M EXPERIENCE, JUNIOR & MASTER SUITE PROMOTION 2011!
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Exclusive services unique to M Experience guests include:
- Twice a day maid service and daily turn down service
- Vacation assistance
M Experience guests enjoy these additional amenities in their rooms:
- A cozy King size or two double beds including a duvet and extra pillows
- Hydro-massage showerhead
- Deluxe bath amenities
- Bathrobe and slippers
- Coffeemaker with premium brand coffee
- Iron with ironing board
- Rain shower head
- 32" LCD TV
- Deluxe bath amenities
- Free Wireless Internet Access
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Amenities Include:
- Cable TV
- Mini bar
- Digital safe deposit box
- Telephone (with outside line)
- Coffeemaker
- Alarm clock
- Iron with ironing board
- Individually controlled A/C
- Hair dryer in the bathroom
- Deluxe bath amenities
- Daily maid service
- Daily stocked mini-bar
- Bathrobes & slippers
- 32" LCD TV
- 24/7 vacation assistance service
- International direct dial telephone
- Connecting rooms
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MASTER SUITE OCEAN FRONT
1250 sq. ft. completely revamped spectacular ocean front oversized suites tastefully appointed with contemporary decore and furniture. The Master Suite offers two private balconies (one with jacuzzi), separate dining and living room areas, one bedroom with a King size bed and a large bathroom. As part of the "M" Experience all guests staying at a Junior Suite enjoy the standard amenities that we offer in our Deluxe Rooms plus 24/7 vacation assistance service, two 32" LCD TV's, bathrobe and slippers, daily turndown service, upgraded bath amenities and personalized refreshment center.
Click here for picture.
Amenities Include:
- Cable TV
- Mini bar
- Digital safe deposit box
- Telephone (with outside line)
- Coffeemaker
- Alarm clock
- Iron with ironing board
- Individually controlled A/C
- Hair dryer in the bathroom
- Deluxe bath amenities
- Daily maid service
- Two 32" LCD TVs
- 24/7 vacation assistance service
- Daily stocked mini-bar
- Bathrobes & slippers
- International direct dial telephone
- Connecting rooms
- Free Wi-Fi available in rooms
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我想，那等待著自己所拍攝、自己所沖洗的過程，才是拍底片最讓人期待的一刻吧。
《Date》2009.03.??
《Location》逢甲大學
《Camera》Nikon FM2
《Lens》Nikon AIS 35mm f/2.8
《Film》Kodak T-Max 400
《Scanner》EPSON V750
First flying on August 22, 1931, the Gee Bee Z quickly proved to be tricky to fly, but fulfilled every expectation with regards to its speed. Flown by pilot Lowell Bayles, the Gee Bee Z established a world speed record for landplanes of 267.342 miles per hour (430.245 km/h) at the National Air Races during the Shell Speed Dash qualifying on September 1, then went on to win the Goodyear Trophy race, run over a course of 50 miles (80 km), the next day at an average speed of 205 miles per hour (330 km/h). On the 5th, the aircraft's engineer, Bob Hall, flew the Gee Bee Z to victory in the General Tire and Rubber Trophy race, then won again the next day in a free-for-all event.
In the Thompson Trophy Race on September 7, Bayles was triumphant, winning with an average speed of 236.24 miles per hour (380.19 km/h), winning over competitors including Jimmy Doolittle, James Wedell, Ben Howard, Dale Jackson, Bill Ong, Ira Eaker, and Hall, who finished fourth in a Gee Bee Model Y.
Following the Thompson Trophy race, the Gee Bee Z was re-engined with a larger, 750-horsepower (560 kW) Wasp Senior radial, in preparation for an attempt at establishing another world speed record at Wayne County Airport in Detroit, Michigan. Unofficially clocked at 314 miles per hour (505 km/h) in early trials, the record attempt on December 5, 1931, would end in tragedy, the aircraft suffering a wing failure and rolling into the ground, killing Bayles.
Analysis of the crash, based on motion picture film of the event examined frame-by-frame, showed that the aircraft's fuel cap had come loose and crashed through the Gee Bee Z's windscreen. It struck the pilot and incapacitated him, causing a sudden upset in pitch that led to the structural failure of the wing.] In addition, tests of a reproduction aircraft have shown that the Gee Bee Z was susceptible to aerodynamic flutter at high speed.
“Life is so constructed, that the event does not, cannot, will not, match the expectation.” ―Charlotte Brontë, Villette
Latin and greek memorial to Rev John Daye, rector 1622-1627 "arising on his mother's side from the LeHunt family " son of John Daye 1584, printer of Foxes book of martyrs, and 2nd wife Alys Le Hunt www.flickr.com/photos/52219527@N00/5989720687/
John Daye, was a Bachelor of Divinity at Oriel College, Oxford, and his will describes his writing on the psalms and the 190 lectures he had delivered on the subject. He also decreed that every householder in the village be given a copy of his own book, "Daye's Descant on David's Psalms".
His brother Lional Daye, provost of Eton, erected the monumentis. himself being almost a sexagenarian and sole survivor of 26 brothers and sisters, in daily expectation of death" Posuit Lionellus Daye: pene sexagenarius, ex viginti et sexfratribus et sororibus solus superstes, indies expectans mortem".