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Historically named 'Wurm' meaning 'dragon' by Viking invaders, the promontory, Worm's Head, is shaped like a giant sea-serpent and marks the most westerly tip of Gower. The island is joined to the mainland by a rocky causeway and features an large flat-topped 'Inner Head', towards a natural rock bridge called 'Devil's Bridge', a 'Low Neck' leading further out to the 'Outer Head'. The headland is one mile long and the highest point is approximately 150 feet. The rocky, jagged causeway leading out to the 'Worm' is only exposed for two and a half hours before and after low tide, so walkers should always carefully check the tide times before they set off over the causeway. Being trapped on Worm's Head for half the day, waiting for low tide again, is both inconvenient and desolate to say the least, but so easily done by the inexperienced. Breeding Seabirds The Outer Head is a breeding ground for birds such as Herring Gulls, Guillemots, Razorbills, and Kittiwakes, with the occasional appearance of Puffins. Walkers are requested not to climb to the top of Outer Head between 1 March and 31 August, to avoid disturbing these nesting birds. The Outer Head is also home to Worm's Head Cave and on the north side, a natural blow hole. William Camden in the 1586 published 'Britannia' describes the blow hole thus. Toward the head itself, or that part which is farthest out in the sea, there is a small cleft or crevice in the ground, into which if you throw a handful of dust or sand, it will be blown back again into the air. But if you kneel or lie down, and lay your ears to it, you will then hear distinctly the deep noise of a prodigious large bellows. The reason is obvious; for the reciprocal motion of the sea, under the arch'd and rocky hollow of this headland, or promontory, makes an inspiration and expiration of the air, through the cleft, and that alternately; and consequently the noise, as of a pair of bellows in motion. During the right conditions the blow hole is heard to emit noisy, impressive boomings and hissing; in fact, there is an old Gower saying - "The old Worm's blowing, time for a boat to be going". The land on Worm's Head is very fertile and despite its hazards and rare accessibility, people in the past have attempted to utilise its resources. One Rhossili man decided to grow a crop of potatoes on the south side of the Inner Head, the potatoes grew very successful here and his early crop was earlier than anyone else's, but others were deterred from following his example when the problem of getting the crop over the razor-like rocks, back to the mainland was illustrated. Sheep farmers, in the past, have utilised the rich grazing ground on 'The Worm'. For example the Talbot family at Penrice Castle used to graze their flock of wethers on the Inner Head of Worm's Head from September to March. It has been said that Worm's Head mutton is the tastiest in Gower. However, the sheep are so fond of the seclusion and good grass growing there that they are loathed to return to mainland pastures. One Rhossili farmer, Wilfred Beynon, reported that his whole flock of sheep escaped from their mainland field in the summer of 1932 and attempted to cross the treacherous causeway leading to the Worm. They were caught by the rising tide and all seventy of them drowned. Walking to The Worm Owned and protected as a National Nature Reserve by the National Trust and the Countryside Council for Wales, the varied plant life on Worm's Head is governed by the high winds, tidal spray and sun. The Outer Head is a very rare, ungrazed grassland, whereas the Inner Head, which has been grazed over the centuries, shows a large variation of plant colonies. Therefore, visitors are advised to keep to the well-worn dirt trail rather than trample on these species. The best route for walkers to follow is down the wide path past National Trust Information Centre and shop, through the gate and follow the track for 1 mile until the former coastguard lookout hut is reached (it is now the Countryside Council for Wales Information Centre). From here start the decent to cross the causeway. It takes about 15 minutes to scramble across the wet, jagged rocks of the causeway. When the Inner Head is reached follow the dirt track round the south side (bear left), then across Devil's Bridge, around the south side (bear left again) of Low Neck, and on to the Outer Head. Remember not to climb to the top of the Outer Head between 1 March and 31 August so the nesting birds there are not disturbed and if the journey outwards is proving too long and laborious do not venture too far out and take the same route back.
kodak 620 film cartridge
Another photo in my "The Camera Project" series.
Here's the write up I did on Google+ about the tabletop setup I'm using for this series - plus.google.com/113091634513165768886/posts/W7PRzSYeV2C
| stevestanger.com |
Hailing from the land of enchantment B.A.R.S. a Farmington local looks to capitalize on every opportunity and is currently working to spread his vision across the world
A Charge Coupled Device from an elderly WebCam I dismantled for all your edification. This little dark square about a quarter inch accross is where the image is projected by the (removed) lens. The pixels are discharged proportional to the amount of light hitting them, they are then individually "read" by a computer chip (on the other side) and the image data fed down a USB cable to the computer. So now you know!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Grumman F4F Wildcat was an American carrier-based fighter aircraft that began service with both the United States Navy and some European air forces in 1940.
Grumman fighter development began with the two-seat Grumman FF biplane. The FF was the first U.S. naval fighter with a retractable landing gear. The wheels retracted into the fuselage, leaving the tires visibly exposed, flush with sides of the fuselage. Two single-seat biplane designs followed, the F2F and F3F, which established the general fuselage outlines of what would become the F4F Wildcat.
In 1935, while the F3F was still undergoing flight-testing, Grumman started work on its next biplane fighter, the G-16. At the time, the U.S. Navy favored a monoplane design, the Brewster F2A-1, ordering production early in 1936. However, an order was also placed for Grumman's G-16 (given the navy designation XF4F-1) as a backup in case the Brewster monoplane proved to be unsatisfactory.
It was clear to Grumman that the XF4F-1 would be inferior to the Brewster monoplane, so Grumman abandoned the XF4F-1, designing instead a new monoplane fighter, the XF4F-2. The overall performance of Grumman's new monoplane was considered inferior to the Brewster Buffalo. The XF4F-2 was marginally faster, but the Buffalo was more maneuverable, so the Brewster aircraft was judged superior and was chosen for production.
After losing out to Brewster, Grumman completely rebuilt the prototype as the XF4F-3 with new wings and tail and a supercharged version of the Pratt & Whitney R-1830 "Twin Wasp" radial engine. Testing of the new XF4F-3 led to an order for F4F-3 production models, the first of which was completed in February 1940. This modernized aircraft met a lot of international interest, and several orders were places.
France ordered the type, powered by a Wright R-1820 "Cyclone 9" radial engine, to be based on board of the aircraft carrier ‘Béarn’ and to replace the outdated Dewoitine D.376 fighters. From the order of 24 machines only about a dozen aircraft were delivered in time before France fell to the Axis powers, the remaining order went instead to the British Royal Navy, who christened the new fighter the "Martlet.
The French G-36A’s saw a short but intense career over the Channel, but they remained based at land since the ‘Béarn’ was on a mission in the Caribbean Sea: after the defeat of France in June 1940 the carrier was docked at Martinique, and at that time all French G-36s were already destroyed.
Further orders came from Greece and Belgium. The naval Wildcats destined for Greece were directly delivered to the Royal Navy, too, while the Belgian G-36s were purely land-based, lacked the wing folding mechanism and shared much of the equipment of the French order, including different instruments and a reversed throttle installation. Much like the French aircraft, a small number was delivered and ready for service in May 1940, but these had no impact on the German invasion and all aircraft were destroyed within a few days, most of them on the ground.
Specifications:
Crew: 1
Length: 28 ft 9 in (8.76 m)
Wingspan: 38 ft (11.58 m)
Height: 11 ft 10 in (3.60 m)
Loaded weight: 7,000 lb (3,200 kg)
Powerplant:
1 × Pratt & Whitney R-1830-76 double-row radial engine, 1,200 hp (900 kW)
Performance:
Maximum speed: 331 mph (531 km/h)
Range: 845 mi (1,360 km)
Service ceiling: 39,500 ft (12,000 m)
Rate of climb: 2,303 ft/min (11.7 m/s)
Armament:
6x 7.5mm MAC 1934 machine guns in the outer wings
6x 7,62mm (0.303") Browning Mk II machine guns (350 rounds per gun),
one synchronized pair above the engine, firing through the propeller,
the other four in the outer wings
The kit and its assembly:
The Grumman Wildcat is a nice subject for the Battle of Britain era, since there were several European orders for this aircraft – in reality, most of these ended up in British service, but what if…? Since I had recently bought three Hobby Boss F4Fs in a cheap combo I was happy to find a use for two of these simple kits as Group Build submissions for whatifmodelers.com.
If you are not an interior detail fetishist, the Hobby Boss kits are not bad. There are nice, engraved surface details, but you have to check if things aren’t missing – like the complete exhaust system.
In order to set the two models apart from each other I changed some details.
The French machine was more or less built to USN F4F-3 standard (only the antenna mast was straightened).
Painting and markings:
The more challenging part of the build. The French Wildcat received a typical Aéronautique Navale livery, with uniform blue-grey upper surfaces and light grey undersurfaces – pretty similar to USN aircraft of that time period.
Finding adequate tones was challenging, though, recommendations for French navy machines differ widely (from light blue to dark grey!). I eventually settled for Humbrol 144 (FS35164) and 127 (FS36375), which was, after a black ink wash, considerably lightened through panel shading with pale blue-grey tones. The interior was painted in dark grey.
A nice detail are the Tricolores, which are not only carried on the fin rudder, but also on the horizontal stabilizers. In order to match them with the roundels’ colors (they actually belong to an Airfix Blenheim, maybe 30 years old!) I painted them, only the white stripes are decals. The tactical code was made with single decal letters – and in order to add a retro touch I used white over black decals of the same shape and size, creating a shadow effect. The result is IMHO nice.
Both kits received a landing gear in bare aluminum, and both were only slightly weathered through dry-brushing with light grey and a bit of silver. Some exhaust and gun soot was added with grinded graphite, and then everything was sealed under acrylic matt varnish.
We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle
Gina African-American Model in Red Hammock Topless Portrait Photoshoot Philly Chinatown Studio Philadelphia B&W July 1997
EXPOSED -- The seed and roots of these young corn plants are exposed after rain eroded their beds. (University of Arkansas Division of Agriculture photo by Jason Kelley.)
Nature is my passion, thanks for taking time to look at my pictures or fave it, i like it very much.
Website : into-fotografie7.webnode.nl
Please do not use any of my images on websites, blogs or other media without my written permission.
i've not depth. that's what she said. i'm shallow. like a posed pretentious over-saturated, over-exposed, over-planed, high-contrast photograph. she said people can look at me and what they see really is what they'll get. sometimes you can judge a book by its cover, she said. there's nothing to me than my face and my lips. she said she couldn't handle it anymore: cute was good for a couple of months but she wanted more. she didn't say if there was something else, and all i could imagine is one of those greasy-haired, way too skinny mexican boys across the hallway. she didn't really let me answer back. she came and said what she wanted to say, and left. she wasn't agitated and didn't appear to be angry. she was definitely passionate. she said she couldn't do it anymore, and i'm thinking what were we doing that was so bad, actually. i thought we enjoyed each other and we made each other laugh. that's my problem: girls are always telling me a variation of the same story. what they never say is what it is that theyre missing. why is that? is it that they're too concerned that it is they who'll sound selfish and shallow? it's not about giving or taking. but i wish at least one of them would give me something to work with. i have a crappy job that pays me just enough; i buy them books i know they'll like; we go places we both want to go to; we rent only the movies they like; we go visit the same restaurants we've liked from the beginning. is that it? there's no surprises left? after a few weeks or months, i couldn't imagine you can build tomorrow much less a future. after a while of these sort of melodramatic but not really exits tend to lose their impact and i know longer linger on them too much. the sting wears off and what am i left with but single sunday afternoons and single friday mornings (maybe i should say these are my favorite times. is that it?). i hate that by this point it doesn't mean as much as i'd like to think it does. it's not that i'm completely heartless and made out of metal, i know it's not. but i do imagine that there isn't anything that's so complicated that can't be, maybe not solved, but at least talked about and maybe, eventually, dealt with. or am i just so stupid that i can't see that there really isn't very much to me? i suppose it's possible because i'm used to me being me (whatever the hell that means) and expecting everyone else to get me, isn't that very self-centered arrogant thing? but i think i'm a reasonable enough person. i don't think i'm a bad guy, but i can't be so dense as to not see that, yes, they're variations of the same story, obviously that means something. i mean, so many people can't be wrong. i can see why rob fleming wanted to revisit his exes. no depth. that's me. strange that a person can be summed up that way, huh? so if that's what i'm perceived as, maybe that's what i should be like. live down to other people's expectations. then everything's equal. but that'd be a lie. i wonder, if you give people what they want all the time, will they be satisfied? even if it's something that's manufactured and not at all genuine, i mean, how would they know you're only pleasing them for the sake that i don't want to go out to the art theater on sunday afternoons by myself? isn't that what a parasite is? would people rather have more symbiosis that codependency predicated by a lie?
i'm not sure what snaps me out of my funk, but there she is, still sitting on the toilet while i'm naked in the bathtub, soap everywhere. she's looking at me like i just went on and on for five minutes without any clear point. irrational musings that i said out loud because i thought she left.
she says, what the fuck is wrong with you?
i think her face is flushed with anger and she get's up to leave and as she stomps her way out of my house, i maybe feel a little self-conscious.
i really should quit drinking.
from the press release:
DCist.com is pleased to announce our first ever DCist Exposed Photography Show at the Warehouse Arts Complex from March 9 -16, 2007. More than 35 local photographers, both amateur and professional, were chosen out of over 200 who submitted their work for the show through the DCist Flickr site. Every day DCist.com selects photos from this user-generated photo pool to use in its daily coverage of local news, arts and entertainment, politics, food and sports.
The exhibit will showcase new talent as they reveal the city to us through the eyes of people who live and work in the D.C. metro area. In a city too often seen purely as a collection of federal government buildings or a destination for tourists, these photographers capture the local music, art, architecture, and urban surroundings that give Washington, D.C. its unique cultural vibrancy.
An opening reception will be held Friday, March 9, 2007 from 6:30 p.m. to 9:30 p.m. Warehouse is located at 1017-1021 7th Street NW, between New York Ave. and L St. in downtown Washington, DC, across the street from the new Washington Convention Center.
i am extremely honored to be among the winners. you can view the list here.
the original photo is here.
The IBM 4758's internal can is exposed (removed from the urethane potting and the external can). Note where the anti-tamper wrap connects to the mainboard, an edge connector (there were two such connection points). A few layers of the wrap have been destructively exposed. Note the crisscrossing patterns.
Under-exposed but I quite like it for the whiteness. I suppose shooting RAW would help me get more out of these things.
About 7.30am.
I went to the opening of [Tate Modern's](http://www.tate.org.uk/modern/) latest show this evening : [" 'Exposed' - Voyeurism, Surveillance and the Camera"](http://www.tate.org.uk/modern/exhibitions/exposure/default.shtm) .........
You may have noticed I was [ranting about surveillance yesterday](http://www.jezblog.com/index.php?showimage=1179) and my relationship to it as a citizen and a driver...... and seperately as a reportage artist.............
Maybe I was on that thought process anyway yesterday...... as I knew i would be attending this event today......... and maybe its because I'd heard [Simon Baker the Curator of Photography at the Tate speaking about this show on Start the Week on Radio 4](http://www.bbc.co.uk/podcasts/series/stw/)......... I listened to that while at the same time I was attemptting not to get flashed by speed cameras as I was rolling out of London..........
It was an interesting thing to see that the exhibition is divided into five thematic sections : 1./ The Unseen Photographer 2./ Celebrity and the Public Gaze 3./Voyeurism and Desire 4./ Witnessing Violence 5./ Surveillance ...........
So......... The day after [I have decided there is no relationship between Reportage and Surveillance](http://www.jezblog.com/index.php?showimage=1179)....... Tate Modern decides to lump the two together in one show in attempt to confound my thinking......... anyway I was on that page in my mind......... so it was particularly interesting to explore 'the uneasy relationship' of the artist and 'the viewer between making and viewing images that deliberately cross lines of privacy and propriety'
It really is an interesting show definitely worth a visit......... In this image you see invited guests viewing Merry Alperin's work 'Dirty window's made in 1994.........
I met [Simon Norfolk](http://www.simonnorfolk.com/) (who i have not seen for years and years:-) ) amongst other illustrious artists ......... Like I say........ Really interesting show........ and great interesting people on the night.............. It certainly deserved a better picture than this from me ........... but I only got a couple of seconds .......... the show of undercover photography does not allow any undercover photography........... hehehehe......... I had made a couple of frames in a couple of seconds like this above....... when the [NO PHOTO POLICE](http://www.jezblog.com/index.php?showimage=1142) descended on me....... maybe the irony of this is, as it appears, just lost on the organizers..... but the exhibition celebrating the photography of the 'without permission school'...... er....... requires permission........... hehehehehe.......... :-)) :-)) :-))
Cheers Jez XXXXXXXXXXXXXXXXXX
This generally isn't so much my style, but I am trying to be fearless with my photography and decided that tonight was the night to really push my limits.
As part of my photography class, we're supposed to showcase our work to the other students and the professor. I am absolutely dreading it. Flickr is so anonymous -- if someone doesn't like my photo, I don't have to see their reaction...they just click to the next shot. Not so much with class.
I suspect when the time comes to finally show my work in person, I will feel much like I do about this photo: more exposed than I am comfortable with, but glad to have pushed myself to take the risk.