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En la laguna glaciar de Jökulsárlón. Donde el glaciar al terminar por ese lado en laguna, provoca un desprendimiento de icebergs que tienen este magnífico colorido turquesa por ser el único que refleja el hielo. Las capas negras son debidas a la ceniza volvánica.
Several waterspouts formed over Lake Michigan on an otherwise beautiful summer morning. Chicago can be seen in the distance, some 32 miles across Lake Michigan.
Taken from the Indiana Dunes National Lakeshore
Les Rudbeckies sont un genre de plantes herbacées de la famille des Astéracées, appartenant au genre Rudbeckia.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
Sony A7 R RAW Photos of Pretty Sandy-Blond Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3! Pretty blue eyes and long, long legs! Long as the day!
And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/45surf/45SURF-Heros-Jou...
As the Great Mick Jagger stated, "Pretty, pretty, pretty, pretty, girl
Pretty, pretty
Such a pretty, pretty, pretty girl." -Beast of Burden Sexy, hot, and cute too!
Epic Goddess Straight Out of Hero's Journey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's journey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosjourneymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Join/like my facebook page! www.facebook.com/45surfHerosJourneyMythology
Follow me on facebook! facebook.com/elliot.mcgucken
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
This series was a departure from my usual shoot style. I was looking to capture and highlight the contrast in the 3 key elements of form, texture and flow. That is, the natural form of the model, the abstract textures of the rock and the flow of the water. We were both pretty happy with how the shots turned out in the end!
Free form embroidery using chain, satin, running stitches and French knots on recycled upholstery sample fabric
PS - OK, can you tell - I've been watching the Universe TV series, -- I think that one thing might be a Lyman-alpha blob.
The FOLSOM STREET FAIR 2013 in SAN FRANCISCO !
THANK YOU to all the hot MEN and beautiful WOMEN who let ADDA take their photos! (Everyone was properly asked & everyone consented.)
(These photos carry copyright protection. Do NOT post them elsewhere! )
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THE 'NUDES' ARE PROPERLY MARKED EITHER RESTRICTED or MODERATE on ADDA'S SITE! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-!) There is NO PORN on my site!
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NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement copyright ! © All rights reserved. Use without permission is illegal
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NOTE: Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate X & R rated & RUDE comments shall be removed forthwith.
Large original photograph. The back has a tag saying: "Aus dem Westen. Geschützen werden durch mannschaften in die Stellungen gezogen".
Most likely a BUFA shot, August 1918.
On scene are 3 groups of soldiers, each pulling a piece of light artillery, possibly a 7.7 cm Feldkanone, but I can't find the exact model. Do note the late-war camouflage applied to the cannons. Possibly, these are modified versions and fairly unknown. The men are flanked by an NCO and an officer of the unit.
The soldiers are wearing a mix of M15 Bluse and M1907 Feldrock. All are wearing puttees and trousers with leather reinforced knees. Such pants were worn by mountain troops, assualt troops and other specialty units. Gear is limited to a gasmask, Kar98 on the back and bayonet. All soldiers have steel helmets with an interesting camouflage pattern applied to it. Also notable are small decals on the side of their helmets. I first assumed it had to be postwar, but to top it off, a knocked out British tank, as well as a French Snider tank can be seen in the battlefield behind them, i.e. it was made during world war one.
Little is known about which unit this actually is, but it is very likely to be a Infanteriegeschützebatterie (Infantry Gun Battery) or Sturmbegleitbatterie (Assault Accompanying Battery). Such units were formed on a divisional level and accompanied infantry for the duration of one operation. Prior to 1916, these were also called shock batteries or Stossbatterien, for their part in supporting advancing shock troops.
A typical unit consisted for 4 guns and a 6 man crew for each gun and these would position on the flanks of the second wave of infantry shock troops and would advance 1000 yards after the first assault wave. Guns would move in two-gun detachments, so that the two other pieces of artillery were always at the ready. The aim was to take out enemy strongholds at close range.
53 of such batteries were formed by the end of the war and I'd say that were looking at one of them. I'm seeing some shadows of men walking in front of the first cannon, so this could be the 4th cannon of the batterie. The number of men seems to be pretty much correct.
Some are of the opinion that this is the Kanonenabteilung of Sturm Battalion Nr. 5 (Rohr) and that the camouflage M1916 helmets have a Baden Crests hand painted on the side. The Ersatzabteilung of the Gebirgs-Artillerie-Abteilungen Nr. 5 and 6 (located in Breisgau/Baden) provided replacement soldiers for Infanteriegeschützebatteries Nr. 1, 3, 6, 9, and also for the Infanteriegeschuetzbatterie of the Sturmbataillon Rohr, hence the Baden crest. This must however be incorrect, as the stripe on the Baden crest points in the other direction.
It is however correct that a lot of the crewmen of the Infanteriegeschützebatterien were trained by Assault Battalion Rohr. Another type of badge has been found on the helmet of another Infanteriegeschützebatterie, so this suggests that some had their own unofficial helmet insginia.
Thomas Wictor, who has a similar looking picture is of the opinion that these men are from Infantry Gun Battery No. 2, which was Bavarian. He enforces this by pointing out that, on close inspection, the tunics are Bavarian ones . They have a single digit and since Infantry Gun Batteries 2 and 10 were Bavarian, it can only be the 2nd. Also, it is a digit only and no flaming bomb, consistent with what Bavarians did.
The shield might be an unofficial infantry-gun emblem that was different for each battery.
Thomas also shared with me that the cannons are Krupp 7,7 cm Infanterie-Geschütz 18. This 1918 model never saw combat,making this a picture made during a training.
Make sure to check out the other uploads for today, it would be a shame if this one eclipses those!
Canon AE-1
FCS C-41 BW film (400)
Old picture that I recently rediscovered. Am planning on getting back some of my cameras because I may have access to a dark room/lab. So watch out!
A handle for a bronze patera takes the form of Lasa, a generic Etruscan deity or spirit with the power of prophecy. Lasas often appear on engraved mirrors in the company of other gods or as companions of Turan (Aphrodite). This winged female stands on a low triangular base, the edges of which are decorated with a tongue design between beaded moldings. Her left leg is relaxed in an easy contrapposto pose, causing her right hip to project and creating a sinuous S-curve within her body. She is nude except for a pair of tongued slippers and elaborate jewelry: a necklace made up of cylindrical beads, with three large bulla-shaped pendants that frame her breasts, a bracelet with three pendants on her upper left arm, and a flat rectangular object above, the nature of which is uncertain. A pair of large outspread wings are attached to her back with a bronze pin. The feathers on the wings are detailed with modeling and incision on the front only. The girl rests her right hand on her head and holds a large alabastron in the left. From her head rises a curving attachment plate to which a bowl-shaped patera was originally joined. The support for the bowl of the patera ends in two simple rosettes in front. On the back, its curved form is decorated with a pair of facing ribbed elements.
Etruscan, made in Etruria, ca. 350-300 BCE. Bronze.
Getty Villa Museum (96.AC.34)
Currently I am fascinated by light, artificial light. I am working on the set light . color . form
This picture has all three elements.
Short formed, the Manwag set leaves Rhyl on 19 March 2018 with 67018 on the rear of 1H89 Holyhead-Manchester Piccadilly.
Behind is Rhyl no1 'box, standing since the LNWR quadrupled the line in the late 1890's. As far as I can work out, it's last train will be 1W98 Cardiff Central-Holyhead late on Friday 23 March.
Being grade 2 listed, it's unlikely to end up a pile of rubble just yet. But then again, Rhyl no2, disused since 1990, is grade 2 listed also. And I've mentioned the plight of that 'box more than once...
Worcester is a Cathedral City and the county town of Worcestershire in the West Midlands of England.
The city is located some 17 miles (27 km) south-west of the southern suburbs of Birmingham, and 23 miles (37 km) north of Gloucester. The population is approximately 100,000. The River Severn flanks the western side of the city centre, which is overlooked by the 12th-century Worcester Cathedral.
The site of the final battle of the Civil War, Worcester was where Oliver Cromwell's New Model Army defeated King Charles I's Cavaliers, cementing the eleven-year Interregnum. Worcester was the home of Royal Worcester Porcelain, and for much of his life, the composer Sir Edward Elgar. It houses the Lea & Perrins factory where traditional Worcestershire Sauce is made. The University of Worcester is one of the UK's fastest-growing universities.
History
The trade route past Worcester which later formed part of the Roman Ryknild Street dates to Neolithic times. The position commanded a ford over the River Severn (the river was tidal past Worcester prior to public works projects in the 1840s) and was fortified by the Britons around 400 bc. It would have been on the northern border of the Dobunni and probably subject to the larger communities of the Malvern hillforts. The Roman settlement at the site passes unmentioned by Ptolemy's Geography, the Antonine Itinerary and the Register of Dignitaries but would have grown up on the road opened between Glevum (Gloucester) and Viroconium (Wroxeter) in the ad 40s and 50s. It may have been the "Vertis" mentioned in the 7th-century Ravenna Cosmography. Using charcoal from the Forest of Dean, the Romans operated pottery kilns and ironworks at the site and may have built a small fort.
In the 3rd century, Roman Worcester occupied a larger area than the subsequent medieval city, but silting of the Diglis Basin caused the abandonment of Sidbury. Industrial production ceased and the settlement contracted to a defended position along the lines of the old British fort at the river terrace's southern end. This settlement is generally identified with the Cair Guiragon listed among the 28 cities of Britain by the History of the Britons attributed to Nennius. This is not a British name but an adaption of its Old English name Weorgoran ceaster, "fort of the Weorgoran". The Weorgoran (the "people of the winding river") were precursors of Hwicce and probably West Saxons who entered the area some time after the 577 Battle of Dyrham. In 680, their fort at Worcester was chosen—in preference to both the much larger Gloucester and the royal court at Winchcombe—to be the seat of a new bishopric, suggesting there was already a well-established and powerful Christian community when the site fell into English hands. The oldest known church was St Helen's, which was certainly British; the Saxon cathedral was dedicated to St Peter.
The town was almost destroyed in 1041 after a rebellion against the punitive taxation of Harthacanute. During this time, the townsfolk relocated to (and at times were besieged at) the nearby Bevere Island, 2 miles upriver. The following century, the town (then better defended) was attacked several times (in 1139, 1150 and 1151) during "The Anarchy", i.e. civil war between King Stephen and Empress Matilda, daughter of Henry I. This is the background to the well-researched historical novel The Virgin in the Ice, part of Ellis Peters' "Cadfael" series, which begins with the words:
"It was early in November of 1139 that the tide of civil war, lately so sluggish and inactive, rose suddenly to wash over the city of Worcester, wash away half of its lifestock, property and women and send all those of its inhabitants who could get away in time scurrying for their lives northwards away from the marauders". (These are mentioned as having arrived from Gloucester, leaving a long lasting legacy of bitterness between the two cities.)
By late medieval times the population had grown to around 10,000 as the manufacture of cloth started to become a large local industry. The town was designated a county corporate, giving it autonomy from local government.
Worcester was the site of the Battle of Worcester (3 September 1651), when Charles II attempted to forcefully regain the crown, in the fields a little to the west and south of the city, near the village of Powick. However, Charles II was defeated and returned to his headquarters in what is now known as King Charles house in the Cornmarket, before fleeing in disguise to Boscobel House in Shropshire from where he eventually escaped to France. Worcester had supported the Parliamentary cause before the outbreak of war in 1642 but spent most of the war under Royalist occupation. After the war it cleverly used its location as the site of the final battles of the First Civil War (1646) and Third Civil War (1651) to try to mount an appeal for compensation from the new King Charles II. As part of this and not based upon any historical fact, it invented the epithet "Fidelis Civitas" (The Faithful City) and this motto has since been incorporated into the city's coat of arms.
In 1670, the River Severn broke its banks and the subsequent flood was the worst ever seen by Worcester. A brass plate can be found on a wall on the path to the cathedral by the path along the river showing how high this flood went and other flood heights of more recent times are also shown in stone bricks. The closest flood height to what is known as The Flood of 1670 was when the Severn flooded in the torrential rains of July 2007.
The Royal Worcester Porcelain Company factory was founded by Dr John Wall in 1751, although it no longer produces goods. A handful of decorators are still employed at the factory and the Museum is still open.
During the late 18th and early 19th centuries, Worcester was a major centre for glove making, employing nearly half the glovers in England at its peak (over 30,000 people). In 1815 the Worcester and Birmingham Canal opened, allowing Worcester goods to be transported to a larger conurbation.
The British Medical Association (BMA) was founded in the Board Room of the old Worcester Royal Infirmary building in Castle Street in 1832. While part of the Royal Infirmary has now been demolished to make way for the University of Worcester's new city campus, the original Georgian building has been preserved. One of the old wards opened as a medical museum, The Infirmary, in 2012.
In 1882 Worcester hosted the Worcestershire Exhibition, inspired by the Great Exhibition in London.There were sections for exhibits of fine arts (over 600 paintings), historical manuscripts and industrial items.The profit was £1,867.9s.6d. The number of visitors is recorded as 222,807. Some of the profit from the exhibition was used to build the Victoria Institute in Foregate Street, Worcester. This was opened on 1 October 1896 and now houses the city art gallery and museum. Further information about the exhibition can be found at the museum.
During World War II, the city was chosen to be the seat of an evacuated government in case of mass German invasion. The War Cabinet, along with Winston Churchill and some 16.000 state workers, would have moved to Hindlip Hall (now part of the complex forming the Headquarters of West Mercia Police), 3 miles (4.8 km) north of Worcester and Parliament would have temporarily seated in Stratford-upon-Avon. The former RAF station RAF Worcester was located east of Northwick.
In the 1950s and 1960s large areas of the medieval centre of Worcester were demolished and rebuilt as a result of decisions by town planners. This was condemned by many such as Nikolaus Pevsner who described it as a "totally incomprehensible... act of self-mutilation". There is still a significant area of medieval Worcester remaining, but it is a small fraction of what was present before the redevelopments.
The current city boundaries date from 1974, when the Local Government Act 1972 transferred the parishes of Warndon and St. Peter the Great County into the city.
Governance
The Conservatives had a majority on the council from 2003 to 2007, when they lost a by-election to Labour meaning the council had no overall control. The Conservatives remained with the most seats overall with 17 out of 35 seats after the 2008 election.
Worcester has one member of Parliament, Robin Walker of the Conservative Party, who represents the Worcester constituency as of the May 2010 general election.
The County of Worcestershire's local government arrangement is formed of a non-metropolitan county council (Worcestershire County Council) and six non-metropolitan district councils, with Worcester City Council being the district council for most of Worcester, with a small area of the St. Peters suburb actually falling within the neighbouring Wychavon District council. The Worcester City Council area includes two parish councils, these being Warndon Parish Council and St Peter the Great Parish Council.
Worcester Guildhall, the seat of local government, dates from 1721; it replaced an earlier hall on the same site. The Grade I listed Queen Anne style building is described by Pevsner as 'a splendid town hall, as splendid as any of C18 England'.
Economy
The city of Worcester, located on the River Severn and with transport links to Birmingham and other parts of the Midlands through the vast canal network, became an important centre for many light industries. The late-Victorian period saw the growth of ironfounders, like Heenan & Froude, Hardy & Padmore and McKenzie & Holland.
Glove industry
Gloves, Worcester City Art Gallery & Museum
One of the flourishing industries of Worcester was glove making. Worcester's Gloving industry peaked between 1790 and 1820 when about 30,000 were employed by 150 companies. At this time nearly half of the Glove manufacturers of Britain were located in Worcestershire.
In the 19th century the industry declined because import taxes on foreign competitors, mainly from France, were greatly reduced. By the middle of the 20th century, only a few Worcester gloving companies survived since gloves became less fashionable and free trade allowed in cheaper imports from the Far East.
Nevertheless, at least 3 large glove manufacturing companies still survived until the late 20th century: Dent Allcroft, Fownes and Milore. Queen Elizabeth II's coronation gloves were designed by Emil Rich and manufactured in the Worcester-based Milore factory.
Manufacturing
Lea & Perrins advertisement (1900)
The inter-war years saw the rapid growth of engineering, producing machine tools James Archdale, H.W. Ward, castings for the motor industry Worcester Windshields and Casements, mining machinery Mining Engineering Company (MECO) which later became part of Joy Mining Machinery and open-top cans Williamsons, though G H Williamson and Sons had become part of the Metal Box Co in 1930. Later the company became Carnaud Metal Box PLC.
Worcester Porcelain operated in Worcester until 2008, when the factory closed down due to the recession. However, the site of Worcester Porcelain still houses the Museum of Royal Worcester which is open daily to visitors.
One of Worcester's most famous products, Lea & Perrins Worcestershire sauce is made and bottled at the Midland Road factory in Worcester, which has been the home of Lea & Perrins since 16 October 1897. Mr Lea and Mr Perrins originally met in a chemist's shop on the site of the now Debenhams store in the Crowngate Shopping Centre.
The surprising foundry heritage of the city is represented by Morganite Crucible at Norton which produces graphitic shaped products and cements for use in the modern industry.
Worcester is the home of what is claimed to be the oldest newspaper in the world, Berrow's Worcester Journal, which traces its descent from a news-sheet that started publication in 1690. The city is also a major retail centre with several covered shopping centres that has most major chains represented as well as a host of independent shops and restaurants, particularly in Friar Street and New Street.
The city is home to the European manufacturing plant of Yamazaki Mazak Corporation, a global Japanese machine tool builder, which was established in 1980.
Retail trade
The Kays mail order business was founded in Worcester in the 1880s and operated from numerous premises in the city until 2007. It was then bought out by Reality, owner of the Grattan catalogue. Kays' former warehouse building was demolished in 2008.
Worcester’s main shopping centre is the High Street, home to the stores of a number of major retail chains. Part of the High Street was modernised in 2005 amid much controversy.[citation needed] Many of the issues focussed on the felling of old trees, the duration of the works (caused by the weather and an archaeological find) and the removal of flagstones outside the city’s 18th-century Guildhall. The other main thoroughfares are The Shambles and Broad Street, while The Cross (and its immediate surrounding area) is the city’s financial centre and location of the majority of Worcester’s main bank branches.
There are three main covered shopping centres in the city centre, these being CrownGate Shopping Centre, Cathedral Plaza and Reindeer Court. There is also an unenclosed shopping area located immediately east of the city centre called St. Martin's Quarter. There are three retail parks, the Elgar and Blackpole Retail Parks, which are located in the inner suburb of Blackpole and the Shrub Hill Retail Park neighbouring St. Martin's Quarter.
Landmarks
The most famous landmark in Worcester is its imposing Anglican Cathedral. The current building; known as Worcester Priory before the English Reformation, is officially named The Cathedral Church of Christ and the Blessed Virgin Mary. Construction begun in 1084 while its crypt dates from the 10th century. The chapter house is the only circular one in the country while the cathedral also has the distinction of having the tomb of King John.
The Hive, situated on the northern side of the River Severn at the former cattle market site, is Worcester's joint public and university library and archive centre, heralded as "the first of its kind in Europe". It is a prominent landmark feature on the Worcester skyline. With seven towers and a golden rooftop, The Hive has gained recognition winning two international awards for building design and sustainability.
There are three main parks in Worcester, Cripplegate Park, Gheluvelt Park and Fort Royal Park, the latter being on one of the battles sites of the English Civil War. In addition, there is a large open area known as Pitchcroft to the North of the city centre on the east bank of the River Severn, which, apart from those days when it is being used for horse racing, is a public space.
Gheluvelt Park was opened as a memorial to commemorate the Worcestershire Regiment's 2nd Battalion after their part in the Battle of Gheluvelt, during the First World War.
The statue of Sir Edward Elgar, commissioned from Kenneth Potts and unveiled in 1981, stands at the end of Worcester High Street facing the Cathedral, only yards from the original location of his father's music shop, which was demolished in the 1960s. Elgar's birthplace is a short way from Worcester, in the village of Broadheath.
There are also two large woodlands in the city, Perry Wood, at twelve hectares and Nunnery Wood, covering twenty-one hectares. Perry Wood is often said to be the place where Oliver Cromwell met and made a pact with the devil. Nunnery Wood is an integral part of the adjacent and popular Worcester Woods Country Park, itself next door to County Hall on the east side of the city.
I do like the figure I show in this pic! Just the right curves and angles!
This snug fitting strapless black & gold minidress that came from coquetryclothing.com a while back. I think it looks pretty nice, don't you?
I've matched it up with my super shiny Platino Cleancut 15 denier pantyhose over Hanes Alive Barely There pantyhose and my 5½" black patent pumps.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_2111-8
The chrysanthemums flowers occur in various forms. This is example here i from our garden.
Yu-Fen I found it very interesting but I guess you know this already that the chrysanthemums were cultivated in China as a flowering herb as far back as the 15th century BC! An ancient Chinese city was named Ju-Xian, meaning "chrysanthemum city".
The flower was brought to Europe in the 17th century. Linnaeus named it from the Greek prefix chrys-, which means golden (the colour of the original flowers), and -anthemon, meaning flower.
Canon PowerShot S5 IS
Aufnahmedatum/-zeit: 23.09.2007 10:43
Aufnahmemodus: Av (Zeitautomatik)
Tv (Verschlusszeit): 1/80
Av (Blendenzahl): 2.7
Filmempfindlichkeit (ISO): 100
Objektiv: 6.0 - 72.0mm
Brennweite: 6.0mm
Table Mountain (Khoekhoe: Huriǂoaxa, lit. 'sea-emerging'; Afrikaans: Tafelberg) is a flat-topped mountain forming a prominent landmark overlooking the city of Cape Town in South Africa.
It is a significant tourist attraction, with many visitors either using the cableway or hiking to the top.[4] The mountain has 2,285 plant species,[5] of which around 80% are fynbos (Afrikaans for 'fine bush'). Table Mountain National Park is the most visited national park in South Africa, attracting 4.2 million people every year for various activities.[6] It forms part of the lands formerly inhabited by Khoe-speaking clans, such as the !Uriǁʼaes (the "High Clan").
Table Mountain is home to a large array of mostly endemic flora and fauna.[7] Its top rises about 1,000 m above the surrounding city, making the popular hike upwards on a large variety of different, often steep and rocky pathways a serious mountain tour which requires fitness, preparation and hiking equipment.
Features
Table Mountain as seen from Lion's Head, with low-lying cloud cover over Cape Town
Cape Town under the clouds
The main feature of Table Mountain is the level plateau approximately three kilometres (2 mi) from side to side, edged by steep cliffs. The plateau, flanked by Devil's Peak to the east and by Lion's Head to the west, forms a dramatic backdrop to Cape Town. This broad sweep of mountainous heights, together with Signal Hill, forms the natural amphitheatre of the City Bowl and Table Bay harbour. The highest point on Table Mountain is towards the eastern end of the plateau and is marked by Maclear's Beacon, a stone cairn built in 1865 by Sir Thomas Maclear for trigonometrical survey. It is 1,086 metres (3,563 ft) above sea level, and about 19 metres (62 ft) higher than the cable station at the western end of the plateau.
The cliffs of the main plateau are split by Platteklip Gorge ("Flat Stone Gorge"), which provides an easy and direct ascent to the summit and was the route taken by António de Saldanha on the first recorded ascent of the mountain in 1503.[8]
The flat top of the mountain is often covered by orographic clouds, formed when a southeasterly wind is directed up the mountain's slopes into colder air, where the moisture condenses to form the so-called "table cloth" of cloud. Legend attributes this phenomenon to a smoking contest between the Devil and a local pirate called Van Hunks.[9] When the table cloth is seen, it symbolises the contest.
Table Mountain is at the northern end of a sandstone mountain range that forms the spine of the Cape Peninsula that terminates approximately 50 kilometres (30 mi) to the south at the Cape of Good Hope and Cape Point. Immediately to the south of Table Mountain is a rugged "plateau" at a somewhat lower elevation than the Table Mountain Plateau (at about 1,000 m or 3,300 ft), called the "Back Table". The "Back Table" extends southwards for approximately 6 km to the Constantia Nek-Hout Bay valley. The Atlantic side of the Back Table is known as the Twelve Apostles, which extends from Kloof Nek (the saddle between Table Mountain and Lion's Head) to Hout Bay. The eastern side of this portion of the Peninsula's mountain chain, extending from Devil's Peak, the eastern side of Table Mountain (Erica and Fernwood Buttresses), and the Back Table to Constantia Nek, does not have a single name, as on the western side. It is better known by the names of the conservation areas on its lower slopes: Groote Schuur Estate, Newlands Forest, Kirstenbosch Botanical Gardens, Cecilia Park, and Constantia Nek. Wikipedia
mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.
“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...
Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.
Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.
This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
Collectors Weekly: How did you find them?
Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.
I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.
A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
Collectors Weekly: What did you learn about playground history?
Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.
“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”
In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.
Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.
After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.
Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.
I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.
A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)
A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)
Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.
Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.
Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?
Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)
Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?
Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)
The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)
Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.
Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.
This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)
This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)
Collectors Weekly: After a while, were you able to date pieces just by looking at them?
Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
Collectors Weekly: How did Modernism influence playground design?
Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.
When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.
Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?
Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”
There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.
Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.
Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.
playground_postcard_milwaukee
Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.
(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...
Agassiz, BC Canada
Ribbon clouds are a fascinating weather phenomenon. They appear as long, narrow, and wispy cloud formations that resemble ribbons stretching across the sky. These clouds often form when strong winds at different altitudes create layers of air moving at varying speeds, causing the clouds to stretch and align in a ribbon-like pattern.
They can be a harbinger of changing weather, sometimes indicating the approach of a storm or rain. Their delicate and artistic appearance makes them a favorite subject for photographers and sky-watchers.
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• Species Identification Group on Reddit
(A crowdsourced method of identifying unknown species of any organism through discussion with up or down votes and comments from tons of people including a bunch of biologists.)
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Zhangye National Geopark - Gansu Province - China
This scenery is composed of amaranth hillocks, formed by water erosion. Colourful hills formed by red-and-white rock layers.
The landforms in Zhangye were formed from red beds in the Mesozoic era from 135 to 65 million years ago.
The Zhangye Danxia National Geological Park (Chinese: 张掖丹霞国家地质公园), also known as Zhangye Danxia (Landform) Geopark, is located near the city of Zhangye in China's northwestern Gansu province. Known for its colorful rock formations, it has been voted by Chinese media outlets as one of the most beautiful landforms in China
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0421 Canyon Lake, Arizona
iPhone infrared image 720nm
Canyon Lake is one of four reservoirs that were formed by the damming of the Salt River in the U.S. state of Arizona as part of the Salt River Project. It was formed by the Mormon Flat Dam, which was completed in 1925 after two years of construction. Canyon Lake, with a surface area of 950 acres, is the third and smallest of the four lakes created along the river. Two others, Apache Lake and Roosevelt Lake, are upstream. The fourth, Saguaro Lake, is downstream.
Canyon Lake lies approximately 15 miles (24 km) up the Apache Trail from Apache Junction, Arizona
Glaciers form on land, and they are made up of fallen snow that gets compressed into ice over many centuries. They move slowly downward from the pull of gravity to the sea.
I have always liked this crusty old industrial building, especially when the ivy that covers the corner turns red in the fall. By contrast, the sign seen here represents a high tech company that centers around machining for an aerospace and defense group.
The long facade on Sterling Avenue has a lot of these caged windows which make it possible to open the windows though the screens would not keep bugs out. They might be more to prevent people from getting in or out!
The form of cap badge shown on the berets was adopted in 1924. The photo dates from the mid-20s or 1930s. The black beret was exclusively used by the regiment from 1924 and into the WWII. However it was worn by the Tanks Corps towards the end of WWI.
There is no message or details of photographer on the reverse.
Split light with 2 softboxes, one to camera left, the other to camera right.
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I once again delved into the early days of my transition form film-based to digital photography and found some images from Caribana in 2006. This is an annual Caribbean festival held in Toronto, Ontario in early August. For colour, and music, it is pretty hard to beat. I really doubt you can take bad photos there. Feathers, sequins, elaborate costumes in a parade lasting some 2 hours at any viewing spot. This was taken using a Panasonic Lumix DMC-FZ30 super-zoom camera sporting 8 megapixels of image data, which was pretty good for the time. But GAS (gear acquisition syndrome) has intervened over the years since this was my main camera. So, once in a while I revisit old images and subject them to my current workflow to see how they hold up. No RAW available because I did not use it back then. It worked out surprisingly well. - JW
Date Taken: 2006-08-05
Tech Details:
Taken using a hand-held Panasonic Lumix DMC-FZ300 camera, Auto WB, ISO80, focal length: 62.2mm, Program mode, f/6.3, 1/500 sec. PP in free Open Source RAWTherapee from Lumix JPEG source file: set final image size to 6000px wide, crop a bit off the left while preserving the original aspect ratio to get rid of some bright detail along the left side of the frame, very slightly darken the exposure by EV-0.08, very slightly boost Chromaticity in L-A-B mode, use the Shadows/Highlights tool to recover highlight detail, set the white balance by taking a sample off the while portions of the dancer’s cap, apply a bit of noise reduction, sharpen, edges only, save. PP in free Open Source GIMP: use the levels tool in Auto mode to set a good base tonality and colour balance, slightly adjust the colour balance by removing a bit of green cast, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048px wide for posting online, sharpen slightly, save.