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STEAM INCORPORATED
Formed fifty years ago in 1972 Steam Incorporated is based at Paekakariki on the Kapiti coast near Wellington, on the North Island of New Zealand, where its primary purpose is to rebuild and maintain heritage railway equipment to the high standard required for main-line operation.
As part of the organisation's 50th anniversary celebrations, they ran one of their Ja class steam locomotives, an Ab class locomotive, and a pair of heritage Diesels on a short section of track; for a 'fee' of $50, members of the Public could drive one of the locomotives during the three day weekend that has just concluded...!
The experience was in high demand...!!!
Ja 1271 AND ITS CLASS MATES
There is much that could be written about this Class of locomotive, but I'll limit myself to just two facts, namely:
1. there are numerous instances of this type of locomotive charging across the Plains of the South Island at sustained speeds of 70mph (112kph) or more while hauling the South Island Limited Express that consisted of ten carriages (or coaches, but remember: we're influenced by British terminology!),
and
2. for an engine with just 56 inch driving wheels, this resulted in a rotational speed of 360 revolutions a minute or 6 revolutions a second - quite an achievement for the 3 foot 6 inch track gauge and a locomotive, that by world standards, fell into the "mixed traffic" class...!
TODAY
Today, however, it was rather pleasant to just sit and enjoy the warm sun, to watch Ja 1271 trundle quietly down a short length of track, and to allow my imagination to take me back to the days when it and its Class mates stormed across the Plains of the South Island, white clag / exhaust streaming behind, driving rods a blur of high speed motion, and the noise on the footplate a cacophony of Sound...!
Sigh... Those were the days...!
Some of the above has been gathered from
(A) www.steaminc.org.nz/about-us/
(B) www.steaminc.org.nz/our-rail-fleet/steam-locomotives/ja1271/
and from
(C) en.wikipedia.org/wiki/NZR_JA_class
Thank you for your very kind and encouraging comments beneath my photos...! Your support is very greatly appreciated.
Formé par la barrière de corail, c'est un lieu d'excursion touristique apprécié qui se trouve à 500 mètres en face de La Gaulette. L'île aux Bénitiers mesure deux kilomètres de long selon un axe nord-sud pour une largeur maximale de 500 mètres. Sa surface est de 500 hectares.
Une formation de corail, le Corail de cristal (Crystal Coral rock) se trouve au large de l'île (quelques centaines de mètres à l'ouest) donnerait son nom à l'île. Cette formation est un lieu touristique important.
Formas talladas por el viento En el Parque Nacional de Talampaya.
Shapes carved by the wind in the Talampaya National Park.
Parque Nacional Talampaya. Patrimonio Natural de la Humanidad. Provincia de la Rioja. Región Cuyana. ARGENTINA.
Talampaya National Park. Natural heritage of Humanity. Province of La Rioja. Cuyana Region. ARGENTINA.
Beauty is a reflection of divine bliss and, since God is Truth, the reflection of His bliss will be that mixture of happiness and truth which is to be found in all beauty.
Forms allow of a direct, 'plastic' assimilation of the truths - or of the realities - of the spirit. The geometry of the symbol is steeped in beauty, which in its turn and in its own way is also a symbol. The perfect form is that in which truth is incarnate in the rigour of the symbolical formulation and in the purity and intelligence of the style.
Beauty mirrors happiness and truth. Without the element of 'happiness' there remains only bare form - geometrical, rhythmical or other - and without the element of 'truth' there remains only a wholly subjective enjoyment or, it might be said, luxury. Beauty stands between abstract form and blind pleasure, or rather so combines them as to imbue veridical form with pleasure and veridical pleasure with form.
Beauty is a crystallization of some aspect of universal joy; it is something limitless expressed by means of a limit.
Beauty is in one sense always more than it gives, but in another sense it always gives more than it is. In the first sense the essence shows as appearance; in the second the appearance communicates the essence.
Beauty is always beyond compare; no perfect beauty is more beautiful than another perfect beauty. One may prefer this beauty to that, but this is a matter of personal affinity or of complementary relationship and not of pure aesthetics. Human beauty, for instance, can be found in each of the major races, yet normally a man prefers some type of beauty in his own race rather than in another; inversely, sometimes affinities between qualitative and universal human types show themselves to be stronger than racial affinities.
Like every other kind of beauty artistic beauty is objective, and so can be discovered by intelligence, not by "taste". Taste is indeed legitimate, but only to the same extent as individual peculiarities are legitimate, that is, just in so far as these peculiarities translate positive aspects of some human norm.
Different tastes should be derived from pure aesthetic and should be of equal validity, just as are the different ways in which the eye sees things. Myopia and blindness are certainly not different ways of seeing - they are merely defects of vision.
In beauty man ’realizes’, passively in his perception and externally in his production of it, that which he should himself 'be' after an active or inward fashion.
When man surrounds himself with the ineptitudes of an art that has gone astray how can he still 'see' what he should 'be'? He runs the risk of 'being' what he 'sees' and assimilating the errors suggested by the erroneous forms among which he lives.
Modern satanism is manifested, no doubt in a very external way but in the most directly tangible way and in the way which makes the greatest inroads, in the unintelligible ugliness of forms. 'Abstracted' people, who never 'see' things, none the less allow themselves to be influenced in their general mental outlook by the forms around them to which they sometimes, with astonishing superficiality, deny all importance, just as though traditional civilizations did not unanimously proclaim the contrary. In this connection the spiritual aesthetics of some of the great contemplatives will be recalled as evidence that, even in a world of normal forms, the sense of the beautiful may acquire a special spiritual importance.
Parking structure at Vallco Mall, Cupertino. Shot with Fuji X100S.
Part one of a two part series on a local mall that is on its last legs. The series starts off in the various parking lots around the mall. I was really drawn to the play of light. All the lots were pretty much empty so I could take my time and not worry about getting run over.
PHOTO ESSAY: BEFORE THE FALL
A 026-os Gigant halad a főváros felé tehervonatával Szárligetnél, 2024. december 1-én.
630 026 is running with a container train towards to Budapest near Szárliget on 1st December 2024.
The Kaiser-Frazer Corporation was formed in July 1945 by two successful businessmen Henry J. Kaiser (1882-1967) and Joseph W. Frazer (1892-1971).
Immediately after the war their industrial activities changed to develop and produce cars.
In the first three years the Kaiser-Frazer Corp. was quite successful. The company offered cars simultaneously under two different brand names: Frazer and Kaiser. The sub-companies shared bodies and technics.
The first cars appeared in August 1946.
All Kaiser models were face-lifted for model year 1949.
New for 1949 was the Traveller Utility Sedan. This was a combination of a kind of commercial hatchback with a station wagon. The car had a back door which opened in two parts. The backseat could easily folded down to create cargo space. Industrial designer Howard "Dutch" Darrin (USA, 1897-1982) had a main influence on the styling, but the designs were revised by Robert Cadwallader.
Alex Tremulis (USA, 1914-1991) joined the design team in 1950 (after the 1948 Tucker failure).
The Vagabond was the luxury version of the Traveller. About 4500 units in total were built.
3707 cc L6 petrol engine.
112 bhp.
1740 kg.
Production Kaiser Special/DeLuxe series 1st gen.: Aug. 1946-1951.
Production Kaiser DeLuxe Vagabond model 4925 this version: 1949-1950.
Original first reg. number: Febr. 28, 1949 (estimated).
New Dutch pseudo historical reg. number: Jan. 26, 1999 (private import, still from same owner).
Seen on the Dutch Studebaker Packard Club meeting on the occasion of the 25th anniversary of this club.
See also: www.spcn.nl/
Plus: studebakerdriversclub.com/
Bleiswijk, Hoekeindseweg, May 20, 2014.
© 2024 Sander Toonen Halfweg | All Rights Reserved
On St. Joseph's Lake, there's a small beach and dock. On a sunny December afternoon, it looks a bit forlorn.
142058 formed of 55708 and 55754 is seen preserved at Spring Village Station on the Telford Steam Railway, complete with protective cover over the windscreens.
Deconstructed is a commissioned photography project about the industrial zones of Vilnius.
I was asked by Plazma architects (www.plazma.lt) to make a series of photographs for their new urban-themed hotel project. After considering many ideas we decided to explore industrial side of Vilnius – the one that would be the most difficult to explore for a random resident. It took a few months to create a final selection of 10 images.
First of all I wanted to distance this project away from the usual, dirty industry. I’ve wandered in those industrial areas before so I knew that there’re plenty of aesthetic visual exclusivities like expressive colours and forms. Areas are also very secluded so I tried to put some of a mystery and utopia in every single image.
On the first days of shooting I’ve faced some private-area issues, so I immediately moved a project to a new, more difficult level. I decided to construct the images from separate but real fragments.
After printing the test prints it turned out that the original resolution is way too low for 2 meters prints. So I shot every single fragment in parts (something like Brenizer method), merge them and lastly create a final composition from separate fragments.
All places in the images are non-existent. Those are the concentrated reflections of Vilnius’ industry as I see it.
www.facebook.com/simaslinphotography
2016.
Ice that had formed in a meandering stream and 'copied' the shape of the stream in its folds. Sometimes its almost as if the 'ideas' of forms and shapes exist before those forms become manifest in nature and preceed even the physical forces that eventually reveal them
Point Wilson Lighthouse overlooks the entrance to Admiralty Inlet, the waterway connecting the Strait of Juan de Fuca and Puget Sound.
All Rights Reserved. None of these photos may be reproduced and/or used in any form of publication, print or the Internet without my written permission.