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A28-8, Douglas DB-7B Boston III (CN 3839) photographed on display at the RAAF Museum Point Cook. Built in 1942 for the RAF as AL907 and allocated to the Netherlands East Indies Air Force, the aircraft was diverted to the RAAF en route and subsequently operated by 18 and 22 Squadrons. Damaged in a crash landing at Vivigani Airfield, Goodenough Island in 1943 and abandoned onsite. Recovered 1987 and restored by 1996, the aircraft was initially displayed at RAAF Amberley before moving to Point Cook.
For round 8 of 'Get Pushed' the wonderfully creative Nancy Goodenough challenged me with
"...the concept of "Cycle" and decide if you want to go literal or conceptual. Could be bicycle, motorcycle or 'cycle of life.' You've also done many styles and techniques. Do your cycle in the postprocessing method of your choice, but consider something you haven't tried before and would like to stretch to. Of course, an obscure or idiosyncratic point of view gets extra points."
Not only did I enjoy the pleasure of her inspiring and colourful stream, but a really fun push to explore. I knew just where to find the logical subject for this challenge, and was quickly drawn into the "periodically repeated sequence of events" better know as Photoshop layers. To incorporate something new however, I turned to Filter > Distort > Spherical - an effect that seemed to lend itself to the sense of motion that a wheel denotes, and an obscura effect that felt perfectly suited to this vintage find.
And while it's not the most obscure or conceptual of subjects, I've obscured the view beyond the sphere with a few layers of quick burn. As for idiosyncratic - the perspective may not qualify but finding the definition of "behavioral characteristic peculiar to an individual or group", I'd say signing up for repeated rounds of Get Pushed probably qualifies the whole lot of us at this point.
And with this much processing, how could I not post it along with a HSS.
Thanks Nancy, for the push into some seriously fun wheeling around!
This eerie ruby ambrotype, which I had to tease back from oblivion, is a late-life portrait of Baptist deacon William Gold (31 Oct., 1780 – 16 March, 1859) who married Anna (or Annett) Vera Dewey (b. 1780, VT). He was the paternal grandfather of Abbie and Celia Gold, of whom you may read about here: www.flickr.com/photos/60861613@N00/12980093504/. The origins of the Gold family were in England. The immigrant had been Joseph Gold, Deacon William's father, who was “born in London, England, in sight of Whitefield Church. He came to this country at the age of nineteen years, and made his home in what was then Northbury, Connecticut. He served in the Revolutionary War for seven years. Afterwards, he was employed at the government arsenal at Springfield, Massachusetts. Thence he went to Stratford, Connecticut, where he followed farming. In 1822, he came to Roxbury, Vermont, to live with his son [deacon] William and died there in 1924. He married, in Northbury, Patience Goodenough, who died in 1826,” states “New England Families, Genealogical and Memorial: A Record of the Achievements of Her People in the Making of Commonwealths and the Founding of a Nation, Volume 4."
Identification in an album.
Alvirda Rossman was born 24 September 1874 in Fulton, New York, the daughter of Benjamin Rossman (born circa 1833) and Lucinda Spencer (born circa 1839). Alvirda grew up in Fulton, and in 1900, was listed as a milliner, while living with her parents. Alvirda was married on 31 December 1906 to Fred Allen Goodenough (1882-1953). In 1910, the couple was farming in Fulton, but in censuses from 1920 through 1940, they operated a dairy farm in Richmondville, Schoharie County, New York. Alvirda passed away in Cobleskill on 19 February 1956 after an illness of two years.
Photographer Oswald Burnett was born in Jefferson, New York, on 26 September 1841, the son of Spencer Burnett (1816-1884) and Barsina Barger (1818-1906). In 1850, he was living in Jefferson with his parents and three siblings, and his father was a stone mason. In 1860, the family was farming in Blenheim, NY. On 22 September 1862, Oswald enlisted in Company E, New York 134th Infantry Regiment; he was mustered out on 17 February 1863, with a surgeon’s disability certificate. He nonetheless, enlisted on 24 September 1864 in Company Battery M, New York 1st Light Artillery Battery; he was mustered out on 23 June 1865. Shortly after the end of the Civil War, Oswald opened the first full-time photographic gallery in Cobleskill, New York. He was married in 1868 to Hannah L. Dibble (1850-1909) and the couple had four children. It seems that Burnett had given up photography sometime early in the 1890‘s, as he was listed in a directory as a wood turner; in 1900, he was living in Binghamton, NY, and was listed as a wood carter. In 1910, he was widowed and living with a son’s family in Binghamton, and was working as an accountant in the county assessor’s office. Oswald married again, this time to Lallah M. Lindsay on 10 January 1914. Oswald Burnett passed away on 23 April 1916.
Photo of an old German Handwerck doll in a box all in pieces. © Chuck Goodenough All Rights Reserved. No copying or reproduction or other use without written permission.
Stock Photo of a Boy Holding up a Fish on a Hook and Line - © Chuck GoodenoughAll Rights Reserved. No use, no copying & no sharing without written permission.
Goodenough Club provides 4 star standard accommodations in five historic Georgian townhouses overlooking a quiet garden square in central London.
Nos. 22–25 Mecklenburgh Square survived the war and were used as a nurses’ home until 1989, when they were handed back in a very dilapidated state. At first, the houses were repaired and used as inexpensive accommodation for short-stay visitors, mostly returning alumni and other academics in London to attend conferences and seminars. By 1997 however it was clear that something drastic had to be done if they were to meet the standards that would be required in the 21st century.
The houses were closed, and plans made to add No. 21 and renovate and upgrade at a cost of £3.5 million. There were delays because the Georgian houses are listed buildings in a conservation area, and the work required the approval of both English Heritage (which refused to allow a lift to be installed) and the London Borough of Camden planning department. Eventually the plans were passed, and the Goodenough Club opened its doors in April 2001. The Club is open to academic and professional visitors as well as conference delegates from around the world
Kulenovic was born March 1, 1975 in Sarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia).
She studied at Ontario College of Art and Design University in Toronto, Canada; Mimar Sinan University in Istanbul, Turkey; and Chelsea College of Art and Design (University of the Arts London) in London, England. She is also an alumna of Goodenough College in London, England.[3]
A book about the work of Maya Kulenovic by Edward Lucie-Smith in Dutch and English was published by d'jonge Hond in the Netherlands in 2008.
Whether with portraits, which she terms “faces”, architecture, referred to as “build” works, landscapes or still life images, Kulenovic's focus is to capture an ambience or psychological state. She deliberately explores ambiguity, and in her approach to the painted surface she works in glazed layers as well as destructive techniques to create images evoking a particular atemporal context.[4]
Her influences range from sculpture and painting to architecture, photography and film, and include Roman death masks, 19th century daguerreotype photography, documentary films, stills from damaged motion pictures, Eugène Atget, Margaret Bourke-White, Rembrandt, Turner and Francis Bacon.[5]
Edward Lucie-Smith wrote the following about Kulenovic's work:
"No-one could describe Maya Kulenovic's paintings as 'photographic', but their place in the realist tradition is nevertheless secure. Her work is realist in the way that Rembrandt and Goya are realist. They attempt to explore the essence of human existence, and often come up with uncomfortable truths. These truths are conveyed through paintings that fall into very specific categories, related to the old hierarchy of genres that was discarded by the pioneering Modernists, in Kulenovic's work we find still life paintings, portraits (of a sort), landscapes and architectural compositions"
"(about her portraits) .... the artist's preoccupation seems to be, not the creation of a likeness but the presentation of a psychological state. When one looks at these (portraits), one realizes that they are in fact the key to Kulenovic's work considered as a whole. The still lifes, the architectural compositions, and the landscapes are also, in their essence, attempts to identify and present a particular state of being. This quality is what makes her work so haunting, and so unlike the work of any other artist of her generation that I can immediately think of."
Eddie Goodenough started Dalehill Coaches from an address in Dalehill Road, Maltby but soon moved to a yard in Scawsby, Doncaster. Fleet no. 2 is former Bristol Omnibus Co. Bristol FLF6L no. 7129.
My comic 'George' from Mome didn't make it into this year's Best American Comics (edited by the amazing Francoise Mouly) but a panel was included in the introduction along with an insanity of amazing others.
Michelle Baena was great! Really nice person and fantastic model - Swimwear Scrunch Back Bikini for RockyTrail.com © Chuck Goodenough All Rights Reserved. No use, no copying & no sharing without written permission.
Well, at least it LOOKS good enough to eat . . . personally, I like the lime version at center-left.
I shot Laeticia Casta for Guess Jeans' first website. Copyright © Chuck Goodenough All Rights Reserved. No copying or reproduction or other use without written permission.
Main quadrangle of Goodenough College viewed through the entrance porch on Guilford Street, Bloomsbury.
Goodenough College provides residential accommodation for overseas postgraduates studying in London. This part of the college was built in 1935-37 to a design by Herbert Baker and Alexander T. Scott.
EDWARD L. SCHIEFFELIN
1847-1897
Prospector and miner, whose discoveries of silver in 1877 and 1878 at the Tombstone, Lucky Cuss, Goodenough, Toughnut and Contention mining claims led to the founding of the City of Tombstone.
This statue, created by sculptor Tim Trask of St. David, was made possible in 2022 thanks to a generous gift by Charles Harry Redman III of Tombstone and by the direction of Mayor Dustin Escapule and City Council members Barlow, McMahon, Newbauer, and Regan.
St Andrew, Chesterton, Cambridge
At the 1911 census, the year before her death, Matilda Jeffs Goodenough lived at Dale Hurst, Cam Road (today Elizabeth Way) with a nurse. Her income was described as being 'of private means'. The house, a large one, survives.
Intriguingly, earlier censuses, as late as 1901, show her as a laundress living across the river in the slums of John Street. It is clearly the same person. What happened in those ten years to allow her to live in a grand house in Cam Road, and to afford such a splendid headstone?
St Andrew's is a large former village church in the densely-packed suburbs of north-east Cambridge. Chesterton was once a village in the water meadows north of the Cam, its parish extending at its most westerly point, a mile or so from the village, to contain the northern medieval suburb of Cambridge which included the castle. Chesterton became a 19th Century industrial and market-gardening suburb, but it was still a separate urban district until 1912 when the boundaries were redrawn so that it became a part of Cambridge, almost doubling the population of the city. The historic centre of old Chesterton was finally physically joined to the rest of urban Cambridge by the Elizabeth Bridge in 1971.
The church is long, aisled and clerestoried, with a landmark spire visible from the river and from higher buildings in the centre of the city. Until the end of the 20th Century the church was overshadowed by the large Pye Radio factory, once manufacturers of radios and televisions, but this has now gone to be replaced by a sea of apartment blocks. Still, it is possible to tell that there was once a village here, with the 18th Century former vicarage to the north-east, and a large grange to the north-west on the edge of the old High Street.
Internally, St Andrew is pretty much all of several successive restorations of the 19th Century, and a dismal reordering of the 1970s. There is a large scheme of generally underwhelming glass by a number of lesser 19th Century workshops. But all of that can be forgiven, because the great star here is one of East Anglia's best 15th Century doom paintings above the chancel arch and the eastern ends of the arcades. The south (Hell) side is best, with the dead rising from their graves and being stuffed down into Hell by grinning devils. You can still see the outline left by the vanished cross of the rood in the centre.
The other major survival is a pair of large, upright bench ends of civilian youths of the early 15th Century. They are presumably precursors of the local youths who in 1579, incited by the parish constable Thomas Parish, ambushed and beat up, in the grounds of the church, university students who had come to Chesterton to challenge the locals to a game of football. Indeed, there has been a long history of unease between Chesterton and the University of Cambridge, mostly due to the suburb's reputation for lawlessness, which lasted into my lifetime. This reputation probably arose because of the proximity to Chesterton of the grounds of Stourbridge Fair, the biggest medieval fair in England, on the other side of the river. When the Fair was at its height, hundreds of small punts and barges would ferry customers across to brothels, ale-houses, cock-pits, bear-baiting, bull-baiting and the like. The university finally suppressed these last two activities in Chesterton in 1581.
I was in the choir of this church from 1970 to 1976, and head chorister for part of that time, under the late, great, Barry Eaden, who made this one of the foremost church choirs in the east of England. I still have dreams set in this building.
The church is open every day.
Although gun and crew are new to this section they already have two Japanese planes probables to their credit. Goodenough Island. 5 January, 1944.
Photographer: Cpl. Harry S. Young.
Photo Source: U.S. National Archives. Digitized by Signal Corps Archive.
Bucks County, PA in the summer. Lots of toads, frogs, snakes & fun. I noticed that toads maintain their straight-lipped expression no matter what the situation... © Chuck Goodenough All Rights Reserved. No usage allowed including copying or sharing without written permsiion.
Goodenough College is a postgraduate residence and educational trust on Mecklenburgh Square in Bloomsbury, central London, England. Other names under which the College has been known are London House, William Goodenough House, and the London Goodenough Trust.
A Photo Assistant is shown standing in for the model so the photograher can test the lighting. © Chuck Goodenough All Rights Reserved. No usage allowed including copying or sharing without written permsiion.
More accurately, the world (85 nations) in Mecklenburgh Square :)
Our home away from home, at Goodenough College (yes it IS real).
On Tuesday, November 17, I stepped out on the balcony of our condo (unit 2010 in the 360 Condominiums building) when I noticed that the The University of Texas Tower was lit orange yet again. When the tower is illuminated with orange lighting, it typically signals a UT sports win or some other celebratory event. In this case, it was lighted orange in honor of UT professor Dr. John B. Goodenough sharing in The Eric and Sheila Samson Prime Minister’s Prize for Innovation in Alternative Fuels for Transportation. (Apologies for the poor/grainy quality of this pic; my iPhone doesn't take very clear photos at a distance...) If you look closely, you'll see the UT Tower near the upper left of the photo (to the left of the crane); and you can see the Texas State Capitol building at the far right...
This was my eighth week in the flickr group Get Pushed. The purpose of the group is to take a challenge from a partner assigned to you each week. For this challenge I was paired with Nancy Goodenough. She has some remarkable work in her stream and it is definitely worth spending some time viewing her wonderful images. Her images are amazing!
Well, after examining my stream, she stated, "I was thinking rather than the modern buildings . . ., take a graphic sort of image of or in your house or school where the thumbnail looks like a graphic, but closer look you see it's part of a building inside or out. Could be part of a desk or chair even. Let your art go wild in a big graphic way. (No people/no nature in the shot!)
This was the most difficult challenge, but fun challenge. This proved to be hard for me, I think for me because I was so familiar with the subject that nothing really seem graphic enough to me. I really have a lot of room for improvement, but this was truly a push.
This was an excellent push, and I have had a great time working with and corresponding with Nancy.
I hope that this meets your expectations Nancy. I plan to continue working on this topic more. I completed another set of images from my barn at home.
Thanks so much Nancy (Nancy Goodenough) this was truly are great push project.
Check out Nancy's fabulous response to my challenge here It's a must see and beautiful!
Thanks for viewing and have a wonderful day. :D
Body Painted Beauty Shot - Hair & make-up by Sharon J. Rossum - Copyright © Chuck Goodenough All Rights Reserved. No copying or reproduction or other use without written permission.