easyJet Europe is an LCC based in Vienna, Austria, with scheduled flights throughout Europe. It is a subsidiary of EasyJet plc of the UK.

イージージェット・ヨーロッパはオーストリアのウィーンを拠点とするLCCで、ヨーロッパ全域に定期便を運航している。英国のイージージェット・ピーエルシーの子会社です。

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✈️RWY36L↗ - OE-IJU🇦🇹 - Airbus A320-214 - easyJet Europe

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✨Taken at Spottersplaats Polderbaan - Amsterdam Schiphol Airport(AMS) on July 16th, 2022, 17:00

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📷Canon EOS R3

🔭EF100-400mm F4.5-5.6L IS II USM(135mm)

⚙️MANUAL・F22・1/125th・-1EV・ISO125(AUTO)

(DxO PureRAW v4)

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This is right sneaky, this: one of many Banes Of Life in the UK is White Van Man, a general miscreant who does everything from shoddy minor domestic repairs to voting for brexit: as if we didn't have enough of him They who do these things have begun sending us more by sly subterfuge - see how what looks like 8 max' White Vans with snazzy graphic is actually 16 or more ! Stealth Transit Van Man is upon us ! Goodness knows what They've got in the lower deck ! OMG !

[IMG_3227a]

No life ring but a great sunset. Tolvsrød, outside Tønsberg, Norway.

The photo is taken from the top of a small part of the beach right north of the peninsula of Vallø. This part of the beach is not very often used by the locals because of the "high" pollution level. Earlier, Esso had a refinery on Vallø and I guess that all the parts of old oil barrels and iron pipes that are still lying on the beach come from that "proud" era.

Fortunately, you cannot see these things on the photo, but they are nevertheless there. I felt it had to be said. Pollution is definitely a thing to fight.

Here is another version of this photo.

Here is an out-of-bounds version of this photo.

This photo was nominated for the informal photo contest for March 2007 on www.preus.no

Explore: Highest position: 136 on Saturday, March 3, 2007

© All rights reserved. Use without permission is illegal.

La zona, posta a metà strada tra la montagna e la pianura e punto di passaggio per raggiungere il Friuli, fu da sempre un sito strategico. Attorno al X secolo fu eretta una fortezza controllata dai vescovi di Belluno, ma di probabili origini romane. Lo stesso toponimo sembra derivare dal latino cuniculus indicante i passaggi sotterranei del castello[6].

Conegliano "nacque" però nel XII secolo, quando un gruppo di famiglie nobili si organizzò creando un governo di tipo comunale attorno alla bastia, con la conseguente formazione di un borgo. Il Castello di Conegliano rimase sempre il centro del potere, sia civile (con la sede della podesteria) che religioso (con la collegiata di San Leonardo). Le attività artigianali ed agricole furono incentivate dalla fondazione di numerosi monasteri: Santa Maria in Mater Domini (1231), il convento dei Padri Umiliati di San Polo (1316), Sant'Antonio, San Francesco dei Frati Minori (1231), per non parlare degli ospizi e delle congregazioni di laici.

Con il sanguinoso assalto del 1153, Conegliano fu però subito sottomessa al comune di Treviso che ne potenziò le difese, ricostruendo il castello, vista la posizione chiave verso il Friuli con i domini del Patriarcato di Aquileia. La cittadina seguì le sorti della Marca e passò agli Ezzelini e agli Scaligeri, che la munirono di nuove fortificazioni. Anche con la Repubblica di Venezia, a cui Treviso passò nel 1337, e la breve parentesi dei Carraresi (1384-1388) l'opera fu continuata e venne innalzata una cinta muraria che racchiudesse il borgo. I lavori di fortificazione e di ampliamento si protrassero anche nei secoli successivi, nonostante il rovinoso attacco degli Ungari del 1411. Il paese si abbellì anche di palazzi signorili e istituzionali ma la decadenza si fece sentire già dopo la guerra della Lega di Cambrai.

Nel Settecento il castello, già da tempo in rovina, fu in gran parte demolito per fornire materiale di recupero utile alle nuove costruzioni, tra cui il Palazzo Comunale (1744).

Come tutto il Veneto, la città passò a Napoleone e infine agli Austriaci che ne svilupparono l'economia e le infrastrutture. Con la costruzione della Strada Maestra d'Italia e della ferrovia (1858) il centro vitale del paese si spostò più a sud, attorno alla stazione. Nel 1866 passò con tutto il Veneto al Regno d'Italia. Nel 1917, dopo la Disfatta di Caporetto, Conegliano fu occupata dagli Imperi Centrali e subì notevoli danni. La città riuscì successivamente a risollevarsi grazie alle ferventi attività economiche (prodotti caseari, vinicoli, officine meccaniche ecc.).

it.wikipedia.org/wiki/Conegliano

View On Black

PhotoAwardsCounter

Click here to see the awards count for this photo. (?)

vimeo.com/73884050

At this point, probably my favorite of the bunch.

One interesting thing about it is that weight is distributed so low on the chassis, it actually rolls without falling on sides even if pushed violently.

There are some more pictures of it in my photostream.

There is so much going on across this ancient fortress high over Dorset. The huge peaks and troughs of land, forged by bygone civilisations out of the natural hillside, providing an imposing defense from would-be attackers.

Then there are the smaller ripples in the earth formed simply by gravity gradually pulling the earth down in waves, and finally the more recently added hurdle fencing, intended presumably to prevent too much land slippage.

And then of course the much smaller, seemingly random holes dug by a certain little dog while waiting for the photographer to do his stuff.

Xziva is and has always been a paw giver. When i get ready to take her out, there is her paw, working on my computer i see her paw coming at me. She does it when people give her attention, really all the time. So that is something that needs to be in her 52 weeks.

I'm not really sure why she does it, uncertain maybe ?or just to get attention ?, but anyway it's really sweet.

Nicely clipped nails for her therapy dog visit :) important because also when visiting the youngsters she is always giving paws or trying to :)

I used my own texture : Grey wall Texture with pattern:

www.flickr.com/photos/71561164@N00/10870188195/

Don't use this image on websites, blogs or other media without my explicit permission !!!!

©all rights reserved

Love is when the other person's happiness is more important than your own.

H. Jackson Brown, Jr.

Sydney is the state capital of New South Wales and the most populous city in Australia and Oceania. Indigenous Australians have inhabited the Sydney area for at least 30,000 years, and thousands of engravings remain throughout the region, making it one of the richest in Australia in terms of Aboriginal archaeological sites. During his first Pacific voyage in 1770, Lieutenant James Cook and his crew became the first Europeans to chart the eastern coast of Australia, making landfall at Botany Bay and inspiring British interest in the area. In 1788, the First Fleet of convicts, led by Arthur Phillip, founded Sydney as a British penal colony, the first European settlement in Australia. Phillip named the city Sydney in recognition of Thomas Townshend, 1st Viscount Sydney.

Australia-Tour 2018

Depends on your point of view, I suppose. Sure, what you see is not natural. But, then again, what about a woman who colors her hair, wears makeup (including false lashes), and accentuates her figure?

Am I that much different?

And, bottom line, this is what I consider myself to be. So, I am NOT pretending!

Here it is... my BCN sketchbook in one image

This is all the sketching I did in 2 weeks (most maps and many of the notes have been added since getting home).

I know you can't see the actual images at this size...but I love seeing it all like this as it gives me a feel of the composition of the pages and flow from page to page...something that is very important to me.

Here is the issuu version if you want to flick through the pages

issuu.com/borrominibear/docs/bcn_sketchbook

Once we placed Alice in the car, she laid on the soft bed, and when I approached to assure her that everything is going to be amazing, she rolled on her back a little and allowed me to scratch her belly.

This rescue video is coming up soon here: www.youtube.com/eldad75

This is just a preview. For the full gallery from this trip please see my UK Rail May 2018 gallery here: mkttransportphoto.smugmug.com/2018/May-2018/UK-Rail-May-2...

2' 6" gauge W.G. Bagnall 0-6-2 side tank "Superb" at Kemsley Down on the Sittingbourne & Kemsley Light Railway, 07.05.2018.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The OV-10 Bronco was initially conceived in the early 1960s through an informal collaboration between W. H. Beckett and Colonel K. P. Rice, U.S. Marine Corps, who met at Naval Air Weapons Station China Lake, California, and who also happened to live near each other. The original concept was for a rugged, simple, close air support aircraft integrated with forward ground operations. At the time, the U.S. Army was still experimenting with armed helicopters, and the U.S. Air Force was not interested in close air support.

The concept aircraft was to operate from expedient forward air bases using roads as runways. Speed was to be from very slow to medium subsonic, with much longer loiter times than a pure jet. Efficient turboprop engines would give better performance than piston engines. Weapons were to be mounted on the centerline to get efficient aiming. The inventors favored strafing weapons such as self-loading recoilless rifles, which could deliver aimed explosive shells with less recoil than cannons, and a lower per-round weight than rockets. The airframe was to be designed to avoid the back blast.

The MV-10Hs are expected to provide support for these ground units in the form of all-weather reconnaissance and observation, close air support and also forward air control duties for supporting ground units. Precision ground strikes and protection from enemy helicopters and low-flying aircraft were other, secondary missions for the modernized Broncos, which are expected to serve well into the 2040s. Exports or conversions of foreign OV-10s to the Black Pony standard are not planned, though.

General characteristics:

Crew: 2

Length: 42 ft 2½ in (12,88 m) incl. pitot

Wingspan: 45 ft 10½ in(14 m) incl. tip sails

Height: 15 ft 2 in (4.62 m)

Wing area: 290.95 sq ft (27.03 m²)

Airfoil: NACA 64A315

Empty weight: 9,090 lb (4,127 kg)

Gross weight: 13,068 lb (5,931 kg)

Max. takeoff weight: 17,318 lb (7,862 kg)

Powerplant:

2× General Electric CT7-9D turboprop engines, 1,305 kW (1,750 hp) each,

driving 8-bladed Hamilton Standard 8 ft 6 in (2.59 m) diameter constant-speed,

fully feathering, reversible contra-rotating propellers with metal hub and composite blades

Performance:

Maximum speed: 390 mph (340 kn, 625 km/h)

Combat range: 198 nmi (228 mi, 367 km)

Ferry range: 1,200 nmi (1,400 mi, 2,200 km) with auxiliary fuel

Maximum loiter time: 5.5 h with auxiliary fuel

Service ceiling: 32.750 ft (10,000 m)

13,500 ft (4.210 m) on one engine

Rate of climb: 17.400 ft/min (48 m/s) at sea level

Take-off run: 480 ft (150 m)

740 ft (227 m) to 50 ft (15 m)

1,870 ft (570 m) to 50 ft (15 m) at MTOW

Landing run: 490 ft (150 m)

785 ft (240 m) at MTOW

1,015 ft (310 m) from 50 ft (15 m)

Armament:

1x M197 3-barreled 20 mm Gatling cannon in a chin turret with 750 rounds ammo capacity

7x hardpoints for a total load of 5.000 lb (2,270 kg)

2x wingtip launch rails for AIM-9 Sidewinder AAMs

The kit and its assembly:

This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?

The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...

The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.

For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!

All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it works well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model.

Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a (more or less) harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.

After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this, I raised the OV-10’s main landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit, which received an internal console to match the main landing gear’s length. Due to the chin turret and the shorter nose, the front wheel retracts backwards now. But this looks quite plausible, thanks to the additional space under the cockpit tub, which also made a belt feed for the gun’s ammunition supply believable.

To enhance the menacing look I gave the model a fixed refueling boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dispensers and an IR decoy were taken from the Academy kit.

The ordnance came from various sources. The Sidewinders under the wing tips were taken from an Italeri F-16C/D kit, they look better than the missiles from the Academy Bronco kit. Their launch rails came from an Italeri Bae Hawk 200. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-10 and -19 missile pods on the stub wings were taken from the OV-10 kit.

Painting and markings:

Finding a suitable and somewhat interesting – but still plausible – paint scheme was not easy. Taking the A-10 as benchmark, an overall light grey livery (with focus on low contrast against the sky as protection against ground fire) would have been a likely choice – and in fact the last operational American OV-10s were painted in this fashion. But in order to provide a different look I used the contemporary USAF V-22Bs and Special Operations MC-130s as benchmark, which typically carry a darker paint scheme consisting of FS 36118 (suitably “Gunship Gray” :D) from above, FS 36375 underneath, with a low, wavy waterline, plus low-viz markings. Not spectacular, but plausible – and very similar to the late r/w Colombian OV-10s.

The cockpit tub became Dark Gull Grey (FS 36231, Humbrol 140) and the landing gear white (Revell 301).

The model received an overall black ink washing and some post-panel-shading, to liven up the dull all-grey livery. The decals were gathered from various sources, and I settled for black USAF low-viz markings. The “stars and bars” come from a late USAF F-4, the “IP” tail code was tailored from F-16 markings and the shark mouth was taken from an Academy AH-64. Most stencils came from another Academy OV-10 sheet and some other sources.

Decals were also used to create the trim on the propeller blades and markings on the ordnance.

Finally, the model was sealed with a coat of matt acrylic varnish (Italeri) and some exhaust soot stains were added with graphite along the tail boom flanks.

A successful transplantation – but is this still a modified Bronco or already a kitbashing? The result looks quite plausible and menacing, even though the TOW Cobra front section appears relatively massive. But thanks to the bigger engines and extended wing tips the proportions still work. The large low-pressure tires look a bit goofy under the aircraft, but they are original. The grey livery works IMHO well, too – a more colorful or garish scheme would certainly have distracted from the modified technical basis.

This is another composition taken in Sorrento, Maine near Schoodic Peninsula. (image m1a4486) Please also visit: acadiamagic.com.

NOTE: All images are Copyrighted by Greg A. Hartford. No rights to use are given or implied to the viewer. All rights of ownership and use remain with the copyright owner.

There is a set of "targets" placed in the desert by the DoD, near Casa Grande, Arizona. These concrete structures allowed spy plane and satellite image systems to be tested and aligned, by using these known locations.

Check it out:

goo.gl/maps/Rjp8tG9oL9n

The 3 that I know of, are in various stages of destruction. The target in these photos is in pretty good shape.

Images taken with the phone and processed in GIMP.

This build was created as a retirement gift for my current colleague and former teacher David Derbes.

David has taught at The University of Chicago Laboratory Schools, an nursery through 12th grade school, for 33 years. He won the Golden Apple Award for excellence in teaching in 2007.

I was lucky enough to have David as my teacher for AP Physics, Electronics, and Cosmology. While I was not the best physics student, David found a way to reach me by explaining many concepts through Star Trek: The Next Generation analogies. Lectures and lessons would often be stopped as David took a sidebar with me: "Mr. Kaleta, do you remember the episode where..."

The respect for the intelligence of his students, the way is able to differentiate learning, and create dynamic lessons inspired me to be a teacher. For the past 19 years I have been his colleague. This past year our class was interested in simple machines and he allowed us to come over to the the historic campus where he gave an amazing lecture on Archemeaies that captivated a group of 5 and 6 year olds for 45 minutes.

Hopefully we will have many more beers and Star Trek discussions now that he is retired!

Today is a sunny and mild day, and so spring flowers are very lovely to see....

Carolina Wren...Such a aggravated expression! He worked like crazy to get this out of his bill. I have no idea what it is or where it came from. Finally he got rid of it and was able to eat some seeds.

I wanna love you and treat you right;

I wanna love you every day and every night...

www.youtube.com/watch?v=CHekNnySAfM

Is this love - is this love - is this love -

Is this love that I'm feelin'?

Yes, I know; yes, I know - yes, I know now!

© All rights reserved Anna Kwa. Please do not use this image on websites, blogs or any other media without my explicit written permission.

The Diamond Valley Railway is a 7 1⁄4 in (184 mm) ridable miniature railway located at Eltham Lower Park, Eltham, Victoria (a suburb of Melbourne, Australia). The railway operates a variety of live steam and petrol/diesel powered locomotives..

The Diamond Valley Miniature Railway Club was founded in 1960 with equipment relocated from the closed Chelsworth Park Railway (located in Ivanhoe, Melbourne). The original mainline at Eltham was completed on August 17, 1961 at 0.52 km (0.32 miles) long. Numerous developments, extensions and improvements took place in the years that followed. Importantly starting the in mid-1960s the original 1" x 1/2" steel 'rail' was replaced with 14 lb/yard rail recovered from disused quarries, railways and tramways. (From 2001 the mainline is being progressively relaid with 6 kg/m (12 lb/yd) flat bottomed rail] The mainline was significantly expanded in the 1980s to extend down to the edge of the Eltham Lower Park, (called the outer circle) within sight of Main Road and passing motor traffic. The "Pine Creek Platform" adjacent to the road only operates for special charters. The full mainline is now 1.92 km (1.21 mi) long and takes about 9 minutes to complete a journey, passing through two tunnels and over a number of bridges. The line runs over, under and besides itself in a twisted and folded loop. There are the equivalent of 111 points and crossings in the trackwork..

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In the 10 years after it opened the railway carried 250,000 passengers. By June 12, 2011, after almost 50 years of operation, it had carried 3,000,000 passengers..

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In March 1974 the Club was dissolved and all assets were taken over by Diamond Valley Railway Limited with members of the club transferring to the new organisation.

It is when it comes to flamingos, but not in a room in my house. So colors do have there place, and pink on flamingos is beautiful

I have been sick the last few weeks, so I have been staying up with things very well. Starting to feel better, I need to because I am attending the Red Slough Birding Convention the first of May.

40152 is in the process of reversing past Kemps Eye towards the Shelf Sidings at Shrewsbury to collect some more ballast wagons on 11 April 1983

I had thought it was later in the month but it was definately at Shrewsbury on the date above

With thanks to the class40motherlist website for the information below.

40152 hauled it's last train on 20-1-85 the 1E31 Manchester Victoria - Bradford Exchange Parcels.

On 21-1-85 it ran from Healey Mills - Newton Heath Depot Light engine,then withdrawn.

It remained here until 7-2-85.

On 8-2-85 it arrived at Doncaster Works for scrapping, and cut by 23-3-85

My colleague at work was cleaning her office room, because she thought she had too much redundant stuff in there and she was giving things she didn't need so to me she gave a book “Deception on the plate” (originally a Swedish book “Den hemlige kocken” by Mats-Erik Nilsson). And than I read this weeks MM theme and there's a book on my desk with deception written with big letters on the cover :) Did I feel lucky!

The book is about how the food isn't exactly what the manufacturers say it is, for example those freshly squeezed orange juices that are sold in the stores aren't really so fresh, the juice can be almost ten months old, before it's even in the stores.

So I guess it's best to make my own juice if I want to be sure it's really fresh :)

For MacroMondays theme "Deception"

Happy MacroMonday!

So This Is Christmas by John Lennon (Lyrics)

www.youtube.com/watch?v=LoMn8tURL_E&list=RDLoMn8tURL_...

Nikon Micro 45mm f/2.8 ED PC-E

www.kenrockwell.com/nikon/45mm-pc-e.htm

Final project for this year's animation class.

Soundtrack: My Name Is Mud - Primus.

Vintage postcard, no. 1030.

Delicate American actress Winona Ryder (1971) is known for her dark hair, brown eyes and pale skin. She starred in films such as Beetlejuice Heathers, Bram Stoker's Dracula, Edward Scissorhands, and the television series Stranger Things. In 1994, she won a Golden Globe for Best Supporting Actress in the film The Age of Innocence (1993), and Ryder was nominated twice for an Oscar.

Winona Ryder was born Winona Laura Horowitz in Winona (Olmsted County), Minnesota, in 1971. Yes, her name is very much the same as her birthplace. Her parents, Cindy Horowitz (Istas), an author and video producer, and Michael Horowitz, a publisher and bookseller, were part of the hippie movement. She has a brother named Uri Horowitz (1976), who got his first name after Yuri Gagarin, a half-sister named Sunyata Palmer (1968), and a half-brother named Jubal Palmer (1970) from her mother Cindy's first marriage. From 1978, Winona grew up in a commune near Mendocino in California, which had no electricity. When Winona was seven, her mother began to manage an old cinema in a nearby barn and would screen films all day. She allowed Winona to miss school to watch movies with her. In 1981, the family moved to Petaluma, California. Since Winona was considered an outsider in public school, she was sent to a public school and later to the American Conservatory Theater acting school. She was discovered at the age of thirteen by a talent scout at a theatre performance at the American Conservatory Theater in San Francisco. In 1985, she applied for a role in the film Desert Bloom (David Seltzer, 1986) with a video in which she performed a monologue from the book 'Franny and Zooey' by J. D. Salinger. Although the casting choice was fellow actress Annabeth Gish, director and writer David Seltzer recognised her talent and cast her as Rina in his film Lucas (David Seltzer, 1986) about a teenager (Corey Haim) and his life in high school. When telephoned to ask what name she wanted to be called in the credits, she chose Ryder as her stage name because her father's Mitch Ryder & The Detroit Wheels album was playing in the background. Her real hair colour is blonde but when she made Lucas (1986), her hair color was dyed black. She was told to keep it that colour and with the exception of Edward Scissorhands (1990), it has stayed that color since. Her next film was Square Dance (Daniel Petrie, 1987), in which the protagonist she portrays lives a life between two worlds: on a traditional farm and in a big city. Ryder's performance received good reviews, although neither film was a commercial success. Her acting in Lucas led director Tim Burton to cast her in his film Beetlejuice (Tim Burton, 1988). In this comedy, she played Lydia Deetz, who moves with her family into a house inhabited by ghosts (played by Geena Davis, Alec Baldwin, and Michael Keaton). Ryder, as well as the film, received positive reviews, and Beetlejuice was also successful at the box office. In 1989, she starred as Veronica Sawyer in the independent film Heathers (Michael Lehmann, 1989) about a couple (Ryder and Christian Slater) who kill popular schoolgirls. Ryder's agent had previously advised her against the role. The film was a financial failure, but Ryder received positive reviews. The Jerry Lee Lewis biopic Great Balls of Fire! (Jim McBride, 1989) was also a flop. That same year, Ryder appeared in Mojo Nixon's music video 'Debbie Gibson Is Pregnant with My Two-Headed Love Child'. At the premiere of Great Balls of Fire (1989), Ryder met fellow actor and later film partner Johnny Depp. The couple became engaged a few months later, but their relationship ended in 1993. He had a tattoo of her name and after they broke up, he had this reduced to "Wino forever".

In 1990, Winona Ryder had her breakthrough performance alongside her boyfriend Johnny Depp in Edward Scissorhands (Tim Burton, 1990). The fantasy film was an international box-office success. Ryder was selected for the role of Mary Corleone in The Godfather: Part III (Francis Ford Coppola, 1990) but had to drop out of the role after catching the flu from the strain of doing the films Welcome Home Roxy (Jim Abrahams, 1990) and Mermaids (Richard Benjamin, 1990) back-to-back. Ryder's performance alongside Cher and Christina Ricci in the family comedy Mermaids (1990) was praised by critics and she was nominated for a Golden Globe in the Best Supporting Actress category. Ryder also appeared with Cher and Ricci in the music video for 'The Shoop Shoop Song', the film's theme song. Independent filmmaker Jim Jarmusch wrote a role specifically for her in Night on Earth (Jim Jarmusch, 1991), as a tattooed, chain-smoking cabdriver who dreams of becoming a mechanic. Ryder was cast in a dual role as Mina Murray and Elisabeta in Bram Stoker's Dracula (Francis Ford Coppola, 1992). In 1993, she starred as Blanca in the drama The House of the Spirits (Bille August, 1993) alongside Antonio Banderas, Meryl Streep, and Glenn Close. It is the film adaptation of Isabel Allende's bestseller of the same name. Together with Michelle Pfeiffer and Daniel Day-Lewis, she starred in Age of Innocence (Martin Scorsese, 1993), the film adaptation of Edith Wharton's novel. She was Martin Scorsese's first and only choice for the role of May Welland. For years, she kept the message he left on her voicemail, informing her she got the role. Her part earned her a Golden Globe for Best Supporting Actress and an Oscar nomination. She also earned positive reviews for her role in the comedy Reality Bites (Ben Stiller, 1994). She received critical acclaim and another Oscar nomination the same year as Jo in the drama Little Women (Gillian Armstrong, 1994). In 1996, she starred alongside Daniel Day-Lewis and Joan Allen in The Crucible (Nicholas Hytner, 1996), an adaptation of Arthur Miller's stage play about the Puritan witch hunt in Salem. The film was not a success; however, Ryder's performance was favourably reviewed. A year later she portrayed an android in the successful horror film Alien: Resurrection (Jean-Pierre Jeunet, 1997) alongside Sigourney Weaver's Ripley. In 1998 she starred in Woody Allen's Celebrity (1998). after Drew Barrymore turned down the role. In 1999 she starred as a psychiatric patient with borderline syndrome in the drama Girl, Interrupted (James Mangold, 1999), based on Susanna Kaysen's autobiographical novel. Girl, Interrupted, the first film on which she served as executive producer, was supposed to be Ryder's comeback in Hollywood after the flops of the past years. However, the film became the breakthrough for her colleague Angelina Jolie, who won an Oscar for her role. In this decade, she was involved with Dave Pirner, the lead singer of the group Soul Asylum, from 1993 to 1996 and with Matt Damon from December 1997 to April 2000.

Winona Ryder appeared alongside Richard Gere in Autumn in New York (Joan Chen, 2000), a romance about an older man's love for a younger woman. She also made a cameo appearance in the comedy Zoolander (Ben Stiller, 2000). The comedy Mr. Deeds (Steven Brill, 2002) with Adam Sandler became her biggest financial success to date. The film failed with critics and Ryder was nominated for the Golden Raspberry award. Also in 2002, she was sentenced to three years probation and 480 hours of work for repeatedly shoplifting $5,000 worth of clothes. The incident caused a career setback. She withdrew from the public eye in the following years and did not appear in front of the camera again until 2006. In that year, she appeared in the novel adaptation A Scanner Darkly (Richard Linklater, 2006) alongside Keanu Reeves, Robert Downey Jr., and Woody Harrelson. In 2009, she made an appearance in Star Trek: The Future Begins (J. J. Abrams, 2009) as Spock (Zachary Quinto)'s mother Amanda Grayson. The prequel became a huge success at the box office and Ryder earned a Scream Award for Best Guest Appearance. She also appeared alongside Robin Wright and Julianne Moore in Rebecca Miller's Pippa Lee (2009), and alongside Natalie Portman and Mila Kunis in Darren Aronofsky's Black Swan (2010). Ryder starred in the television film When Love Is Not Enough: The Lois Wilson Story (John Kent Harrison, 2010), for which she was nominated for a Screen Actors Guild Award. She starred in the comedy The Dilemma (Ron Howard, 2011), and the thrillers The Iceman (Ariel Vromen, 2012), and The Letter (Jay Anania, 2012) opposite James Franco. In Tim Burton's Frankenweenie (2012) she lent her voice to the character Elsa Van Helsing. Since 2016, she has embodied the main character, Joyce Byers, in the Netflix series Stranger Things (2016-2022), for which she received positive responses. Her role in the series has been described by many as a comeback. Since 2011 Winona Ryder is in a relationship with Scott MacKinlay Hahn.

Sources: Pedro Borges (IMDb), Wikipedia (Dutch and German), and IMDb.

And, please check out our blog European Film Star Postcards.

. . . when it is practically impossible to take a bad picture.

Lamborghini is best known for their extravagant car designs. This Murciélago is styled by Luc Donckerwolke (1965).

It's an all-wheel drive sports car.

It's a very uncommon appearance on Dutch roads.

6496 cc 12 cyl. mid-engine.

1730 kg.

Production Murciélago series: 2001-2010.

Production Murciélago LP 640: March 2006-2010.

Original first reg. number: Nov. 2, 2006.

New Dutch reg. number: March 9, 2016.

Sold at Sept. 11, 2017.

Amsterdam-O., near IJburglaan, S114, April 20, 2016.

© 2016 Sander Toonen Amsterdam | All Rights Reserved

This is possibly the Swiss Reformed Church of Würzbrunnen, a former pilgrimage site in the municipality of Röthenbach im Emmental, Bern, Switzerland (it is at least of the same design, including the building structure, clock face and steeple). The church was under the patronage of St Stephen, but the pilgrimage was dedicated to St Wolfgang.

There was originally a wooden structure said to have been donated by Leuthold von Rümligen (1115-1148). After a fire in 1494 the church was rebuilt in its present form and in 1779 the interior was painted in baroque forms with many Biblical verses.

Today it is a widely popular wedding church, with numerous weddings from April to October each year.

Taken in 1990, I'm not sure why I would have been there, although on the probable day concerned I did travel from Wengen to Berne and back by train - but Röthenbach im Emmental seems a bit off the track. I've been unable to find another like it on the interweb...

Scanned from a negative.

Mistress Lane (二奶巷) is approximately 500m long lane is located at the heart of Old Town neighborhood in Ipoh. During the tin-mining era, many rich miners had their mistresses stayed in these houses, therefore this tiny lane got its name after the infamous history.

With investors flocking in from neighboring Singapore, Mistress Lane is getting a "facelift" - transforming into a coming " it" place for pubs and cafes in Ipoh.

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these images of Mistress Lane will soon be the documentary of its past:

Reminiscing Mistress Lane

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Thanks for taking time to visit my new personal site here:

“A Story Teller" by Cheryl Chan Photography

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check out more Malaysia Streets & Candid shots here:

Taking the Streets in Malaysia

In the mood for RED :

RED

More Found Still Life: By The Streets

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This is old. It's actually one of the very last pictures I took on my camera before it broke. But I'll get it fixed soon.

I've been trying out the film Leica. Which I love! It's so much fun. I have one picture left on my first film and then it's the moment of truth...will any of them turn out good?

:)

en.wikipedia.org/wiki/Humpback_whale

The humpback whale (Megaptera novaeangliae) is a species of baleen whale. One of the larger rorqual species, adults range in length from 12–16 metres (39–52 ft) and weigh approximately 36,000 kilograms (79,000 lb). The humpback has a distinctive body shape, with unusually long pectoral fins and a knobbly head. An acrobatic animal known for breaching and slapping the water with its tail and pectorals, it is popular with whale watchers off Australia, New Zealand, South America, Canada, and the United States.

Males produce a complex song lasting 10 to 20 minutes, which they repeat for hours at a time. Its purpose is not clear, though it may have a role in mating.

Found in oceans and seas around the world, humpback whales typically migrate up to 25,000 kilometres (16,000 mi) each year. Humpbacks feed only in summer, in polar waters, and migrate to tropical or subtropical waters to breed and give birth in the winter. During the winter, humpbacks fast and live off their fat reserves. Their diet consists mostly of krill and small fish. Humpbacks have a diverse repertoire of feeding methods, including the bubble net feeding technique.

Like other large whales, the humpback was and is a target for the whaling industry. Once hunted to the brink of extinction, its population fell by an estimated 90% before a moratorium was introduced in 1966. While stocks have since partially recovered, entanglement in fishing gear, collisions with ships, and noise pollution continue to impact the 80,000 humpbacks worldwide.

Taxonomy

Humpback whales are rorquals (family Balaenopteridae), a family that includes the blue whale, the fin whale, the Bryde's whale, the sei whale and the minke whale. The rorquals are believed to have diverged from the other families of the suborder Mysticeti as long ago as the middle Miocene.[3] However, it is not known when the members of these families diverged from each other.

Though clearly related to the giant whales of the genus Balaenoptera, the humpback has been the sole member of its genus since Gray's work in 1846. More recently, though, DNA sequencing analysis has indicated the humpback is more closely related to certain rorquals, particularly the fin whale (Balaenoptera physalus), and possibly to the gray whale (Eschrichtius robustus), than it is to rorquals such as the minke whales.[4][5] If further research confirms these relationships, it will be necessary to reclassify the rorquals.

The humpback whale was first identified as baleine de la Nouvelle Angleterre by Mathurin Jacques Brisson in his Regnum Animale of 1756. In 1781, Georg Heinrich Borowski described the species, converting Brisson's name to its Latin equivalent, Balaena novaeangliae. In 1804, Lacépède shifted the humpback from the Balaenidae family, renaming it Balaenoptera jubartes. In 1846, John Edward Gray created the genus Megaptera, classifying the humpback as Megaptera longipinna, but in 1932, Remington Kellogg reverted the species names to use Borowski's novaeangliae.[6] The common name is derived from the curving of their backs when diving. The generic name Megaptera from the Greek mega-/μεγα- "giant" and ptera/πτερα "wing",[7] refers to their large front flippers. The specific name means "New Englander" and was probably given by Brisson due the regular sightings of humpbacks off the coast of New England.

Description

A humpback whale can easily be identified by its stocky body with an obvious hump and black dorsal coloring. The head and lower jaw are covered with knobs called tubercles, which are hair follicles, and are characteristic of the species. The fluked tail, which it lifts above the surface in some dive sequences, has wavy trailing edges.[8] The four global populations, all under study, are: North Pacific, Atlantic, and Southern Ocean humpbacks, which have distinct populations which complete a migratory round-trip each year, and the Indian Ocean population, which does not migrate, prevented by that ocean's northern coastline.

The long black and white tail fin, which can be up to a third of body length, and the pectoral fins have unique patterns, which make individual whales identifiable.[9][10] Several hypotheses attempt to explain the humpback's pectoral fins, which are proportionally the longest fins of any cetacean. The two most enduring mention the higher maneuverability afforded by long fins, and the usefulness of the increased surface area for temperature control when migrating between warm and cold climates.

Humpbacks have 270 to 400 darkly coloured baleen plates on each side of their mouths.[11] The plates measure from a mere 18 inches (46 cm) in the front to approximately 3 feet (0.91 m) long in the back, behind the hinge. Ventral grooves run from the lower jaw to the umbilicus about halfway along the underside of the whale. These grooves are less numerous (usually 14–22) than in other rorquals but are fairly wide.[11]

The stubby dorsal fin is visible soon after the blow when the whale surfaces, but disappears by the time the flukes emerge. Humpbacks have a 3 metres (9.8 ft), heart-shaped to bushy blow, or exhalation of water through the blowholes. Because humpback whales breathe voluntarily, the whales possibly shut off only half of their brains when sleeping.[12] Early whalers also noted blows from humpback adults to be 10–20 feet (3.0–6.1 m) high.

Newborn calves are roughly the length of their mother's head. At birth, calves measure 20 feet (6.1 m) at 2 short tons (1.8 t) The mother, by comparison, is about 50 feet (15 m). They nurse for approximately six months, then mix nursing and independent feeding for possibly six months more. Humpback milk is 50% fat and pink in color.

Females reach sexual maturity at the age of five, achieving full adult size a little later. Males reach sexual maturity at approximately seven years of age. Humpback whale lifespans range from 45–100 years.[13] Fully grown, the males average 13–14 m (43–46 ft). Females are slightly larger at 15–16 m (49–52 ft); the largest recorded specimen was 19 metres (62 ft) long and had pectoral fins measuring 6 metres (20 ft) each.[14] Body mass typically is in the range of 25–30 metric tons (28–33 short tons), with large specimens weighing over 40 metric tons (44 short tons).[15] The female has a hemispherical lobe about 15 centimetres (5.9 in) in diameter in its genital region. This visually distinguishes males and females.[11] The male's penis usually remains hidden in the genital slit.

Identifying individuals

The varying patterns on the tail flukes are sufficient to identify individuals. A study using data from 1973 to 1998 on whales in the North Atlantic gave researchers detailed information on gestation times, growth rates, and calving periods, as well as allowing more accurate population predictions by simulating the mark-release-recapture technique (Katona and Beard 1982). A photographic catalogue of all known North Atlantic whales was developed over this period and is currently maintained by College of the Atlantic.[16] Similar photographic identification projects have begun in the North Pacific by Structure of Populations, Levels of Abundance and Status of Humpbacks, and around the world.

Life history

Social structure

The humpback social structure is loose-knit. Typically, individuals live alone or in small, transient groups that disband after a few hours. These whales are not excessively social in most cases. Groups may stay together a little longer in summer to forage and feed cooperatively. Longer-term relationships between pairs or small groups, lasting months or even years, have rarely been observed. Some females possibly retain bonds created via cooperative feeding for a lifetime. The humpback's range overlaps considerably with other whale and dolphin species—for instance, the minke whale. However, humpbacks rarely interact socially with them, though one individual was observed playing with a bottlenose dolphin in Hawaiian waters.[17]

Courtship and reproduction

Courtship rituals take place during the winter months, following migration toward the equator from summer feeding grounds closer to the poles. Competition is usually fierce, and unrelated males, dubbed escorts by researcher Louis Herman, frequently trail females, as well as mother-calf dyads. Male gather into "competitive groups" and fight for females.[18] Group size ebbs and flows as unsuccessful males retreat and others arrive to try their luck. Behaviors include breaching, spyhopping, lob-tailing, tail-slapping, fin-slapping, peduncle throws, charging and parrying. Whale songs are assumed to have an important role in mate selection; however, they may also be used between males to establish dominance.[19]

Females typically breed every two or three years. The gestation period is 11.5 months, yet some individuals have been known to breed in two consecutive years. The peak months for birth are January, February, July, and August, with usually a one- to two–year period between humpback births. They can live up to 48 years. Recent research on humpback mitochondrial DNA reveals groups living in proximity to each other may represent distinct breeding pools.[20]

Song

Both male and female humpback whales vocalize, but only males produce the long, loud, complex "songs" for which the species is famous. Each song consists of several sounds in a low register, varying in amplitude and frequency, and typically lasting from 10 to 20 minutes.[21] Humpbacks may sing continuously for more than 24 hours. Cetaceans have no vocal cords, so whales generate their songs by forcing air through their massive nasal cavities.

Whales within a large area sing the same song. All North Atlantic humpbacks sing the same song, and those of the North Pacific sing a different song. Each population's song changes slowly over a period of years without repeating.[21]

Scientists are unsure of the purpose of whale songs. Only males sing, suggesting one purpose is to attract females. However, many of the whales observed to approach a singer are other males, often resulting in conflict. Singing may, therefore, be a challenge to other males.[22] Some scientists have hypothesized the song may serve an echolocative function.[23] During the feeding season, humpbacks make altogether different vocalizations for herding fish into their bubble nets.[24]

Humpback whales have also been found to make a range of other social sounds to communicate, such as "grunts", "groans", "thwops", "snorts" and "barks"

Ecology

Feeding and predation

Humpbacks feed primarily in summer and live off fat reserves during winter.[26] They feed only rarely and opportunistically in their wintering waters. The humpback is an energetic hunter, taking krill and small schooling fish such as Atlantic herring, Atlantic salmon, capelin, and American sand lance, as well as Atlantic mackerel, pollock, and haddock in the North Atlantic.[27][28][29] Krill and copepods have been recorded as prey species in Australian and Antarctic waters.[30] Humpbacks hunt by direct attack or by stunning prey by hitting the water with pectoral fins or flukes.

The humpback has the most diverse feeding repertoire of all baleen whales.[31] Its most inventive technique is known as bubble net feeding; a group of whales swims in a shrinking circle blowing bubbles below a school of prey. The shrinking ring of bubbles encircles the school and confines it in an ever-smaller cylinder. This ring can begin at up to 30 metres (98 ft) in diameter and involve the cooperation of a dozen animals. Using a crittercam attached to a whale's back, some whales were found to blow the bubbles, some dive deeper to drive fish toward the surface, and others herd prey into the net by vocalizing.[32] The whales then suddenly swim upward through the "net", mouths agape, swallowing thousands of fish in one gulp. Plated grooves in the whale's mouth allow the creature to easily drain all the water initially taken in.

Given scarring records, killer whales are thought to prey upon juvenile humpbacks, though this has never been witnessed. The result of these attacks is generally nothing more serious than some scarring of the skin, but young calves likely are sometimes killed.[33]

Range and habitat

Humpbacks inhabit all major oceans, in a wide band running from the Antarctic ice edge to 77° N latitude, though not in the eastern Mediterranean or the Baltic Sea.They are migratory, spending summers in cooler, high-latitude waters and mating and calving in tropical and subtropical waters.[21] An exception to this rule is a population in the Arabian Sea, which remains in these tropical waters year-round.[21] Annual migrations of up to 25,000 kilometres (16,000 mi) are typical, making it one of the mammals' best-traveled species.

A large population spreads across the Hawaiian Islands every winter, ranging from the island of Hawaii in the south to Kure Atoll in the north.[34] A 2007 study identified seven individuals wintering off the Pacific coast of Costa Rica as having traveled from the Antarctic—around 8,300 kilometres (5,200 mi). Identified by their unique tail patterns, these animals made the longest documented mammalian migration.[35] In Australia, two main migratory populations have been identified, off the west and east coasts, respectively. These two populations are distinct, with only a few females in each generation crossing between the two groups.[36]

Whaling

Humpback whales were hunted as early as the 18th century, but distinguished by whalers as early as the first decades of the 17th century. By the 19th century, many nations (the United States in particular), were hunting the animal heavily in the Atlantic Ocean, and to a lesser extent in the Indian and Pacific Oceans. The late-19th-century introduction of the explosive harpoon, though, allowed whalers to accelerate their take. This, along with hunting in the Antarctic Ocean beginning in 1904, sharply reduced whale populations. During the 20th century, over 200,000 humpbacks were estimated to have been taken, reducing the global population by over 90%, with North Atlantic populations estimated to have dropped to as low as 700 individuals.[37] In 1946, the International Whaling Commission was founded to oversee the whaling industry. They imposed rules and regulations for hunting whales and set open and closed hunting seasons. To prevent extinction, the International Whaling Commission banned commercial humpback whaling in 1966. By then, the population had been reduced to around 5,000.[38] That ban is still in force.

Prior to commercial whaling, populations could have reached 125,000. North Pacific kills alone are estimated at 28,000.[8] The full toll is much higher. It is now known that the Soviet Union was deliberately under-recording its catches; the Soviet catch was reported at 2,820, whereas the true number is now believed to be over 48,000.[39]

As of 2004, hunting of humpback whales was restricted to a few animals each year off the Caribbean island Bequia in the nation of St. Vincent and the Grenadines.[31] The take is not believed to threaten the local population. Japan had planned to kill 50 humpbacks in the 2007/08 season under its JARPA II research program, starting in November 2007. The announcement sparked global protests.[40] After a visit to Tokyo by the chairman of the IWC, asking the Japanese for their co-operation in sorting out the differences between pro- and antiwhaling nations on the Commission, the Japanese whaling fleet agreed no humpback whales would be caught for the two years it would take for the IWC to reach a formal agreement.[41]

In 2010, the International Whaling Commission authorized Greenland's native population to hunt a few humpback whales for the next three years.[42]

Conservation

The worldwide population is at least 80,000 humpback whales, with 18,000-20,000 in the North Pacific,[43] about 12,000 in the North Atlantic,[44] and over 50,000 in the Southern Hemisphere,[45] down from a prewhaling population of 125,000.[8]

This species is considered "least concern" from a conservation standpoint, as of 2008. This is an improvement from vulnerable in 1996 and endangered as recently as 1988. Most monitored stocks of humpback whales have rebounded well since the end of commercial whaling,[2][46] such as the North Atlantic, where stocks are now believed to be approaching levels similar to those before hunting began. However, the species is considered endangered in some countries, including the United States.[47][48] The United States initiated a status review of the species on August 12, 2009, and is seeking public comment on potential changes to the species listing under the Endangered Species Act.[49] Areas where population data are limited and the species may be at higher risk include the Arabian Sea, the western North Pacific Ocean, the west coast of Africa and parts of Oceania.[2]

Today, individuals are vulnerable to collisions with ships, entanglement in fishing gear, and noise pollution.[2] Like other cetaceans, humpbacks can be injured by excessive noise. In the 19th century, two humpback whales were found dead near sites of repeated oceanic sub-bottom blasting, with traumatic injuries and fractures in the ears.[50]

Once hunted to the brink of extinction, the humpback has made a dramatic comeback in the North Pacific. A 2008 study estimated the humpback population, which hit a low of 1,500 whales before hunting was banned worldwide, has made a comeback to a population of between 18,000 and 20,000.[51] Saxitoxin, a paralytic shellfish poisoning from contaminated mackerel has been implicated in humpback whale deaths.[52]

The United Kingdom, among other countries, designated the humpback as a priority species under the national Biodiversity Action Plan. The sanctuary provided by US National Parks, such as Glacier Bay National Park and Preserve and Cape Hatteras National Seashore, among others, have also become major factors in sustaining populations.[53]

Although much was learned about humpbacks from whaling, migratory patterns and social interactions were not well understood until two studies by R. Chittleborough and W. H. Dawbin in the 1960s.[54] Roger Payne and Scott McVay made further studies of the species in 1971.[55] Their analysis of whale songs led to worldwide media interest and convinced the public that whales were highly intelligent, aiding the antiwhaling advocates.

In August 2008, the IUCN changed humpback's status from Vulnerable to Least Concern, although two subpopulations remain endangered.[56] The United States is considering listing separate humpback populations, so smaller groups, such as North Pacific humpbacks, which are estimated to number 18,000-20,000 animals, might be delisted. This is made difficult by humpback's extraordinary migrations, which can extend the 5,157 miles (8,299 km) from Antarctica to Costa Rica.[20]

Whale-watching

Humpback whales are generally curious about objects in their environments. Some individuals, referred to as "friendlies", approach whale-watching boats closely, often staying under or near the boat for many minutes. Because humpbacks are often easily approachable, curious, easily identifiable as individuals, and display many behaviors, they have become the mainstay of whale-watching tourism in many locations around the world. Hawaii has used the concept of "ecotourism" to use the species without killing them. This whale-watching business brings in a revenue of $20 million per year for the state's economy

Found this little guy checking out the neighborhood this morning and I"m hoping it decides to move in.

[Aura Design] Force FULLSET

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Sintiklia - Hair Silvanus

Exclusively at the NEO JAPAN EVENT

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VENUS "PLUMEPULSE" FULL BODY TATTOO

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Venus Tattoos Mainstore

maps.secondlife.com/secondlife/Sintaire/228/125/22

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Worn~

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Lelutka Billie

[coconut.]chae (icy tone)

A few shots from a recent exhibit in Madrid at the Gallery Mad is Mad, c/ Pelayo 48 en Chueca

Tatton Park is one of the UK’s most complete historic estates. It is home to a Tudor Old Hall, Neo-Classical Mansion, 50 acres of landscaped gardens, a rare-breed farm and 1,000 acres of deer park. Our speciality shops, restaurant, tea room, adventure playground, events and educational programmes combine to make Tatton one of the most popular family days out in the North West.

The Old Hall was the estate manor house until the late 17th century, when work commenced on a new house, today known as The Neo Classical Mansion. It is celebrated for its Gillows furniture and collection of ceramics, paintings, music, books and the library collection is considered one of the finest in the National Trust.

Herds of Red and Fallow deer roam freely in 1,000 acres of parkland. The meres, woodlands and rough grassland provide a perfect habitat for wildlife. The parkland is a stunning setting for a leisurely stroll or high-octane cycle. You can also take a stroll through 50 acres of beautiful gardens reflecting over 250 years of garden design.The gardens are renowned for their remarkable glasshouses, the Japanese Garden, considered the finest in Europe and the extensive Kitchen Gardens, still producing fruit and vegetables today.

The working rare-breed farm is a must-see for our family visitors. Meet our rare breed cattle, horses, sheep, pigs, goats, poultry and donkeys and take part in themed events throughout the year. Children can enjoy the farm's new woodland play trail and den building area.

Tatton Park is a historic estate in Cheshire, England, to the north of the town of Knutsford. It contains a mansion, Tatton Hall, a manor house dating from medieval times, Tatton Old Hall, gardens, a farm and a deer park of 2,000 acres (8.1 km2). It is a popular visitor attraction and hosts over 100 events annually. The estate is owned by the National Trust, who administer it jointly with Cheshire East Council. Since 1999 it has hosted an annual horticultural show.

There is evidence of human habitation in the area of the estate going back to the Iron Age. In medieval times the village of Tatton was on the site. This has since disappeared but the area of the village and its roadways are a Scheduled Ancient Monument. By the end of the 15th century the estate was owned by the Stanley family who built and occupied the Old Hall. By the 1580s this building had been enlarged and it was owned by the Brereton family. In 1598 the estate was bought by Sir Thomas Egerton, Lord Chancellor of England. Sir Thomas and his children rarely visited the estate and it was loaned to tenants. At the end of the 17th century the estate was owned by John Egerton, Sir Thomas' grandson, who built a new house on the site of the present mansion, some 0.75 miles (1 km) to the west of the Old Hall. This mansion, Tatton Hall, was extensively altered and extended between 1780 and 1813. In 1795 the estate covered 251,000 acres (1,020 km2) (392 sq.miles). The estate remained in the ownership of the Egerton family until the last Lord Egerton died without issue in 1958. He left the house to the National Trust and gave them the park in lieu of death duties. However, as the estate itself was sold by his executors, Cheshire County Council committed to a 99-year lease in place of an endowment to ensure that it was preserved for the benefit of the nation. The Trust's ownership (run now by Cheshire East Council) is some 2,000 acres (8.1 km2) (3.1 sq.miles).

www.nationaltrust.org.uk/tatton-park

Copyright Susan Ogden

Just a little something that i believe is important...those of you on FB know that i have shared this there, but since this is a very art based and creative community i decided to share it here as well.

Not gonna lie...some of you will not want to take the time to read it...but it is dear to my heart because it explains SO much TO me...ABOUT me, and the other creatives i know. It may come as a surprise to some of you and others not so much. it puts into words what i have tried over the years to explain to those that do not get me.

i was one of the ones surprised by this....mainly because it was like someone was sitting voyueristically at my window and writing down each and every one of these things while they watched me. They did not miss ONE thing. freaky....and yet a relief of having a way to express what i feel on a daily basis.

i am off to explore and run some errands...do some collecting and commune with me for awhile. I hope those of you that take the time to look at this will think about what it says....and maybe understand the creative in you...or others around you to some degree. Not everyone will hit every point on this list dead center....but most of you will KNOW which ones are you instantly!

Have a beautiful Tuesday and revel in being you! oh, and please do comment....i love hearing what you think when it comes to your journey in creativity!

www.lifehack.org/articles/communication/20-things-remembe...

Nature is part of our life. We grew out of the seed, the earth, and we are part of all that, but we are rapidly losing the sense that we are animals like the others. Can you have a feeling for a tree, look at it, see the beauty of it, listen to the sound it makes? Can you be sensitive to the little plant, a little weed, to that creeper growing up the wall, to the light on the leaves and the many shadows? One must be aware of all this and have that sense of communion with nature around you. You may live in a town, but you do have trees here and there. A flower in the next garden may be ill-kept, crowded with weeds, but look at it, feel that you are part of all that, part of all living things. If you hurt nature, you are hurting yourself.

...(this prayer is...)

from the Italian tongue—en route to angels, to the river of hands that shiver in their skin; essential alters that cup winter like rain, in hopes that someday you might discover me.

I am a statue, the sea, the whisper within the snowflakes. Let me take your breath away. Discover me—allow me to kiss my prayer from your lips of white. A promise to breathe life back into their beauty.

View Large. Spotted Dove. Kāʻanapali Maui Hawaii

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French postcard by Editions F. Nugeron, no. Star 130. Photo: Air France / Distribution VU. Caption: Orson Wells (sic), Septembre 1967.

American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).

George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.

In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”

Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.

Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.

Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.

In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.

In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.

Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

5BGP4635

The subject is a small bouncy ball. Seize it as it flies through the air to find beauty:

Ask the poet Keats, who said that "what the imagination seizes as beauty must be truth."

He might also have said that what the hand seizes as a ball must be truth, but he didn't, because he was a poet and preferred loafing about under trees with a bottle of laudanum and a notebook to playing cricket, but it would have been equally true.

-- Douglas Adams, in Dirk Gently's Holistic Detective Agency, chapter 19

It was shot for entry into Macro Monday's "Defining Beauty" challenge.

Lens

SMC PENTAX-FA Macro 100mm F2.8

Lighting

One Pentax AF540FGZ is the wireless master, on the camera.

Another one, acting as the wireless slave positioned behind the subject, firing through a McDonalds Happy Meal toy periscope.

Yes, there were simpler ways to light the scene, but this was fun.

See the first comment for an image of the setup.

This is Odawara Castle which isn't actually what it seems to be. The 1870 earthquake flattened the castle at Odawara and it remained in that state for a hundred years until over the last fifty years it was rebuilt to its current state. To be fair to the Japanese there are many ancient buildings worldwide that have been rebuilt built on site. The original building was erected in 1447, rebuilt in 1633, 1706 and again in then late 20th century. This history tells as much about earthquakes as it does Japanese military defences.

The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London, England. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first luxury hotel in Britain, introducing electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners.

The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous, and other entertainers (who were also often guests) included George Gershwin, Frank Sinatra, Lena Horne and Noël Coward. Other famous guests have included Edward VII, Oscar Wilde, Enrico Caruso, Charlie Chaplin, Babe Ruth, Harry Truman, Joan Crawford, Judy Garland, John Wayne, Laurence Olivier, Marilyn Monroe, Humphrey Bogart, Elizabeth Taylor, Barbra Streisand, Bob Dylan, Bette Midler, The Beatles and many others. Winston Churchill often took his cabinet to lunch at the hotel.[2]

The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel".[3] It has 267 guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.

This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.

A covered vehicle in a small urban parking area in downtown Raleigh, North Carolina.

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